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<channel>
	<title>Brunno Douat</title>
	<link>https://brunnodouat.com</link>
	<description>Brunno Douat</description>
	<pubDate>Fri, 20 Feb 2026 19:05:36 +0000</pubDate>
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		<title>To Open a Clearing</title>
				
		<link>https://brunnodouat.com/To-Open-a-Clearing</link>

		<pubDate>Sun, 02 Feb 2025 15:16:48 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

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		<description>
	To Open a Clearing: Cultivating Spaces of Endurance in the Upper Amazon
To
effectively challenge the policies of extraction and depletion implemented by
late liberal regimes, the Waorani communities residing in the Ecuadorian Amazon
have devised spatial strategies to preserve their traditional territory. By
reexamining Mary Louise Pratt's concept of the contact zone and delving into the juxtaposition between settler and Indigenous
literature, spatialities, and worldviews, this thesis suggests the concept of
forest Clearings as a means to explore spatial forms of endurance. 


&#38;nbsp; &#38;nbsp; Numerous Clearings emerge
within the Amazon, where encounters between divergent worldviews have
engendered otherwise modes of existence. These spaces originate from
mutualistic relationships between ants and plants, the material necessities for
cultivating cacao and economic trees within traditional gardens amidst the
forest, the aspiration to establish new settlements or reclaim former ones
adjacent to oil platforms to assert sovereignty over traditional territories,
and acts of weaving and singing while renewing a corporeal connection with the
Amazon. Through a series of fieldwork reflections drawing upon Elizabeth
Povinelli's notion of quasi-events, these Clearings are perceived as spaces where
ontological negotiations are more likely to occur, strategies of enduring
exhaustion are nurtured, potentiality is sheltered, and forms of dominance—even
if for a moment—rattle.


&#38;nbsp; &#38;nbsp; At the core of the thesis
narrative lies the ambition of a particular Waorani community to establish a Museo Vivo, or a living museum, on the outskirts of the city of Coca. While
scrutinizing the intertwined histories of museums&#38;nbsp;as hegemonic infrastructures that facilitate extractive colonial projects in
the region, this work nevertheless recognizes the Waorani's appropriation of
the museum as a trap to ensnare our
attention and redirect the focus towards a more pressing matter: the defense of
their territory. Serving as a spatial strategy to withstand the exhaustion
caused by extractive practices in the Amazon, the living museum can be viewed as the creation of a
Clearing—an emancipation from prevailing forms of dominance through the
subversion of hegemonic ontologies. Within the Clearing, dominant
self-identities "get mixed up," inviting individuals to transcend
their existing roles and fostering alternative life forms capable of sustaining
a stubborn refusal to collapse.


&#38;nbsp; &#38;nbsp; In essence, this work
serves as an invitation to acknowledge our own agency as researchers,
academics, architects, and artists when navigating the ambivalent movements of establishing
and suppressing Clearings during interactions with local communities like the
Waorani. The work proposes that assuming responsibility as active agents within
the social ecology of Clearings—embracing the condition of being "seen
seen" by one another—gives rise to new collaborative practices and
ontological exchanges.







Master of Environmental Design thesis at the Yale School of Architecture.Advisors:
Ana Maria Durán Calisto,Keller Easterling
2021-2023


	


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		<title>Casa de Bicho</title>
				
		<link>https://brunnodouat.com/Casa-de-Bicho</link>

		<pubDate>Tue, 30 Sep 2025 15:05:34 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

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		<description>
	(Upcoming) 
Architects of Liberation: Modernism in Western Africa
July 05, 2026 – January 02, 2027
MoMA - The Museum of Modern Art
Architects of Liberation is organized by Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design, and Ikem Stanley Okoye, guest curator and associate professor at the University of Delaware; with Mallory Cohen, curatorial associate in the Department of Architecture and Design.


Collaborated as a researcher during the exhibition’s development and contributed as a commissioned writer to the exhibition catalogue.For more information visit:&#38;nbsp;https://press.moma.org/exhibition/architects-of-liberation-modernism-in-western-africa/


Image:&#38;nbsp;Children outside Bolgatanga Library, Ghana. December 1967. Photograph: Willis E. Bell. J. Max Bond Jr. papers, 1955–2009, Department of Drawings &#38;amp; Archives, Avery Architectural &#38;amp; Fine Arts Library, Columbia University. © Mmofra Foundation.




	

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		<title>Casa de Bicho copy</title>
				
		<link>https://brunnodouat.com/Casa-de-Bicho-copy</link>

		<pubDate>Fri, 20 Feb 2026 19:05:36 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/Casa-de-Bicho-copy</guid>

		<description>
	Casa de Bicho - 
with Gustavo Caboco
Installation, part of the exhibition Um Rio Não Existe Sozinho by the Institute Tomie Ohtake — Belém

In collaboration with Gustavo Caboco.
Curators: Sabrina Fontenele and Vânia Leal
Installation concept and design.


October 2025
Images: Ana Dias (1-3), Oswaldo Forte (4-6,8-12), Brunno Douat (7)



	


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		<title>Crafting Modernity</title>
				
		<link>https://brunnodouat.com/Crafting-Modernity</link>

		<pubDate>Wed, 09 Oct 2024 15:16:14 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

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		<description>
	Crafting Modernity
Design in Latin America, 1940–1980&#38;nbsp;


Mar 8–Nov 10, 2024MoMA - The Museum of Modern Art&#38;nbsp;
Curators: Ana Elena Mallet and&#38;nbsp;Amanda Forment
Collaborated as a researcher on exhibition multimedia components and the accompanying publication.

&#38;nbsp;From the catalogue:

“There is design in everything,” wrote Clara Porset, the innovative Cuban-Mexican designer. She believed that craft and industry could inspire each other, forging an alternative path for modern design. Not all of Porset’s colleagues agreed with her conviction. This exhibition presents these sometimes conflicting visions of modernity proposed by designers of home environments in Argentina, Brazil, Chile, Colombia, Mexico, and Venezuela between 1940 and 1980. For some, design was an evolution of local and Indigenous craft traditions, leading to an approach that combined centuries-old artisanal techniques with machine-based methods. For others, design responded to market conditions and local tastes, and was based on available technologies and industrial processes. In this exhibition, objects including furniture, appliances, posters, textiles, and ceramics, as well as a selection of photographs and paintings, will explore these tensions.

The home became a site of experimentation for modern living during a period marked by dramatic political, economic, and social changes, which had broad repercussions for Latin American visual culture. For nearly half a century, the design of the domestic environment embodied ideas of national identity, models of production, and modern ways of living. The home also offered opportunities for a dialogue between art, architecture, and design. Highlights of the exhibition include Clara Porset’s Butaque chair; Lina Bo Bardi’s Bowl chair; Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy’s B.K.F. Chair; and Roberto Matta’s Malitte Lounge Furniture.

Images: The Museum of Modern Art


Spring 2024




	


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	<item>
		<title>Beneath the Mud</title>
				
		<link>https://brunnodouat.com/Beneath-the-Mud</link>

		<pubDate>Tue, 11 Jul 2023 00:24:29 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/Beneath-the-Mud</guid>

		<description>
	Beneath the Mud - 
with Gustavo Caboco
Installation at the KO’EYENE program, at the 2024 Theaterformen Festival in Braunschweig
In collaboration with Gustavo Caboco
Installation concept and design.

Photos by Mehdi Amiri and China Hopson

Summer 2024




	


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	<item>
		<title>Venice 2023</title>
				
		<link>https://brunnodouat.com/Venice-2023</link>

		<pubDate>Mon, 08 Sep 2025 19:46:23 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/Venice-2023</guid>

		<description>
	Surfacing — The Civilised Agroecological Forests of Amazonia. 
Installation at the 2023 Venice Architecture Biennale The Laboratory of the Future
Authors: Estudio A0 (Ana María Durán Calisto and&#38;nbsp;Jaskran Kalirai) and Manuela Omari Ima
Collaborator as a researcher and fundraiser.&#38;nbsp;

Maps of ancestral territory embroided in Wengo and ceilling structures weaved in One fibers by the Waorani communities of Tiwino and Tepapade in collaboration with students from the Yale School of Architecture.&#38;nbsp;
From the catalogue:

"Gold prospecting using LiDAR in the twenty-first century has brought to the surface not only vast mineral deposits but also evidence of mega-regional cities. The digital whispers of these cities forcefully speak of the civilisations built by the people of the Amazon River basin tributaries for over five millennia.The land of the ‘savage’ portrayed by the European conquest through Greek mythical beings and medieval legendary monsters are now being portrayed by remote sensing as the land of interwoven constellations of agroecological urbanisms that call for a new name, for an ontological reckoning.The civilisations of oral traditions are wanting of recognition, not as exotic urbanisms to be marginally included in history textbooks, but as brilliant, working examples of urban ecology that may lead our way into a reconciliation of the city, its foods systems, and its hinterlands. This is the focus of this exhibition."&#38;nbsp;



Spring 2023




	


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		<title>On Deck</title>
				
		<link>https://brunnodouat.com/On-Deck-1</link>

		<pubDate>Fri, 09 May 2025 16:32:55 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/On-Deck-1</guid>

		<description>
	On Deck: Architectural Production After PowerPoint
In collaboration with Christina Moushoul and Matthew WagstaffeResearch and Exhibition Project.
The research project and exhibition On Deck: Architectural Production After PowerPoint addresses the overlooked impact of slide presentations on architectural production. Drawing from media, design, and communication theory, and focusing on a selection of New York-based practices over the past four decades, it seeks to demonstrate how this always-present medium—often presented in private or confidential settings—has influenced contemporary architectural conceptualization and communication.
Research supported by the The Architecture League of New York 2024 Independent Projects Grant.
2025


	
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	<item>
		<title>Entwining chambira</title>
				
		<link>https://brunnodouat.com/Entwining-chambira</link>

		<pubDate>Tue, 06 Jun 2023 16:39:11 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/Entwining-chambira</guid>

		<description>
	Entwining chambira to weave a world-forest 
The project develops an open archive alongside the Tepapare community composed of drawings, maps, photographs, video footage, audio recordings, oral histories, and traditional songs. Together they document the entangled territorial and cosmological assemblages present in complex production processes. The research focuses on the socio-ecological processes in making the traditional Yoo, the Waorani hammocks. Yoo's production involves intense trekking through the forest and gathering source materials throughout vast portions of the group's traditional territory. While chanting songs that recall the human-other-than-human relations embodied in the materials, the Tepapare women collectively weave together memory, place, and matter, inscribing their sense of continuous bodily reciprocity with the Amazon. The resulting artifact is an archival assemblage, a counter-map that makes Waorani ontology and territorial occupation legible, despite attempts at erasure through colonization.
Research supported by Yale’s Tropical Resources Institute Fellowship

Summer 2022




	


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		<title>On Curupira Steps</title>
				
		<link>https://brunnodouat.com/On-Curupira-Steps-1</link>

		<pubDate>Sat, 06 Aug 2022 21:40:33 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/On-Curupira-Steps-1</guid>

		<description>
	On Curupira Steps: Lina Bo Bardi in Vila Velha

Essay published on Cornell Journal of Architecture Issue 12: After.Editor in-chief: Val WarkeManaging Editors: Hallie Black and Todd PetrieSubmission Editor: Gracie Meek and Rabei Bhatti
Read the full essay here.

Spring 2022

	
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	<item>
		<title>Blackfeet</title>
				
		<link>https://brunnodouat.com/Blackfeet</link>

		<pubDate>Sat, 06 Aug 2022 21:40:33 +0000</pubDate>

		<dc:creator>Brunno Douat</dc:creator>

		<guid isPermaLink="true">https://brunnodouat.com/Blackfeet</guid>

		<description>
	
    Counter-witnessing Blackfeet Erasure in Beinecke's Walter McClintock collection of colored slides


The investigation proposes critically analyzing the editing processes involved in negatives, photographs, and colored slides depicting Blackfeet communities as part of the Walter McClintock collection at Beinecke Rare Book &#38;amp; Manuscript Library. Salvage ethnographer and photographer Walter McClintock would erase elements of acculturation to promote the idea of a pristine and idealized indigeneity, supposedely “untouched by white civilization.” For that purpose, elements such as trains, Western clothing, wagons, and whole villages were systematically erased in the original negatives. The research consists in cataloguing the negatives, comparing them with the later edited colored-slides, analyzing erased elements and, consequentely, bringing silenced stories to the surface.
Research supported by the Beinecke Rare Book &#38;amp; Manuscript Library Fellowship for Graduate Students.


Spring/Fall 2022 (Ongoing)


	


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