Two years ago, I received a production grant from Swedish Arts Council based on a proposition to investigate two significant buildings - Crystal Palace (1854) in London and Tempelhof (1936) in Berlin - which have formed our understanding of modernity, capitalism, globalism, and later the romantics of ruins. My partner in this project was Karl Palmås, associate professor at the Science, Technology and Society division at Chalmers University of Technology. Both of us had a long interest in architecture and representation but from different practices, him from research and writing and me from a professional photographers practice, and in my own initiated projects on the question of spatial representation. We have different backgrounds and practices, Karl as a sociology researcher and me as a still photographer practitioner. This resulted in a collaboration with a lot of discussions on how to approach the enquiry’s that we had established for this work. When visiting sites and collecting material, discussions always followed on our differences but also on our similarities of trying to understand and explore the questions we wanted to answer. These discussions also became an important part for us when realizing the film in the post production. We are currently screening the film and want`s to involve both the finished film as much as our process of making the film in both education and research. The outcome of the project, the film Too Late for History to End (2019), asks three questions. First, how do architectures and built environments, on the one hand, and social and political ideas, on the other, inform each other? Secondly, how is this relation between buildings and social thought influenced by the mediums of photography and film? Thirdly, how can we - in the context of the current debate on the Anthropocene – re-examine the status of ruin architectures and ruined landscapes?