The Final Architecture is a series of science fiction novels by British writer Adrian Tchaikovsky.

Intermediary Idris Telemmier helps kill an Architect at Berlenhof, turning the tide of the conflict decades after the destruction of Earth.

They fly to the planet Jericho, where a Hiver[a] archaeologist named Trine verifies the box’s authenticity.

Broken Harvest attempts to kidnap the crew again and eventually catches them near Berlenhof, capital of Hugh.

Idris manages to contact the Architect and learns that some unknown force is directing them to destroy inhabited planets.

Idris and the crew agree to join the Parthenon, hoping to create a new group of Intermediaries before the Architects return.

If the Architects returned, they planned to spark a war with the Parthenon in order to maximize the chance that Hugh could survive as a non-planet-based civilization.

Solace and the Vulture God crew escape Arc Pallator as the Architects destroy it, accompanied by Mundy.

Chief Laery announces a partnership between her faction of Hugh, the Hiver Assembly, and Broken Harvest.

Idris pilots the Eye into unspace; Olli and Kit remain in real space to serve as their anchor.

The Originators are attempting to manipulate the universe into a shape which will allow them to exist outside unspace, but large numbers of sentient lifeforms interfere with this process.

Weimer writes that this concept has been explored in different ways by other science fiction works, including Anvil of Stars by Greg Bear, the Queendom of Sol series by Wil McCarthy, and both versions of Battlestar Galactica.

Weimer writes that exploring these concepts encourages readers to think about the treatment of modern-day refugees who are fleeing from "war, disease, famine, [and] economic privation.

He also compared the series to The Expanse by James S.A. Corey, noting that both works contained "space operatics, down-and-dirty noir and intrigue elements, band-of-comrades adventure, gothic spookiness, alien weirdness, special-effects-go-boom sequences, and mysteries that could well remain mysterious when all is finally wrapped up.

"[4] In a review for Strange Horizons, Stephen Case wrote that Tchaikovsky organized Shards of Earth into "layers" of worldbuilding.

In the first layer, Tchaikovsky develops the individual characters, primarily the crew members of the Vulture God.

[5] Publishers Weekly gave Shards of Earth a starred review, calling it "dazzlingly suspenseful" and "space opera at its best".

[2] In a review for Locus, Russell Letson praised Shards of Earth as an example of "recombinant sci-fi" because it combines several large ideas into a "busy, complicated, surprising [concoction]."

[3] A review in New Scientist praised the psychological exploration of "unspace", but felt that the story was sometimes "hard to follow" due to the number of alien species, planets, and characters.

[8] Publishers Weekly wrote a positive review for Eyes of the Void, stating that the author's "intelligent worldbuilding captures the essence of classic space opera".

[10] Russell Letson of Locus described the second novel as "layered", with a plot "punctuated by a series of broadening, deepening, and complicating reveals."

Letson concludes that: The Final Architecture sequence belongs to what might be called a meta-genre, a narrative space that absorbs and integrates motifs and tropes and conventions from near and not-so-near neighbors.

"[11]Writing for Locus, Russell Letson stated that "the occasionally comic episodic-adventure feeling of the first two volumes has shifted to something darker and more desperate" for the final book of the trilogy.

Lesson praised the wide scope of the novel, stating that the "combination of space operatics, horrors nameless and all-too-physical, alien cultural encounters, eye-crossing intrigues, serviceable villains, desperate heroics, durable loyalties, and strange but satisfying transformations makes for a complex, exhilarating ride.

"[12] Publishers Weekly reviewed Lords of Uncreation and stated that the "abundance of characters muddies the cataclysmic plot, distracting from the slow reveal of the Architects’ motivations and next target".

The review praised the final confrontation, noting that "Tchaikovsky sticks the landing, even if he wobbles a bit on the way there.