Todos os prompts anteriores.

Prompt positivo: Ultra-detailed 8K architectural visualization, eye-level perspective of Exodus by OMA, conceived in 1972. A radical linear megastructure unfolds across the historical core of London, envisioned as a monumental island of architecture—an elevated strip cutting through the urban fabric with geometric violence and theatrical rigor. Comprised of eleven identical quadrangular blocks and seven elongated radial structures, the city surgically penetrates the decaying neighborhoods below, forging sharp connections between the new architectural order and the remnants of the old city.

The entire structure is confined by two endless parallel white walls—immense, unbroken planes that insulate the internal realm of desire and control from the entropy of the surrounding Victorian landscape. Inside, each block reveals a curated chaos: ruins of neoclassical grandeur, brutalist monoliths, neo-baroque follies, and minimalist abstractions—all coexisting in a meticulously orchestrated spatial system that suspends formal contradictions within a single continuous logic.

At the Tip of the Strip, the first block, the clash is most violent—a perpetual construction site where old London is actively demolished to give birth to the new. Temporary tents and scaffolds host the builders, living amid cranes and debris as the architecture exerts its “corrective fury.”

The Allotments, the second block, features rational square plots, each centered by an identical, unadorned cubic dwelling. Despite their plain facades, interiors are sumptuous—miniature people’s palaces, lavishly finished in precious materials, hidden behind strict symmetry.

In The Park of the Four Elements, the third block, space is divided into four perfect quadrants representing fire, water, air, and earth. The air section is composed of subterranean stacked cubes, perforated by grids of square openings and crowned with rooftop apertures shaped as a circle, square, and triangle—allowing light and symbolism to penetrate.

The Ceremonial Square, paved entirely in marble, opens as a vast planar void—pristine, solemn, and ritualistic. It invites public ceremonies and gatherings beneath a sky charged with latent meaning.

The Reception Area, a central transitional space, mediates the initiation of voluntary prisoners into the new order. Defined by geometric absolutism, the zone radiates symmetry, axiality, and a spatial choreography of aligned volumes.

Further along, The Escalator Block provides vertical access to the preserved remains of London, its mechanized stair slicing through the orthogonal grid like a wound between epochs.

In The Baths, architecture becomes an apparatus for emotional and psychological exposure. This spatial condenser channels impulses, rituals, and desire into a domain of public purification.

The Square of the Arts introduces formal variation within the grid. Though quadrangular at its base, the structures here take on sculptural and expressive forms, offering a more fluid visual language—a symbolic enclave for cultural production and architectural experimentation.

Above the eleventh block, known as The Invisible Park of Aggression, the sky becomes a theatre of conflict. Fighter jets engage in choreographed aerial combat, slicing through clouds with trails of condensation, adding a layer of surreal tension to the disciplined world below.

Rendered in photorealistic textures—raw concrete, oxidized steel, translucent membranes, polished stone—under soft overcast daylight. The composition evokes an atmosphere of dystopian solemnity, radical precision, and melancholic detachment. Visual references to Superstudio’s Continuous Monument, Rossi’s urban typologies, and the critical irony of postmodernism embed the image with philosophical depth and architectural defiance.

Prompt negativo: Low resolution, sci-fi or futuristic aesthetics, organic shapes, overgrown vegetation, informal or improvised architecture, bright or cheerful atmosphere, fantasy settings, natural scenery, spontaneous disorder, modern glass towers.