![](https://freight.cargo.site/t/original/i/c82ae8918f0f88334d25fa272c2fee3f15831bc1f7faf8aaae4e88c17da2e78a/Romy__0001_1-1.jpg)
![](https://freight.cargo.site/t/original/i/e16a7b0b8f94d3365da8f0248581df747e01c856f73dfb530499be137fb9c275/Romy_0003_paolo_patelli04_L3B9526.jpg.jpg)
![](https://freight.cargo.site/t/original/i/caea468518257a40b71257aeb4911764e0d91fc9d42a1fecbf80384ec34b6a8d/Romy__0000_2.jpg)
acrylic glass [polymethyl methacrylate]; safety [toughened, tempered] glass; wood, formica; perforated aluminium, rockwool filling; limestone, plaster; marble. wax castings of the flooring of a public square.
fieldwork in european realism is weird corporate archaeology; a forensic display deprived of liability, accountability, answerability: what architecture might materialise the post‐national political contract? collecting and listing fragments/relics from the periphery of the field of view, aspects of a nondescript built environment emerge, challenged by gaps and holes.
one of the twelve stars formerly on display as part of the euro‐skulptur in frankfurt – a monument built in the late 90s and left behind by the european central bank – still shows traces of the paint once used by activists to colour it in red, as well as the signature of a german sportsman connected to a subsequent unsuccessful auction. desktops from the european commission in brussels, phono absorbent panels scrapped from a meeting room, decorative motifs featuring the euro sign, and security glasses recomposed into a glazed façade are all treated as equal and singular embodiments of physical matter and representation.
empirical and speculative, this account processes things found in the wrong place, slipped in time: they escape routine; they are doubled. post‐imperial melancholia and the evocation of a haunted aftermath are sidetracked by a political impulse inflected into the very materials, in the concurrent process of institution, constitution and destitution.
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fieldwork in european realism is weird corporate archaeology; a forensic display deprived of liability, accountability, answerability: what architecture might materialise the post‐national political contract? collecting and listing fragments/relics from the periphery of the field of view, aspects of a nondescript built environment emerge, challenged by gaps and holes.
one of the twelve stars formerly on display as part of the euro‐skulptur in frankfurt – a monument built in the late 90s and left behind by the european central bank – still shows traces of the paint once used by activists to colour it in red, as well as the signature of a german sportsman connected to a subsequent unsuccessful auction. desktops from the european commission in brussels, phono absorbent panels scrapped from a meeting room, decorative motifs featuring the euro sign, and security glasses recomposed into a glazed façade are all treated as equal and singular embodiments of physical matter and representation.
empirical and speculative, this account processes things found in the wrong place, slipped in time: they escape routine; they are doubled. post‐imperial melancholia and the evocation of a haunted aftermath are sidetracked by a political impulse inflected into the very materials, in the concurrent process of institution, constitution and destitution.
![](https://freight.cargo.site/t/original/i/e90601580d75893ef81cd24693906c8f76993451b9f7de7e42758c56f86a339e/Future-Architecture_The-Architecture-of-a-Post-Nation-c-Paolo-Patelli.png)
![](https://freight.cargo.site/t/original/i/0e2da166d23669bf25db2389c87bf69b4a8977c0838e67ea3c197dca2d645836/paolo_patelli09_L3B9559.jpg)
![](https://freight.cargo.site/t/original/i/8257e52cbbd2ded8d27ad8479b59e686c93a12967d6eaba973a7d7c3e619b7db/a2_riso_paolo.440x0.jpg)
recomposed glazed facade with disposed security glass;
plexiglass sheets from the euro-skulptur in frankfurt;
silicone mould of the paving of 1992 plein in maastricht.