For a long time Martin Hrubý related his artistic work mainly to architecture as a complex field that offers a wider theoretical potential for recording cultural and socio-political processes. From a direct thematisation of architecture in the form of objects or spatial installations in galleries, his practice has shifted towards merging artistic and documentary strategies. Film is the tool which best accommodates these tendencies. Tiptoeing the unclear borderline between fiction and reality allows for the construction of a comprehensive picture of an architectural object as a multifaceted phenomenon. Working with archives, finding random links between historical events and architectural form is characteristic of Martin’s approach. The role of ideology and architectural representation in relation to the film medium itself becomes one of the central topics of his work.