Architecture of Accumulation is a manifestation of the infrastructure of global capitalism, an attempt to find a form for the mass of objects and operations required to sustain global trade and logistics. Architecture of Accumulation materializes in Panama, a key point of international logistics. Architecture of Accumulation sublimates and crystalizes the unresolved tension between global operations and local landscapes. Architecture of Accumulation reimagines the organization of the industrial landscape by imposing a vertical density instead of horizontal expansion. It goes beyond the scale of traditional architectural gesture and becomes the territory itself. Architecture of Accumulation is an exploration of programmatic complexity and density. Architecture of Accumulation is adjusted to the scale of a container rather than a human body. Spaces for homo sapiens are carefully designated and limited. Architecture of Accumulation is a mass of symbiotic and conflicting fragments. Architecture of Accumulation remains in a state of unfinishedness. By the time the last beam is produced, the first one will already rust. The structure, like a modern-day Ship of Theseus, remains in constant change. Architecture of Accumulation resists simple categorization. It is technocratic to the most radical extent, where paradoxically it transcends mere practicality and becomes and architectural landmark. Architecture of Accumulation illuminates the condition of contemporary infrastructure, and utilitarian landscapes, which evoke a feeling of sublime, almost forgotten within the architectural field.

This thesis investigates the practice and theory of Unism, art theory developed by Polish avant- garde painter Władysław Strzemiński and his wife, sculptor and designer Katarzyna Kobro. Artists who initialy worked under the influence of Russian Constructivism and Suprematism of Kazmir Malevich, along with the creation of Unism gained intellectual and artistic independence and a place on the map of global modernism. Despite the connections and exchange of experiences with various environments, Unism appears as a separate, multithreaded phenomenon supported by a meticulously built background of theoretical texts.
The research has been divided into two main parts- “Description” and “Interpretation”, both providing innovative approaches in their categories. “Description” part contains the formal analysis of all known Unist paintings created by Strzemiński, related to the theoretical framework and distributed into subcategories. “Interpretation” part contains smaller chapters in which, based on the theoretical texts of Strzemiński and his close associates, perspectives for interpreting these paintings from various positions (historical, social, political) are formed. The last chapter, “Outcome”, puts results of the investigation in the context of current state of knowledge and research performed by scholars and curators, by critical juxtaposition and comparison.