In 2024, I designed the entire 23rd floor of Farol Santander for a 16-minute journey to São Paulo’s future. Antonio Curti’s curation questioned what the city would be like a thousand years ahead — I wanted to answer with a technical question: if we used language models to imagine this future, would we be simulating realities or influencing the code of what’s yet to exist? I conceived the experience artistically and technically, working with LLMs and LoRa not as image generation tools, but as the philosophical foundation of the work. The journey passes through seven acts — floating islands in the sky, underground civilizations, fragmented remnants of the present — and the audience crosses luminous portals between coexisting worlds, not knowing if they’re seeing possible futures or multiple simulations of the same present.

Within the immersive experience, I created Território, an interactive installation where the audience’s body movements transform into architectural elements — buildings, cities — projected in real time by a system I developed with the AYA team. It’s not gamification: it’s the idea that inhabiting a space is building it. Each person who enters the room becomes an architect of a territory that never existed before and ceases to exist when they leave. I used OpenCV, five mapped projectors, and an RTX 4090 to process bodily gesture as raw material for the urban landscape. It’s an investigation of presence — not representation.

The entire project demanded robust infrastructure: eleven synchronized projectors for the immersive room, 5.1 sound system, distributed network in three zones with complete redundancy, and a team of 53 people in direct work, totaling 142 positions overall. I technically coordinated the assembly and executive direction, but what interests me to document here is the gesture of conception: designing a space where technology doesn’t illustrate the future — it asks if the future is already happening, hidden inside the machines we use today.