Godofredo Enes Pereira
I’m a father, a teacher, a researcher, an architect, an
environmental activist and a theorist, living between Porto and London. I work at the Royal College of Art.
My work consists of a rhizomatic exploration of architecture’s
role in the constitution of existential territories:
One of the ways by which I approach this question is by investigating how communities organise in resistance
to extractivism, and how that affects their concepts of the collective in relation to land. This was the key problem
that I contended with in my PhD The Underground Frontier: Collective Politics from Below, and in
the Atacama Desert Project that was part of Forensis exhibition at the HKW in 2014. The book Ex-Humus that I’ve been working on since 2015 (and will hopefully one day finish...), will bring together my research on this, with a particular focus on forms of making collective with the earth. In the meantime, Ex-humus has been presented in the form of short-texts and performance-lectures, the first taking place at the 2019 Sharjah Architecture Bienalle curated by Adrian Lahoud.
My teaching work with the Lithium Triangle Research studio between 2017-22 further explored this investigation, by collaborating with Atacameño communities facing the destruction of their enviornments due to the expansion of lithium extraction. Part of that work was exhibited as The Ends of the World, within the Lithium exhibition at Het Nieuwe Instituut, and at the Compulsive Desires exhibition at Galeria Municipal do Porto, both curated by Marina Otero Verzier. At Compulsive Desires I’ve also shown the film Inverted Mountain on the foreseen socio-environmental impacts of lihitum extraction in Barroso. This was a collaboration with Mingxin Li, Antonio del Giudice, Jacob Bolton and Tiago Patatas, as part of the GIT/ Territorial Research Group, created in 2022.
The GIT is an action-research agency that sits at the intersection of my role as researcher and environmental activist. For many years I have been active within the movements of resistance that formed against lithium mining in the Barroso region of Portugal. I am also a member of Associação Povo e Natureza do Barroso (PNB). The demands of contesting this struggle in the public media, have led to a new stem of my research branching out to focus on the environmental impacts of the “green transition”. This is an investigation that I have dissemianted via publications in local journals and mainstream media, to maximise public debate. I’ve also investigated the impacts of the green transition as a Co-I to the research project Scales of Justice, where we utilise key legal disputes around lithium mining in Chile and in Australia, to identify concepts with which to differentiate, assess, co-measure and adjudicate between global and local impacts of the green energy transition; and as Associate Researcher in the project LIQUIT: Silenced Voices of Territories.
My teaching work with the Lithium Triangle Research studio between 2017-22 further explored this investigation, by collaborating with Atacameño communities facing the destruction of their enviornments due to the expansion of lithium extraction. Part of that work was exhibited as The Ends of the World, within the Lithium exhibition at Het Nieuwe Instituut, and at the Compulsive Desires exhibition at Galeria Municipal do Porto, both curated by Marina Otero Verzier. At Compulsive Desires I’ve also shown the film Inverted Mountain on the foreseen socio-environmental impacts of lihitum extraction in Barroso. This was a collaboration with Mingxin Li, Antonio del Giudice, Jacob Bolton and Tiago Patatas, as part of the GIT/ Territorial Research Group, created in 2022.
The GIT is an action-research agency that sits at the intersection of my role as researcher and environmental activist. For many years I have been active within the movements of resistance that formed against lithium mining in the Barroso region of Portugal. I am also a member of Associação Povo e Natureza do Barroso (PNB). The demands of contesting this struggle in the public media, have led to a new stem of my research branching out to focus on the environmental impacts of the “green transition”. This is an investigation that I have dissemianted via publications in local journals and mainstream media, to maximise public debate. I’ve also investigated the impacts of the green transition as a Co-I to the research project Scales of Justice, where we utilise key legal disputes around lithium mining in Chile and in Australia, to identify concepts with which to differentiate, assess, co-measure and adjudicate between global and local impacts of the green energy transition; and as Associate Researcher in the project LIQUIT: Silenced Voices of Territories.
Currently, I am working on Take
Back the Land, a book that I’m co-editing with my good friend Dubravka Sekulic, to come out in 2026, with Bloomsbury. This will be the first overview of
architecture’s contribution to land-based struggles – from landback, to climate
justice or anti-gentrification – and brings together a fantastic set of
contemporary architects and militants. In my own contribution, I explore the other key question
traversing my work in the past decade, the interrogation of what is environmental architecture. My
hypothesis that architecture always pre-exists, in other words, that a moutain or a river are architectures in that they organise modes of coexistence. In fact, what we call
architecture should be better understood as the practice of composing with the
architecture that is always already there - the earth. I have explored this in several essays and book contributions, and mostly via the transdisciplinary MA Environmental Architecture that I have directed at the Royal College of Art since
2017.
For a long time, I’ve been investigating the architecture of collective equipment. I’ve started this research with the ADS7 studio that I taught with Platon Issaias and David Burns at the RCA, and further developed it via multiple initiatives such as a partnership with the Municipality of Barcelona, the Architecture and Social Movements research group at the RCA, the exhibition Object/Project for the 2016 Lisbon Trienalle, or the event Last Evenings on Earth, that I’ve organised with workers across Sharjah, for the 2019 Architecture Biennale. In my work collective equipment refers to any spatial or material feature that gives consistency to modes of coexistence. By consistency I mean not a static or normative force - a ground -, but a minimum stability required for confidence in the possibility of relation. Collective equipment can be a variety of things, from tables to clubs, to storage units, nail salons, alleyways, shops and social centres. In that, this is also an investigation into popular and collective approaches to architectural production, counteracting both the state’s control over collective equipment, as well as its disciplinary and academic histories. Many of the key aspects of this investigation – in particular the role of programmingand of militant analysis - are nuanced in the book CERFI: Analysis Everywhere, that I’ve co-written with my partner Susana Calo. This is a long-durée investigation of a militant research group that between the sixties and seventies, brought together Freud and Marx in an exploration of programming against the state. Despite the slow research process - this took us more than ten years! - CERFI is finally coming out with Minor Compositions in 2025.
You can click here for a few of my lectures that over the years have been made available online.
For a long time, I’ve been investigating the architecture of collective equipment. I’ve started this research with the ADS7 studio that I taught with Platon Issaias and David Burns at the RCA, and further developed it via multiple initiatives such as a partnership with the Municipality of Barcelona, the Architecture and Social Movements research group at the RCA, the exhibition Object/Project for the 2016 Lisbon Trienalle, or the event Last Evenings on Earth, that I’ve organised with workers across Sharjah, for the 2019 Architecture Biennale. In my work collective equipment refers to any spatial or material feature that gives consistency to modes of coexistence. By consistency I mean not a static or normative force - a ground -, but a minimum stability required for confidence in the possibility of relation. Collective equipment can be a variety of things, from tables to clubs, to storage units, nail salons, alleyways, shops and social centres. In that, this is also an investigation into popular and collective approaches to architectural production, counteracting both the state’s control over collective equipment, as well as its disciplinary and academic histories. Many of the key aspects of this investigation – in particular the role of programmingand of militant analysis - are nuanced in the book CERFI: Analysis Everywhere, that I’ve co-written with my partner Susana Calo. This is a long-durée investigation of a militant research group that between the sixties and seventies, brought together Freud and Marx in an exploration of programming against the state. Despite the slow research process - this took us more than ten years! - CERFI is finally coming out with Minor Compositions in 2025.
You can click here for a few of my lectures that over the years have been made available online.