Exploring architecture and multidisciplinary influences at the STRAND OA2025 thirteenth international Conference and Exhibition —Crosscutting and Fusion of Disciplines, hosted by the Serbian Academy of Sciences and Arts and Gallery of Science and Technology in Belgrade, Serbia and featuring parallel events — Student Exhibition in Greece, and — online Panel convened from Australia.

— Conference
4–5 December 2025
Serbian Academy of Sciences and Arts, Belgrade, Serbia
Knez Mihailova 35, 11000 Belgrade, Serbia

— Panel
5 December 2025
Online Panel Discussion

— Exhibition & MicroMacro Awards
3–17 December 2025
Gallery of Science and Technology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia
Đure Jakšića 2, 11000 Belgrade, Serbia

Browse and download Program.

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Call for Contributions

Call for Contributions is closed.

All the presented Contributions at the Conference will be published in Conference Proceedings and Book of Abstracts and assigned with ISBN and DOI numbers.

Best Papers will receive recommendation for publishing in the International Scientific Journals.

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Concept and Theme

Concept

On Architecture — Crosscutting and Fusion of Disciplines is based on the concept of an interdisciplinary, international, multi-location conference, with two exhibitions and a panel.

OA2025 would bring together partner institutions, representatives from both academia and industry, from different parts of the world, working together on organization and realization of the event. The motivation of holding a multiplaces conference, in several places at the same time, is the knowledge exchange, dissemination of research results and possible interaction and implementation aimed at stakeholders and sponsors. This is why the principle of networking is key.

Another principle of interdisciplinarity underlines the complexity and multiplicity of architecture, as well as the new challenges facing architects, urban designers, and artists. An interdisciplinary approach is the basis for defining thematic blocks/topics which include the essential approaches to the subject of architecture, innovative projects that impose new approaches and challenges, such as innovations in building materials, design and technology, which contribute to new aesthetics and a different understanding of functionalism, as well as architecture whose backbone is always creativity and art.

Theme

The themes will be discussed through various disciplinary lenses, including new aesthetics and functionalism, globalization, design methods and approaches, innovative materiality, technology, and new media.

Themes of the Conference and Exhibition are promoting quality design in different scale, which improves the life of resident citizens and visitors, with attractive living places. Creation of quality design is important for individual living in architecture object as the micro scale of significance – as well as for the design in a wider macro scale, which emphasizes the advantages of a city and potentials for more attractive business, qualified manpower, attraction of students, tourist potential, and events of wider significance. It is what makes an exciting, vibrant city that offers knowledge about new trends in art, architecture and urban design.

We are experiencing an unprecedented era in the history of urbanization. Some of the defining challenges of the 21st century dictate the pace of urban growth, create new approaches in architecture, increase the quality of living spaces, and control the environmental quality. At the same time, they also present an opportunity to create living spaces that are smarter, more efficient, more sustainable, more equal and safer. Architecture and urban Design in the small are the key for improvement and quality of urban and living space.

One of the topics is innovation and creativity in the digital era, with focus on art, architecture, technology, and science as being among the leading proponents of innovative change. Innovation is not new, nor a privilege of the digital age. It has always been present in human endeavors to solve problems, organize community better, improve the quality of life, work more efficiently, and so on. The digital age, however, has brought about unprecedented and ubiquitous possibilities of innovation in all spheres of life. In the digital age, perhaps more than ever before, there is growing need for multi-disciplinary approach in the research on Arts, Architecture, Design, Science and Technology to deal with challenges of modern society.

In the same sense, using the advantages and possibilities of the digital age and the technological range, a new architecture of the future is created, such as the use of a parametric design, or developing new sustainable technological solutions from the idea to the realization including maintenance in architecture, engineering and construction.

The new methodological approach is also focused on pioneering research on interactive graphic design at the time of unprecedented data abundance, such as research designer programs that redefine the production tool, applicable for further development of other designer participants as open source. Or other methodological approaches that explore drawing as a tool, in different ways, or mapping the space or processing data diagrams.

Methodological approaches in the digital era are using new tools, for example gamification in town planning. As a methodology it is not new since in the past, games were typically used for simulating cities in a safe environment. Today, modern game theories suggest a more integrated relationship between games and real life. The essence of the new generation of games is interactive design and consumer decision-making between users, based on their behavior, and decision-makers in a complex planning process. A platform for decision-making is formed through solving real problems and real-life challenges.

Modeling the Future combines analogue and digital modeling technologies to create a realistic, live-time mapping tools. A database of information on the cities architecture and public space which could become an invaluable tool for architecture and urban planning, even the basis that multiple disciplines (designers, architects, urban planners, artist) can work with in order to learn how to transform cities.

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Conference

CONFERENCE
(international, peer-reviewed, open call)

4–5 December 2025
Serbian Academy of Sciences and Arts, Belgrade, Serbia
Knez Mihailova 35, 11000 Belgrade, Serbia

Crosscutting and Fusion of Disciplines builds on the concept of previous ON ARCHITECTURE conferences and focuses on the interaction of science, technology and arts, with architecture in creating the future at different levels from micro to macro scale, problematic – thematic and spatial coverage.

Types of contributions (Paper, Poster, Presentation)
Conference Paper is a manuscript that the author(s) submit for academic peer review. An accepted paper will be published in the conference proceedings. All authors of accepted papers are expected to present their work.
Conference Poster is a short manuscript that describes new or ongoing research results including Research Presentations, Grant Proposal Presentations and Thesis Presentations. The poster contribution will be published in the conference proceedings.

How to submit
Follow Conference Guidelines on how to prepare and submit preliminary manuscript.

Thematic Blocks
An interdisciplinary approach is essential in defining thematic blocks.

— Phenomenology of Architecture
● Essence of Architecture – Form, Function, Meaning ● Phenomenology of Architectural Work
● Utopia vs. Dystopia ● Architectural and Existential Space — Existence, Space, and Architecture
● Exterior vs Interior — Urbanism Interior vs Urban Interior, New Urban Living Room ● Semiology of Architecture — Architectural Language.

— Science, Technology and Architecture
● Artificial Intelligence ● Diversity in global environmental scenario ● Navigating new horizons in technology ● Digital environment —how we live, learn, work, and play now ● Innovation and creative spaces in Cities— small scale design thinking and town planning as an inspiration for integrative planning, POPS — privately owned public spaces ● Modeling the Future – modeling of the future architecture and design with implications for environment and society ● Going Digital – innovations in the contemporary life; gamification in urban design and town planning, ● New Methodology – learning through resilient, smart and innovative methodology research.

— Architecture and New Media
● Photography and Media Art ● Art in the age of artificial intelligence ● After AI art ● Architecture and/or Art – inspiration for creating

— Showcase Presentations
● New ideas or project realization in Architecture, Urban Design and Arts.

Call for contributions is addressed to researchers and professionals in the fields of architecture, interior architecture, town planning, urban design, heritage and restoration, history, technology, art, photography.

Guest Speakers

Presenting Keynote Speakers and Guest Artists of the OA2025 International Conference ‘Crosscutting and Fusion of Disciplines‘ – Rachel Armstrong (Belgium),Elif Ayiter (Turkiye), Jelena Guga (Serbia) Branko Kolarevic (USA), Nora Lefa (Greece), Stahl Stenslie (Norway) and Dejan Todorović (Serbia).

Rachel Armstrong

Holobiontic Architecture: From Monologue to Multispecies Dialogue

Abstract: The emerging paradigm of holobiontic architecture reimagines buildings as dynamic, multispecies habitats. Central to this vision is eco-ornamentation—the intentional patterning of architectural surfaces to support microbial life. These surfaces host microbial communities and serve as active sites for metabolic processes such as redox reactions, biomineralisation, carbon fixation, and pollutant degradation. Holobiontic architecture subverts the modernist legacy of sterility, which weaponized design through biocidal surfaces. Instead, it advances a model of managed mutualism—surfaces that sustain rather than sanitise, transforming buildings into habitats rather than battlegrounds. Hygiene is redefined as microbial cultivation: a practice of calibrated coexistence rather than categorical exclusion. Ornamentation, thus, becomes simultaneously aesthetic, material, and ecological. Research into bioreceptive materials—including wood, concrete, ceramics, and salt—demonstrates how ornament can be combined with microbial biocatalysis and architectural biotechnology to reshape the built environment impacts. Innovations such as engineered biofilms, probiotic coatings, and volumetric microbial consortia offer ‘living’ regenerative alternatives to conventional chemical processes, contributing to urban metabolism and environmental resilience. At the heart of this approach is the integration of microbial intelligence into architectural systems. Through hybrid bio-digital infrastructures—combining microbial activity with sensors, machine learning, and digital fabrication—building surfaces gain the capacity to respond to environmental stimuli, process waste, and participate in biogeochemical cycles.
This protocol for coexistence constitutes a spatial and biological contract, embracing complexity, interdependence, and continuous negotiation. Inhabiting an inherently microbial world demands reciprocity, diplomacy, and critical reflection. More than a sustainability strategy, holobiontic architecture proposes a pact with life itself—an invitation to design in collaboration with the unseen microbial allies that sustain planetary systems. In an era of ecological rupture, microbial collaboration offers both practical tools for regeneration and the possibility of a planetary-scale peace.

Rachel Armstrong is a pioneering figure in regenerative architecture, known for reimagining the built environment as a living, evolving system. As ZAP Professor of Design-Driven Construction at KU Leuven, Belgium she leads the Regenerative Architecture Arts and Design (RAAD) research team that investigates the integration of biology, materials science, and architecture to develop buildings that are metabolically active. Her work challenges conventional notions of construction by proposing holobiontic architecture—structures conceived as multispecies habitats that participate in ecological cycles. Through innovations in biohybrid materials, such as mycelium composites, unfired clays, and bioreceptive ceramics, Armstrong explores how buildings can grow, adapt, and even self-repair. Her current leadership of the EIC Pathfinder project “Microbial Hydroponics: Circular Sustainable Electrobiosynthesis” (Mi-Hy) exemplifies this vision, investigating spatially curated microbial symbiosis as a foundation for resource-efficient building systems that also produce ‘green’ building blocks. Armstrong’s research is deeply collaborative, bridging disciplines from synthetic biology to digital fabrication. She has worked with artists, scientists, and technologists to prototype living materials and responsive architectural systems, including programmable biofilms and volumetric microbial consortia ebedded within building materials. She seeks to transform industrial processes from extractive to regenerative, creating systems that emulate the resilience and adaptability of living organisms. Her influential books include: Soft Living Architecture: An Alternative View of Bio-informed Practice (2018), which explores how living processes can inform architectural design, blending biomimicry, biodesign, and natural computing and Experimental Architecture: Designing the Unknown (2019) that draws on diverse fields—from bacteriology to poetry—to propose new methods for architectural experimentation. Armstrong is also a Senior TED Fellow and an EIC Ambassador, recognised for her visionary contributions to sustainable design and innovation. Her accolades include a Special Award from the Serbian Academy of Sciences and Arts (2021) for her role in shaping the ON ARCHITECTURE conference series. Armstrong’s work invites critical reflection on how architecture might evolve in dialogue with the living world. Her research offers not just technical solutions, but a philosophical transition—toward buildings that are not inert shelters, but active participants in planetary life.

Dejan Todorović

Interstitium In-Between Scales: Translating Microbial Intelligence into Architectural Thinking

Abstract: Terram Intelligere – Interstitium, Montenegro’s contribution to the 19th International Architecture Exhibition – La Biennale di Venezia is explored as a case study in cross-scalar and interdisciplinary architectural thinking. Rooted in the culturally and historically charged concept of međa—the dry-stone boundary lines that traverse the Montenegrin landscape—the project unfolds as both an artistic and scientific inquiry into how architecture can learn from the intelligence of living systems, particularly microbes.
Situated between micro (biological) and macro (territorial) scales, Interstitium engages in a methodology of translation across spatial systems (from landscape to gallery space), biological processes (from microbial life to architectural gestures), and discursive frameworks (from scientific observation to artistic expression). Developed in partnership with the University of Belgrade – Institute of Molecular Genetics and Genetic Engineering—through collaboration between architects, visual artists, microbiologists, and designers, the project cultivates native Montenegrin bacteria that produce biopigments, nanocellulose, and bioplastics. These processes—ordinarily invisible and often overlooked—are made tangible through the modulation of space, light, and sound. The result is an installation that does not represent a landscape, but rather performs as one through an ongoing material transformation.
This inquiry reflects on the conceptual and methodological implications of such an approach. It asks: What does it mean to engage microbes as collaborators in architectural design? Can architecture become a medium through which interspecies intelligence is not only sensed but also interpreted and materially articulated? And what new forms of disciplinary fusion emerge when the boundaries between architecture, biology, and art are deliberately unsettled?
By focusing on the interstitial—on what exists in-between scales, species and disciplines—Interstitium proposes a shift in architectural thinking. It is not about mastering complexity, but about becoming attuned to it. This shift echoes with current discussions on interdisciplinary collaboration, situated design practices, and architecture’s evolving role as a mediator between human and non-human worlds.

Dejan Todorović (1990) is an architect and researcher with a Master’s degree in Architecture from the University of Belgrade – Faculty of Architecture (2014), where he has been working as a Teaching Assistant since 2017. He is currently pursuing a Ph.D. in Scene Design at the University of Novi Sad – Faculty of Technical Sciences, focusing on the temporal and emergent aspects of the creative process, especially within interdisciplinary design practices.His work spans architecture, performing, and visual arts, often exploring the intersections between these fields. Over the years, he has participated in a wide range of national and international competitions, exhibitions, workshops, and summer schools, while also remaining actively engaged in independent design and research. One of his most recognized projects is the award-winning interior design for the Würth Serbia Training and Test Center (2019).In 2025, he co-authored Terram Intelligere – Interstitium, Montenegro’s national pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia. The project, commissioned by Mirjana Đurišić and curated by Dr. Miljana Zeković, was developed in close collaboration with visual artists Dr. Ivan Šuković and Emir Šehanović, along with microbiologists from the University of Belgrade – Institute of Molecular Genetics and Genetic Engineering. It investigates microbial intelligence as a conceptual and material framework for rethinking architecture across living, spatial, and territorial systems.

Branko Kolarevic

Generative AI In Design Education

Abstract: The integration of generative artificial intelligence (GenAI) technologies into design education could have significant impact on the way students learn, with a potential to disrupt established pedagogic practices. These advanced technologies provide powerful tools for both design exploration and student learning and research in a variety of subjects, including history and theory. This lecture explores the implications of GenAI tools in the context of architectural education including ethical and pedagogical considerations to ensure responsible integration and to maintain the valuable role of human expertise in teaching and learning.

Branko Kolarevic is a professor and former dean of the Hillier College of Architecture and Design at NJIT in Newark. He has taught architecture at several universities in North America and Asia and has lectured worldwide on the use of digital technologies in design and production. He has authored, edited or co-edited several books, including “Mass Customization and Design Democratization” (with Jose Duarte), “Building Dynamics: Exploring Architecture of Change” (with Vera Parlac), “Manufacturing Material Effects” (with Kevin Klinger), “Performative Architecture” (with Ali Malkawi) and “Architecture in the Digital Age.” He was elected and served as president of several organizations: Association of Collegiate Schools of Architecture (ACSA), Canadian Architectural Certification Board (CACB), and Association for Computer Aided Design in Architecture (ACADIA). He is a recipient of the ACADIA Award for Innovative Research in 2007 and ACADIA Society Award of Excellence in 2015. He holds doctoral and master’s degrees in design from Harvard University and a diploma engineer in architecture degree from the University of Belgrade.

Jelena Guga

Algorithmic Architectures: Spatial Politics of Critical Art in the Age of AI

Abstract: In contemporary postdigital condition, algorithmic infrastructures increasingly shape the contours of everyday life. From data extraction and classification to predictive modeling and decision-making, artificial intelligence systems function as invisible architectures that structure perception, behavior, and access. This talk explores how critical AI art practices interrogate these algorithmic frameworks, revealing their embedded biases, socio-technical entanglements, and implications for power, agency, and social organization. By exposing and disrupting the logics of automation, surveillance, and optimization, artists reclaim agency within systems that otherwise obscure the conditions of their own operation. The central argument is that algorithmic systems should be understood as a form of spatial and architectural design, not only shaping digital environments but also structuring how we inhabit and navigate physical and social realities. Critical AI artworks function as counter-architectural practices: they map, destabilize, and reimagine the infrastructures that increasingly define identity, labor, and governance. Rather than treating these systems as neutral tools, such works foreground their aesthetic, ethical, and structural dimensions, challenging viewers to engage with the material and societal stakes of datafication. Drawing on postdigital and new media frameworks, the talk considers how algorithmic architectures operate at the intersections of code, culture, and space. It reflects on how these systems produce not only representations but also lived conditions, redefining the boundaries between art, politics, and infrastructure. By tracing how artists conceptualize, expose, and rework the logics of AI, the paper shows how such practices create a critical vocabulary for engaging with contemporary technopolitical environments. They offer speculative imaginaries and situated interventions that help us reimagine how digital systems could be repurposed toward more transparent, equitable, and collectively shaped futures.

Jelena Guga is a theorist of new media art and culture currently working as a research fellow and coordinator of the Digital Society Lab at the Institute of Philosophy and Social Theory, University of Belgrade. She was a postdoctoral fellow at the Department of Interdisciplinary Activities, Research Center for New Technologies, University of West Bohemia (Plzeň, Czech Republic), and a visiting researcher at the SPECS Lab at Pompeu Fabra University (Barcelona, Spain). Her research critically engages with identity, corporeality, agency, and perception in technologically mediated interactions and immersive environments, combining art theory, media theory, cultural studies, critical posthumanism, and philosophy of mind—alongside ongoing work on AI art and algorithmic culture. She is also active in curatorial practice at the intersection of art, science, and technology. She is the author of Digital Self: How We Became Binary and has published widely in international academic publications.

Nora Lefa

DO NOT TOUCH YUGOSLAVIA! A visceral response in the era of artificial intelligence

Abstract: Since AI is increasingly complementing, and moreover, substituting for human intelligence in every aspect of our lives, it is bound to do so in the management of land. However positive a well-informed approach to administrating human beings’ most precious of natural resources can be, the drawbacks cannot be ignored: acting solely on typified logic, unhinged from human sympathy and emotions, can lead to monstrous results. Algorithms and learning processes alone, providing for the input on which AI operates, can lead to humans being turned to appurtenances of the land they rely on, the natural intelligence being unable to articulate substantial arguments against. We must trust visceral intelligence in counteracting rationality detached from humanity in order to harness the advantages the reliance on a multifaceted intelligence can offer. These ideas are put to the test in an exhibition entitled Do Not Touch Yugoslavia! A Visceral Response in the Era of Artificial Inteligence, following the Montenegrin call for participation in the competition for the selection of the national representative at the 2025 Venice Biennale of Architecture. Unmeditated, direct emotional reactions to the stimuli provided by encounter with Montenegrin land and soil, is the Janus’ face of paradise and hell. The epistemology of the encounter could be illustrated through ten days of paradise in Montenegro, symbolically depicted through memories of the Yugoslav train. Such accumulated memories, created by bodily experience in contact with the earth (body memory), will build an anthropological experience in space, and such a connection with a place (insidness) is irreplaceable. Equally important is the psycho-geography that we associate with artificial post-Yugoslav landscapes (’toxic beauty’), the construction of which encodes the memories and feelings of an unknown worker, who disappeared in the anonymity of Yugoslav ideology.

Tangible Shadows

Abstract: We are composed of the sum of our surroundings, of the physical and the immaterial world, of the people around us, of those who are not with us anymore, of those who were here times ago, and of those whose tears we only see in the news footage. The cities in which we lived, the conversations we had, the music we heard remain present and are parts of us. And of the imaginary personages from literary works and lyric operas who live within us in the cities. They follow us, they build us, and they hold us as if they were a rich cloud, full of unique shadows. It is the memory of our deepest experiences, our microcosm. How much does memory shape us, the memory of the place, of the past, of our ancestors? Do the trees hear and remember the voices, the thoughts, the sentiments of all those who have encountered; do we perceive this multiple reality? The current paper claims that since shadows of things past shape us psychologically, mentally, and ultimately physically, and despite not made of matter, they can be considered as being of a very palpable nature.

Nora Lefa is an architect and visual artist. She is Associate Professor of Multimedia and Video-Art at the School of Fine Arts, University of Ioannina, Greece. She has presented her work in several solo and group exhibitions in Athens, Sarajevo, Belgrade, Skopje, New York, Miami, Barcelona, Zurich, Paris, London and Venice. Her latest solo exhibition was held at Casale dei Cedrati, Villa Doria Phamphilj, Rome, Sept. 01-10, 2024. She has won distinctions for her architectural and artistic work. She has resented papers in several international conferences and has authored two books: Sarajevo Again (Athens: Plethron 2020, in Greek; Sarajevo: International Peace center 2023 in English and in Bosnian), and Buildings Used (London: Routledge 2019 -co-authored). She has co-organised international conferences and exhibitions, and was a member of the respective scientific committees and jury. She has translated into Greek Serbian and Bosnian poetry.

Elif Ayiter

The Wondrous Travels of Felix Ringtail

Abstract: This essay will take the reader through my personal musings that have been gathered through a 2 year long journey of working with generative image, video and audio creation systems, referred to popularly as Artificial Intelligence. I will try to make a case that this term is a misnomer, that the intelligence that brings about the results is the same old organic one with which humanity has manifested creativity throughout the ages – albeit, an organic intelligence that is now enhanced by a new and remarkably powerful tool. So powerful indeed that it can easily be confused with something that is intelligent / creative in its own right. But, is it really?
After focusing on how these novel generative systems affect creative output, I will conclude by taking a broader look at how “AI” is increasingly affecting the world around us. I will do so, not as an “AI enthusiast” but as someone who looks upon the entire phenomenon with great apprehension and worry, despite the fact that I am deeply immersed in the creative process that this remarkable technology has brought about.

Elif Ayiter’s creative and research interests are about three dimensional online virtual worlds and their avatars, Graphic Design and the History of Visual Communication. More recently she has also added generative creativity to her workflow. She is now retired after having taught full time for 2 decades at Sabanci University in Istanbul. Her texts have been published at academic journals such as the Leonardo Electronic Almanac, the Journal of Consciousness Studies, the Journal of Gaming & Virtual Worlds, International Journal of Art, Culture and Design Technologies, and Technoetic Arts, and she has authored many book chapters in edited academic books. She has presented creative as well as research output at venues such as ISEA, Consciousness Reframed, Siggraph, Creativity and Cognition, SPIE, Computational Aesthetics and Cyberworlds. www.elifayiter.com

Stahl Stenslie

The Anthropocene Cookbook: Recipes and Opportunities for Future Catastrophes

Abstract: More than sixty speculative art and design projects explore how art, food, and creative thinking can prepare us for future catastrophes.
In the Age of the Anthropocene—an era characterized by human-caused climate disaster—catastrophes and dystopias loom. The Anthropocene Cookbook takes our planetary state of emergency as an opportunity to seize the moment to imagine constructive change and new ideas. How can we survive in an age of constant environmental crises? How can we thrive? The Anthropocene Cookbook answers these questions by presenting a series of investigative art and design projects that explore how art, food, and creative thinking can prepare us for future catastrophes. This cookbook of ideas rethinks our eating habits and traditions, challenges our food taboos, and proposes new recipes for humanity’s survival.
These more than sixty projects propose new ways to think and make food, offering tools for creative action rather than traditional recipes. They imagine modifying the human body to digest cellulose, turning plastic into food, tasting smog, extracting spices and medicines from sewage, and growing meat in the lab. They investigate provocative possibilities: What if we made cheese using human bacteria, enabled human photosynthesis through symbiosis with algae, and brought back extinct species in order to eat them? The projects are diverse in their creative approaches and their agendas—multilayered, multifaceted, hybrid, and cross-pollinated. The Anthropocene Cookbook offers a survival guide for a future gone rogue, a road map to our edible futures.

Stahl Stenslie works as an artist, curator and researcher specializing in experimental media art and interaction experiences. His aesthetic focus is on art and artistic expressions that challenge ordinary ways of perceiving the world. Through his practice he asks the questions we tend to avoid – or where the answers lie in the shadows of existence. Keywords of his practice are somaesthetics, unstable media, transgression and numinousness. The technological focus in his works is on the art of the recently possible – such as i) panhaptic communication on Smartphones, ii) somatic and immersive soundspaces, and iii) design of functional and lethal artguns, 3D printed in low-cost plastic material.
Stahl has a PhD on Touch and Technologies from The School of Architecture and Design, Oslo, Norway. Currently he heads the R&D department at Arts for Young Audiences Norway. He has been exhibiting and lecturing at major international events (ISEA, DEAF, Ars Electronica, SIGGRAPH). He represented Norway at the 5th biennial in Istanbul, Turkey, co-organized 6cyberconf and won the Grand Prize of the Norwegian Council for Cultural Affairs. He has moderated various symposiums like Ars Electronica (Next Sex), ArcArt and Oslo Lux (2013). www.stenslie.net

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Exhibition & MicroMacro Awards

EXHIBITION
(international, juried with awards, open call)

3–17 December 2025
Gallery of Science and Technology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia
Đure Jakšića 2, 11000 Belgrade, Serbia

Established in 2016, the MicroMacro awards are dedicated to the recognition of design solutions in innovative ways that successfully implement new standards in architecture and urban design and planning and encourage environmental sustainability.

Naming of the MicroMacro awards refers to various scales of recognized projects and programs – from micro as furniture and object design, urban design, exhibition design, and interior architecture to macro as public art, urban planning, architecture, building information modeling and software architecture.

How to submit
Follow Exhibition Guidelines on how to prepare and submit E-Poster.
Other formats and media are welcome to be exhibited – such as original artwork or drawings, digital copies of artwork, photo prints, models, prototypes, books, installations, video, audio or performance.

Who can enter
The competition is open to individuals and organizations in the fields of architecture, urban planning, design, history, technology, art, photography, new media art and to all geographical locations.

Who can submit a nomination
If you are an organization, an association, a not-for-profit or an individual you can nominate. You can self-nominate or nominate another organization.

Themes
International exhibition follows the Conference thematic blocks: Phenomenology of Architecture, Science & Technology and Architecture, Architecture and New Media approach, Showcase Presentations – new idea or project realization in Architecture, Urban Design or Art.,Vision of the City/Architecture –from capturing moments of city life towards utopias in a form of artistic drawing, design, photography and design product.

We kindly invite the perspective architects, town planners and artist to submit their projects, drawings, and photographs that respond to the scope of the above listed topics.

Exhibition Jury

Presenting Jury Members of the OA2025 International Exhibition ‘Crosscutting and Fusion of Disciplines‘ with MicroMacro Awards – welcoming returning member of the Jury – Stahl Stenslie (Norway) who will be presenting as a Keynote Speaker at the Conference and introducing new members of the Jury – Francesco Carota (Italy, USA), Senka Ibrišimbegović ( Bosnia and Herzegovina), and Maja Dragišić & Milan Božić –SPRING studio (Serbia) that are all previous winners of MicroMacro Awards series.

Francesco Carota (Italy, USA)

Francesco Carota is an Assistant Professor at the School of Architecture and Design, University of Kansas, and Affiliate Researcher at the China Room research group, Polytechnic University of Turin. His research, teaching and professional work focuses on the design and understanding of the intertwined relations that weave architecture and urban development process together, particularly in China and more recently in less developed countries. On these topics, he published a variety of academic articles, and he coedited the volume China Goes Urban. The City to Come for Skira Editore. In addition to academic publishing, he dedicated a great deal of effort to disseminating research and architectural culture to the broader public. He was scientific director of an exhibition on Chinese architecture and urbanization held at the MAO, Museum of Oriental Art in Turin, Italy, and co-curator of the Italian Pavilion at the Shenzhen Design Week – 2018 Edition. Other than carrying on academic activities, he works as a licensed architect, and he is the cofounder of the architecture and design firm Calibro Zero Srl. His work and voice as a curator and designer appeared in different media sources, and among the many the Italian magazine Domus, the Singapore based title d+a Design and Architecture, the fashion magazine Vogue and the architecture platform Archdaily.

Senka Ibrišimbegović (Bosnia and Herzegovina)

Senka Ibrišimbegović completed her postgraduate studies in Italy in collaboration with Università di Siena, Politecnico di Milano, IUAV di Venezia, Università di Roma – La Sapienza. In 2004 Senka began her engagement at the Ars Aevi Museum of Contemporary Art in Sarajevo, working on the architectural project designed by renowned Italian architect Renzo Piano, as well as on exhibition setups, such as the 53rd Venice Biennale in 2009 and the 58th Venice Biennale as the commissioner of the Bosnia and Herzegovina pavilion. Since January 2008, she has been working at the Faculty of Architecture, and from 2024, she is an associate professor at the Department of Architectural Design. She has participated in numerous international scientific and professional conferences, symposiums, and scientific and professional projects.
In addition to her academic career, as the director of the Public Institution “City Museums” Sarajevo, she is dedicated to promoting and working in museums as cultural institutions in Sarajevo, with a focus on the construction of the Ars Aevi Museum of Contemporary Art in Sarajevo, which is expected to begin at the end of 2024.

Spring Studio (Serbia)

Spring Studio is a Belgrade based architecture practice, founded in 2006 by Maja Dragišić and Milan Božić. Their work is focused on contemporary architecture, urbanism and design. They developed specific design approach by researching new spaces with a deeply experimental methodology. Through participation in numerous architectural and urban design competitions and exhibitions, their work was awarded with multiple distinctions.

Stahl Stenslie (Norway)

Stahl Stenslie is an experimental artist and researcher with a PhD from the Oslo School of Architecture, specializing in experimental art, embodied experience, and transformative technologies. His work explores innovative intersections between human perception and new media, particularly in areas like multisensorial communication, immersive sound, and disruptive design. He has been exhibiting and lecturing at major international events (ISEA, DEAF, Ars Electronica, SIGGRAPH) and moderated symposiums like Ars Electronica (Next Sex), ArcArt and Oslo Lux.
Representing Norway in several international biennials, he co-organized 6CyberConf and has won the Grand Prize of the Norwegian Arts Council. As an editor of EE – Experimental Emerging Art magazine and co-founder of The Journal of Somaesthetics, he has significantly contributed to the field’s academic literature. Currently, Stenslie leads R&D at Arts for Young Audiences Norway, combining over two decades of teaching experience at top institutions such as the Academy of Media Arts in Cologne (D), Oslo National Academy of the Arts (NO) and Aalborg University (DK).

Panel

PANEL
(international, open call)

Interplay and Contradictions of Education, Research, and Production

We aim to reveal common occurrences and tendencies of the contemporary interdisciplinary setting, academic and professional, within the dominant system in education (market) production, in which many of us play a part. How does a particular actor perceive their role and these relationships, and is there a way to transcend the string of circumstances and imagine what may be possible instead?

The ambition is to offer viable interpretations of production in tertiary education and, to some extent, in academic research. With this comes the individual actor and their systemic social tendencies, the relations of apparent freedoms contracted in wages and fees, in contrast to the captivity of precarious independence.

Individual motives and capacity to partake in the production processes may yield different structural dynamics in different contexts, although the assumption is that modern social conditions do not cater to systemic varieties and that if any truly diversified outputs of the education-industry (market) supply chain exist — it must be a glitch.

One of the main points to consider is to challenge this assumption to see if the speculation stands ground at all, and with that, if we care for liberatory perspectives in education, presuming emancipation from the dominant system is attractive. If diverse outputs do occur in practice, no matter how rarely, then there may be some value in detecting and investigating them in unison to explore structural similarities that can potentially inform new theories and daily doings.

A consequential objective is to assess the concepts of production glitches as material deviations from educational conventions, resulting from accidental or intentional actions. Whether one sabotages the mundane conditions of one’s daily work or (alongside it) tries to implement new strategies, hoping for a paradigm shift, it is about the deviations as realities of practice leading to new awareness.

What we hope to achieve is a pluralistic pool of contributions — ideas, concepts, opinions, and peculiar first-hand experiences contextual to the role of observers and direct actors in education production.

Contribution guidelines and timeline
To participate in the panel and be considered for publication in an edited volume, please submit a 300-word proposal for a critical opinion essay of approx. 2,000–3,000 words. The essays will prompt the format of the panel discussion and its specific objectives.

Convenor
Dr Aleksa Bijelovic, Senior Lecturer, Associate Head of School & Co-Director of Research, School of Design and the Built Environment, Curtin University, Western Australia.

When
5 December 2025, 9.30—11.30 am CET

Panel Speakers

Presenting Speakers of the Panel ‘Interplay and Contradictions of Education, Research, and Production‘ – Manuela Valtchanova (Spain), Anđelka Bnin-Bniński (Serbia), Jessica Priemus (Australia), Connor Goddard (Australia), Davina Jogi (Australia), and Aleksa Bijelovic (Australia, Serbia).

Manuela Valtchanova

Monsters, Natures and Delights
Or Questioning Paradigms in Knowledge Production through Practices of Otherness
and Creative Accidentality

Abstract: This essay explores how deviations, glitches, and anomalies—often cast as failures within conventional educational and epistemological systems—can be reimagined as generative forces for knowledge production. Drawing on ideas like monstruosity or strangeness, plurality of natures or collapse of antropocentric paradigms and embodied experiences or hedonism as creative practices of resistance, the essay engages with otherness and accidentality as forms of experimental criticism which question normative paradigms from an academic perspective.
Through an interdisciplinary lens bridging critical pedagogy, queer theory, and artistic research, I argue that productive “glitches” can be embraced as as material realities that disclose latent epistemic potentials. The argument will be grounded in an analysis of two pedagogical experiments: a three-month undergraduate course with third-year students in Design and Innovation, and a three-week intensive with master’s students from the Master of Ephemeral Architecture and Temporary Spaces (MEATS), both at Elisava, Barcelona School of Design and Engineering of the Universitat de Vic – Universitat Central de Catalunya (UVic-UCC). These case studies serve as living laboratories where pedagogical conventions were intentionally destabilized to allow for creative disorientation and accidentality through direct action and embodied criticism. By examining the critical entanglements between politics, bodies and environments, at the limits of an academic context, the essay researches how transpedagogical educational spaces can generate hybrid knowledges and provoke new ethical relations to knowledge itself. In troubling the line between action, failure and insight, this essay invites a rethinking of what constitutes valid knowledge and whose experiences are allowed to shape its formation.

Manuela Valtchanova is an architect, researcher and professor. PhD in Aesthetics and Theory of Arts. Her area of work is based on the critical transaction between politics, space and affect, with a special interest in the possibilities of direct action. In her professional career, she carries out projects that address heterogeneous architectural and artistic formats between temporary interventions in public space and socio-spatial practices of collaboration and mapping. She has been visiting professor and guest lecturer at universities worldwide and she has published both specialized articles and book chapters, mainly addressing counterdisciplinary strategies through direct action, cartographies, embodied exploration and performative criticality.

Anđelka Bnin-Bniński

Design-driven research as a radical practice of imagination

Abstract: Practices of architecture are dominantly seen as solution providers − offering stable and clear responses to spatial demands of the building industry. Envisioned ‘architectural solutions’ are highly conditioned by the global market, quests for speed, financial efficiency and investors’ benefit. Auxiliary, university education and academic research are often detached from these issues and sometimes even mutually non-aligned. This situation is resulting in simplifying and undermining the overall capacity of architectural creative thinking and its imaginative force.
How do we operate within contradictions between the three major fields of the architectural profession: the building industry, university education and academic research? Is it possible to create an advantageous interplay? And finally − is, at this time the imaginative force of architecture considered as a radical practice?
My positioning is based on design-driven research as a radical practice of imagination intersecting the three major professional streams. The initial argument is anchored in Tim Ingold’s recent publication “Architecture educates!”[1] where he points out the specificity of architectural and artistic education and the urge to lean on its creative and imaginative potencies. Ingold elaborates that education in science, techniques and mathematics is submissive to strict demands of the neoliberal knowledge economy. In these circumstances, students are considered as consumers and lecturers as service providers, responsible for the knowledge-product delivery. Following his observation, a doubt occurs: the creative thinking and its imaginative potential is not needed nor desirable in the dominant economical systems, yet it remains essential for our resilient and meaningful future.
In order to address the raised questions and doubts, I suggest discussing design-driven research as an experimentation field that may bridge industry, education and research. The reasoning is built on my teaching expertise in this domain and two specific examples: the CA²RE community for the artistic and the architectural research (PhD level)[2] and the course curriculum Tactics of the design-driven research (Master level).[3] The idea is to unwrap these two experiences, not as responses nor as solutions, but as two distinct laboratories where we are highly engaged in cultivating and encouraging the architectural and artistic design thinking as a rigorous creative practice. I believe that design-driven research disposes a potential for an engaged practice of imagination and enables a radical stand in the present-day societies.

[1]         Tim Ingold. Architecture educates!
[2]         Claus Pedersen et al., eds., CA²RE+: Strategies of design-driven research.
[3]         Anđelka Bnin-Bninski. “Tactics of the design-driven research.”

Anđelka Bnin-Bniński, PhD is an architect engineer with specializations in theory of arts and media (University of Arts, Belgrade) and architectural philosophy (ENSA Paris-La Villette, Paris). She works as educator, curator and trans- and inter-disciplinary researcher, affiliated with the University of Belgrade − Faculty of Architecture and associated with laboratory Gerphau in Paris. She holds experience as practicing architect, has collaborations with the independent artistic scene in Belgrade and she is engaged in multiple international design-driven projects and initiatives. Her current investigations are focused on critical research tactics in practice, restoration projects and stone carving. She is vice-coordinator for the ARENA architectural research network.

Jessica Priemus

Weaving Error: Imperfection as Resistance in Material Practice

Abstract: This paper examines weaving as a practice that foregrounds imperfection and irregularity, positioning these qualities as both material traces and critical tools. By focusing on mistakes, glitches and uneven rhythms in woven cloth, it proposes that such moments of error act as resistance to industrial ideals of perfection, efficiency and mass uniformity. Drawing on architectural theory, including tectonics, Gothic traditions and Bauhaus thought, the paper situates weaving within broader systemic structures, where the grid of cloth becomes a pliable field for experimenting with order, failure and care. Through the lens of the personal and the embodied, weaving is framed as a counter-production process that elevates irregularity, reclaims the presence of the maker and offers speculative possibilities for rethinking how value, knowledge and labour are woven into material and social systems.

Dr Jessica Priemus is an Australian researcher, educator and designer whose work spans public art, material practice and interdisciplinary design. With more than 20 years of experience in the creative industries, she currently works as an art consultant, contributing to strategy and visioning for artworks embedded within major infrastructure projects. She holds a doctorate in Architecture and Fashion and has lectured for over a decade at Curtin University’s School of Design and Built Environment. Her current research and writing investigate the overlooked traces of making, such as mistakes, irregularities and embodied rhythms, as forms of critical knowledge. By amplifying these gestures, she examines how material practice can illuminate alternative narratives of labour, value and cultural systems.

Connor Goddard

Passion and Practicalities: Exploring distraction, routine, and production through
geographic teaching and research in Western Australia

Abstract: Throughout the everyday, our perceptions around work ahead of us is routinely negotiated, yet consistently pre-determined. While clear desks and empty calendars may signal certain freedoms through the workday, academic structures, semesters, and deadlines can be viewed a disturbance from delving deeply into tasks often neglected. While often painted into our work as a requirement for certain individuals within the academy, research can be neglected, not through desire, nor purposefully, yet due to the constrained nature of our work. Here, research can be viewed as the newly acquired LEGO set, sitting unopened on a shelf ready to be built, yet requiring time, and space, to do so.
Often, our own research can be left unopened, or built slowly, rather than being valued as the passion projects many of us hope such practice to be. While fulfilment can often be achieved through this slower means of production, a deeper investment and dedication to the task is often desired. This is not to say that work otherwise lacks personal value, meaning, or fulfilment – quite the opposite. Instead, we, as academics, find ways of pulling research into other work (i.e. teaching), shaping positive pedagogical outcomes and through knowledge production. In many cases, further opportunities and passions emerge from this deep investment in student success and through the facilitation of learning.
This contribution aims to express the fine line between passion-projects and practicalities walked by many throughout the academy. Through personal examples developed through teaching practice and in ongoing work towards the completion of PhD research, this submission touches on both the challenges, and the rewards which can be reaped through involvement and investment in the diverse structures and dynamic day-to-day practices as part of tertiary education. Notably, this submission frames such academic challenges and opportunities through a geographic lens, drawing on case study examples of rural retirement migration, and the complex entanglements of decision-making in later-life currently being explored through PhD research in Western Australia.

Connor Goddard is an Associate Lecturer and PhD Candidate within the School of Design and the Built Environment at Curtin University. Connor’s teaching interests have led him to teach within the Applied Human Geography program at the University of Western Australia over the past two years, returning to Curtin in 2025 to teach within the Geography, and Urban and Regional Planning programs. Connor has
taught across a range of geographic focuses including migration, natural hazards, research methodologies, and rural geographies. Connor’s research sits within the fields of Human and Rural Geography and is interested in exploring notions of rurality, changing retirement migration trends and challenges, and ageing futures for populations in rural Australia. Through case studies developed in rural and remote Western Australia, his research is also centered around exploring the importance
of social connectedness, place attachments and local networks for supporting healthy rural ageing.

Davina Jogi

Towards an informal photography pedagogy on the African continent

Abstract: As a Zimbabwean documentary photographer trained and working in southern Africa, I have been conscious of the shift from the centre to the margins in photographic discourse that is redefining how photography is perceived, practiced and taught globally.
In this paper I intend to outline this move away from eurocentric knowledge structures, methodologies and practices towards what are considered decolonial photographic practices as described by Rolando Vázquez Melken (2024). Exploring the impetus behind this transition, the paper will investigate what role informal, grassroots and community-based African institutions have played as agents of change.
Photography’s entanglement with the domination and erasure of colonized people is becoming more thoroughly understood and appreciated through the work of theorists such as Mark Sealy (2018) and Ariella Aïsha Azoulay (2019). This reality compromises the way the medium has long been taught, utilized and interpreted in post-colonial cultures. Further complicating the situation across Africa, I suggest that the institutions of photography education and research have limited reach and are often siloed from commercial and media related image-making, which serves to perpetuate problematic representations of the continent.
Utilizing my experience as a student of the Market Photo Workshop (MPW) in South Africa, a founding director the Zimbabwe Association of Female Photographers (ZAFP) and more recently, a PhD candidate carrying out practice-based research in photography, the paper will explore what decolonial photography education looks like in an African context. Informal associations and organisations like The Other Vision (Sudan), Unpublished Africa (Zimbabwe-based) and Yamarou Photo (Mali) are arguably creating a new photography pedagogy which has naturally emerged from this necessity to use the photographic medium against itself. The paper proposes that these local responses may be relevant to other contexts with shared colonial histories.

Davina Jogi is a documentary photographer, writer and researcher from, and based in, Harare, Zimbabwe. She is a co-founder and director of the Zimbabwe Association of Female Photographers (ZAFP). Davina holds a BA (Hons) in African Studies from the University of Cape Town and is a photojournalism graduate of the Market Photo Workshop in Johannesburg. Her photography has been exhibited in Southern Africa, Europe, the United States, South Asia and Australia. She was awarded a 2013 National Arts Merit Award in Zimbabwe and exhibited in Australia as a finalist in the 2021 National Photographic Portrait Prize and 2022 Australia Photo Awards. Davina is currently pursuing a PhD at Curtin University, using documentary photography to investigate identity through her experience as a bi-racial, culturally diverse African immigrant. Her PhD work was awarded a 2024 PH Museum Portfolio Review and in 2025 was exhibited in ‘Becomings’ at the National Gallery of Zimbabwe.

Aleksa Bijelovic

Interplay and Contradictions of Education, Research, and Production

Abstract: We aim to reveal common occurrences and tendencies of the contemporary interdisciplinary setting, academic and professional, within the dominant system in education (market) production, in which many of us play a part. How does a particular actor perceive their role and these relationships, and is there a way to transcend the string of circumstances and imagine what may be possible instead?
The ambition is to offer viable interpretations of production in tertiary education and, to some extent, in academic research. With this comes the individual actor and their systemic social tendencies, the relations of apparent freedoms contracted in wages and fees, in contrast to the captivity of precarious independence.
Individual motives and capacity to partake in the production processes may yield different structural dynamics in different contexts, although the assumption is that modern social conditions do not cater to systemic varieties and that if any truly diversified outputs of the education-industry (market) supply chain exist — it must be a glitch.
One of the main points to consider is to challenge this assumption to see if the speculation stands ground at all, and with that, if we care for liberatory perspectives in education, presuming emancipation from the dominant system is attractive. If diverse outputs do occur in practice, no matter how rarely, then there may be some value in detecting and investigating them in unison to explore structural similarities that can potentially inform new theories and daily doings.
A consequential objective is to assess the concepts of production glitches as material deviations from educational conventions, resulting from accidental or intentional actions. Whether one sabotages the mundane conditions of one’s daily work or (alongside it) tries to implement new strategies, hoping for a paradigm shift, it is about the deviations as realities of practice leading to new awareness.
What we hope to achieve is a pluralistic pool of contributions — ideas, concepts, opinions, and peculiar first-hand experiences contextual to the role of observers and direct actors in education production.

Dr Aleksa Bijelovic, a Senior Lecturer at the School of Design and the Built Environment (DBE) at Curtin University in Perth, Western Australia, is a practising designer and educator interested in liberatory perspectives and modes of production in tertiary education. Focused on theory construction via non-traditional methods, Aleksa co-leads the Creative Practice Petokraka (petokraka.com), founded in Belgrade, Serbia, and operating internationally.

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Student Exhibition

STUDENT EXHIBITION
(undergraduate students, invite only)

OA2025 features an exhibition where students can present their research topics in the form of short concept for valuable peer feedback and collaborative criticism.

Coordinator: Dr Nora Lefa, Associate Professor, University of Ioannina, Greece

Scientific Board

Professor Branislav Mitrović, University of Belgrade, Serbia
Professor Rachel Armstrong, Arts & Design (RAAD) and Coordinator Microbial Hydroponics (Mi-Hy), Faculty of Architecture, KU Leuven, Belgium
Professor Vladan Đokić, Faculty of Architecture, University of Belgrade, Serbia
Professor Ružica Bogdanović, University of Belgrade, Serbia
Professor Aleksandra Stupar, Faculty of Architecture, University of Belgrade, Serbia
Professor Edna Langenthal, Dean of the School of Architecture, Ariel University, Israel
Professor Renate Weissenböck, Frankfurt University of Applied Sciences · Faculty of Architecture, Civil Engineering and Geomatics, Germany
Professor Figen Beyhan, Faculty of Architecture, Gazi University, Ankara, Turkey
Professor Pavlos Lefas, Department of Architecture, University of Patras, Greece
Professor Anastasios Tellios, School of Architecture, Aristotle University of Thessaloniki, Greece
Dr Aleksa Bijelovic, Senior Lecturer, School of Design and the Built Environment, Curtin University, Western Australia
Dr Nora Lefa, Associate Professor, School of Fine Arts, University of Ioannina, Greece
Dr Senka Ibrišimbegović, Associate Professor, Faculty of Architecture, University of Sarajevo, Bosnia and Herzegovina
Dr Nermina Zagora, Associate Professor, Faculty of Architecture, University of Sarajevo, Bosnia and Herzegovina
Dr Marija Mano Velevska, Associate Professor, Faculty of Architecture, Skopje, North Macedonia
Dr Stahl Stenslie, Head of R&D at Arts for Young Audiences Norway
Dr Nataša Danilović Hristić, Senior Research Associate, Institute of Architecture and Urban & Spatial Planning of Serbia (IAUS), Serbia
Dr Christiane Wagner, Affiliate Researcher at the Institute for Cultural Inquiry Berlin (ICI Berlin), Germany
Dr Denis Ambruš, Assistant Professor, Faculty of Civil Engineering, University of Rijeka, Croatia
Dr Francesco Carota, Assistant Professor, School of Architecture and Design, University of Kansas, and Affiliate Researcher at the China Room research group, Polytechnic University of Turin, Italy
Dr Mateja Kurir Borovčić, Senior Researcher and Associate Professor, Urban Planning Institute of the Republic of Slovenia, Slovenia
Mitesh Dixit, Founder DOMAIN Office, USA/Serbia

Key Dates

10 July 2025 (extended deadline)
— Conference Application Submission
— Exhibition Application Submission

20 July 2025
— Selection Outcomes
— Conference EARLY Registration expires

15 September 2025
— Preliminary Conference Paper/Poster/Essay Submission (for peer review)
— Exhibition E-Poster Submission (for jury review)
— Conference REGULAR Registration expires
— Exhibition Registration expires

31 October 2025
— Final Conference Paper Submission (after peer review)
— Conference LATE Registration expires

26, 27, 28 November 2025
— Submission of the Exhibition Posters (printed on foam board) and Exhibition works (other media) at the Gallery, 10 am — 8 pm

18 December 2025
— Collection of the Exhibition Posters and other Exhibition works at the Gallery, 10 am — 4 pm

Exhibition participants are expected to make a submission and collection of Exhibition Posters (printed and mounted on foam board) and/or Exhibition woks (other media) at the Gallery of Science and Technology, Djure Jakšića 2, 11000 Belgrade in allocated time slots as follows:

— Submission of the Exhibition Posters and other works, 26, 27, 28 November 2025, 10 am — 8 pm
— Collection of the Exhibition Posters and other works, 18 December 2025, 10 am — 4 pm

Upon request the Organizer would arrange printing and delivery of the Exhibition Posters for additional fee.

Registration and Fees

Conference Registration and Fees

The Registration for Conference is closed

The Organizer offers the following conditions for participation where each fee is valid per manuscript or exhibition work.

— Conference EARLY Registration (paid until 20 July 2025)
For 1 Conference Paper 170 EUR, for Conference Paper by doctoral student and early career researcher (required proof of study and/or age) 120 EUR, for 1 Conference Poster 170 EUR.

— Conference REGULAR Registration (paid until 15 September 2025)
For 1 Conference Paper 220 EUR, for Conference Paper by doctoral student and early career researcher (required proof of study and/or age) 150 EUR, for 1 Conference Poster 170 EUR.

— Conference LATE Registration (paid until 31 October 2025)
For 1 Conference Paper 270 EUR.

Exhibition Registration and Fees

The Registration for Exhibition is closed.

— Exhibition Registration (paid until 15 September 2025)
For 1 Exhibition Poster 50 EUR, for 2 Exhibition Posters of the same work 75 EUR.
Exhibition fee does not include printing of the posters.

REGISTRATION FORM

All Conference and Panel Sessions as well as Exhibition related events are open and free for all interested public. Please note the conference room is of limited capacity therefore listeners are encouraged to reserve their seat via email info@strand. rs.

Selection Outcomes

CONFERENCE (in topical order)

*Please note that authors names are blinded for the duration of the peer-review process.

Keynote
— Phenomenology of Architecture
— Science, Technology and Architecture
— Architecture and New Media

Holobiontic Architecture: From Monologue to Multispecies Dialogue
Rachel Armstrong (Belgium)

Interstitium In-Between Scales: Translating Microbial Intelligence into Architectural Thinking
Dejan Todorović (Serbia)

Generative AI in Design Education
Branko Kolarevic (USA)

Algorithmic Architectures: Spatial Politics of Critical Art in the Age of AI
Jelena Guga (Serbia)

Tangible Shadows
Nora Lefa (Greece)

Aeronautic Anachronisms
Elif Ayiter (Türkiye)

Design in the Age of Conflicts — Interdisciplinary practices across systems of war, surveillance, and structural violence
Stahl Stenslie, Zane Cerpina (Norway)

The Anthropocene Cookbook
Zane Cerpina, Stahl Stenslie (Norway)

Chapter 1
— Phenomenology of Architecture

Code, Decode, Recode
Six architectural case studies code, decode and recode AI-generated images

Visual Hypothesis: A Transdisciplinary Methodology for Design Research in Architecture

The Critter: Temporary Structure as Agent of Contemporary Urbanism

Intelligent Pedagogies: Assessing Student Urban Design Scenarios through AI and Semantic Spatial Analysis

24/7: Spaces of Collective Practice
Learning through collaborative discussions and action drawing

Translational Terrains: The Interdisciplinarity of Spatial Narratives

Soft Power Urbanism: Strategic Frameworks for Spatial Influence in the Global City

The architectural language of togetherness: spatial patterns in the design of cohousing communities

Schematizing Museum Architecture: Interpreting Spatial Relations through Diagrams

The Spatial Features of Freud’s Uncanny

Chapter 2
— Science, Technology and Architecture

The role of AI in architecture: fantasies and reality

Artificial Intelligence Tools in the Visualization and Representation of Architectural Heritage

Into the Open: Towards an Educational AI-Design Framework for Architectural Ideation

Metaverse in architectural design: Metamodernism as a new architectural language

Natural Disasters and Modular Architecture

Environmental Age: new Movement in Construction Tradition
Lessons Drawn from Serbian Anonymous Architecture

Chapter 3
— New ideas or project realization in Architecture, Urban Planning, Design and Arts

The Brutalist Cookbook

Public Private Partnership (PPP) 30 Years Later

Preserving the Past, Modeling the Future: A Retrofit Framework for the Sava Center in Belgrade

Architectural Heritage Conservation Under Bombardment: The Case of Al-Alami Historical House, Gaza City, Palestine

Concepts of Hybridity in Residential Architecture

Tourist destination Poreč

Flexible Spaces in Micro Apartments: Regeneration and Transformation of Functional Zones in Contemporary Architecture

Integrated Approach to Quantity Surveying, CAD Drafting, and Infrastructure Estimation in Civil Engineering Projects

Chapter 4
— Architecture and New Media

Dancing Landscapes, Volcanic Breath, 2025

Do Not Yugoslavia!
A visceral response in the era of artificial inteligence

Unraveling New Spaces: The Exhibition as an Interdisciplinary Project

A Gift, Land Art at DAA residency, Bodrum, 2025

On membranes within disciplinary entanglements: a cognitive framework

Architectural Analysis of the Spatial Storytelling in Playdead’s INSIDE

PANEL
— Interplay and Contradictions of Education, Research, and Production

Monsters, Natures and Delights
Or Questioning Paradigms in Knowledge Production through Practices of Otherness and Creative Accidentality
Manuela Valtchanova (Spain)

Design-driven research as a radical practice of imagination
Anđelka Bnin-Bniński (Serbia)

Weaving Error: Imperfection as Resistance in Material Practice
Jessica Priemus (Australia)

Passion and Practicalities: Exploring distraction, routine, and production through geographic teaching and research in Western Australia
Connor Goddard (Australia)

Towards an informal photography pedagogy on the African continent
Davina Jogi (Australia)

Interplay and Contradictions of Education, Research, and Production
Aleksa Bijelovic (Australia, Serbia)

EXHIBITION (in alphabetical order)

Zoran Abadić, Jelena Bogosavljević (1×2 studio)
Multifamily Housing for Refugees and Displaced Persons, Republic of Serbia, City of Valjevo, 2024

Đorđe Alfirević, Božidar Manić, Borjan Brankov, Tanja Njegić, Sanja Simonović Alfirević, Aleksandra Ristić
Urban-Architectural Competition for the Conceptual Design of the Zoo within the Entertainment and Recreation Park at Ada Ciganlija

Denis Ambruš, Ivan Marović, Irena Blagajac
Competition for Programming and Spatial Concept for Urban and Landscape Revitalization of the Area Between Blagoje Parović, Knez Višeslav, Miloje Zakić and Vladimir Rolović Streets of the City Municipality Čukarica in Belgrade

Rachel Armstrong
Holobiontic Architecture: From Monologue to Multispecies Dialogue

Elif Ayiter
Aeronautic Anachronisms
Renaissance Tempest: Tulips and Galleons

Tatjana Babić, Aleksandra Pešterac
Kibic Walk

Damjan Balkoski, Mirjana Devetakovic Radojevic
KAPKA: Liquid Geometry

Damjan Balkoski, Mirjana Devetakovic Radojevic
Rhythm of Symmetry: Generative Structures through Parametric Design

Marina Carević Tomić
Between the Lines: Mapping Change Through Space Syntax

Nicolo Carlini, Raşit Eren Cangür, Nour Fneich, Sonya Ragimova, Egemen Sezer, Eren Sezer, Andrei Calin Teodorescu
İstanbul : A Way Out

Dragana Ćirić
Data-Driven Algorithmic Architectural and Urban Variations

Nataša Danilović Hristić, Nataša Čolić Marković, Sanja Simonović Alfirević, Borjan Brankov, Nikola Krunić, Jasmina Krunić, Marina Nenković-Riznić, Maja Hristov, Branislava Simić, Iva Lokas, Jasna Petrić, Olivera Radoičić, Jelena Živanović Miljković, Lazar Tomović, Mirjana Nenić
Engaging local voices for inclusive urban futures: Creative participation within the NONA project

Davor Ereš, Jelena Mitrović, Petar Laušević, Sonja Krtić, Ivana Najdanović
UNRAVELING: New Spaces

Grant Fraikor
Cities of Light: Reimagining Urbanism Through Fusion and Infrastructure

Institute for Philosophy and Social Theory
Khōrein: Journal for Architecture and Philosophy

Milena Kordić, Andrej Dolinka
Lines of Resistance: Exhibition design for Kun: Artist – Worker – Fighter

Milena Kordić, Andrej Dolinka
From Belgrade to Babylon: Exibition design for Oto Bihalji-Merin: I Had to be Present

Joongho Lee
Aequorea Structure

Meir Michanie, Bojana Sićović
transFORM[ations]: casas experimentales

Jovana Miletić, Miloje Krunić (Unknown studio)
ND MM apartment interior

Nela Milic
A Gift, Land Art at DAA residency, Bodrum, 2025

Aleksandra Milinković, Dijana Brkljač, Stefan Škorić, collaborators: Ivana Šanjević, Mia Stantić, Ognjen Živić, Mila Božić, Nikolina Ždralić
Conceptual Solution for the Arrangement of the Holy Trinity Square in Sombor (Serbia)

Aleksandra Milinković, Dijana Brkljač, Stefan Škorić, Ivana Šanjević, collaborators: Mia Stantić, Tamara Prokin, Korana Mrkalj, Tamara Žerajić, Ognjen Živić
Architectural and Urban Solution of the Health Center Building in Podgorica (Montenegro)

Aleksandra Milinković, Dijana Brkljač, Stefan Škorić, Ivana Šanjević, Slobodan Šiljak, collaborators: Korana Mrkalj, Dajana Veselinović
Conceptual Architectural Solution of the Athletic Stadium in Podgorica (Montenegro)

Marija Milinković, Tutor, Hristina Meseldžija, Relja Petrović, Désirée Tillinger, Alda Avdić Alagić, Ivana Lovrinčević
International Student Workshop: Stratifying Belgrade – Diagrammatic Mapping

Aleksandra Milošević Pantović
The Architectural Language of Togetherness: Spatial Patterns in the Design of Cohousing Communities

Mila Mojsilović, Nikola Jocić, Marina Kutlešić
Competition for the Urban – Architectural Conceptual Solution of the Fair – Congress Center in Podgorica

Mila Mojsilović, Milica Nešić, Dušica Mihovski, Ilija Đurović, Nikola Jocić
Competition For Program-Space Concept for Urban and Landscape Revitalization of the Areas Between Streets: Blagoja Parovića, Kneza Višeslava, Miloja Zakća, Vladimira Rolovica, GO Čukarica, Belgrade

Tatjana Mrdjenovic
Speculative Design: An Embracing Order

Bojana Pašajlić
Family Apartment in Kragujevac

Bojana Pašajlić
Exhibition furniture project for the Museum 21st October

Miroslava Petrović Balubdžić, Milica Balubdžić Juster
Competition for the Memorial Complex / University Campus in Banja Luka

Ivan Rašković, Course Leader, Jelena Bogosavljević, Course Coordinator, Mila Mojsilović, Snežana Zlatković, Bojana Jerković Babović, Dejan Todorović, Ana Zorić, Ivan Filipović, Dušan Stojanović, Nemanja Kordić, Dalia Dukanac, Vanja Spasenović, Petar Cigić, Jelena Ilić, Sonja Dedić, Aleksandra Subotić, Relja Petrović
24/7: Spaces of Collective Practice
Learning through collaborative discussions and action drawing

Jelena Ruvidic
Existence In a Crowd

Jelena Ruvidic
Materialization of Comfort

Jelena Ruvidic
New Old

Bojana Sićović, Sara Karać, Darija Rašeta
Spinning Top: The Dictator’s Nine Circles of Hell

Kosta Stojanović
Villa Konstantinović

Kosta Stojanović, Teodora Stojanović
Dinaric House

Monika Štiklica
Villa Vista

Monika Štiklica
Skyframe

Ivan Šuković, Dejan Todorović, Emir Šehanović
Terram Intelligere: INTERSTITIUM

Alexios Tzompanakis and Design Team ( Μa_A -Mediterranean architecture_Atelier)
Creating Urban and Neighborhood-scale Identity

Dragana Vasiljević Tomić, Dušan Milovanović
Architecture of Business Facilities – between a visual symbol and a symbol of power

Snežana Vesnić (University of Belgrade – Faculty of Architecture)
Architectural Concepts in Figures and Sequences

Phil Watson, Bryan Cantley Josep Bousano, Barley Phillips, Danijela Mirkovic.Perry Kulper, Dragana Vasiljevic Tomić
Garden of Midnight Objects

Simona Žemaitytė
Dancing Landscapes, Volcanic Breath, 12′, 2025

Snežana Zlatković
B30

Snežana Zlatković
Imaginary Building Plan

Program

Download PROGRAM

3 December 2025, Wednesday, 6 pm — 8 pm CET

Conference and Exhibition Opening with MicroMacro Awards Ceremony

Gallery of Science and Technology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia
Đure Jakšića 2, 11000 Belgrade, Serbia

4 December 2025, Thursday, 9.30 am — 6.30 pm CET

Conference Day 1 followed by [optional] Conference Dinner

Serbian Academy of Sciences and Arts, Belgrade, Serbia
Knez Mihailova 35, 11000 Belgrade, Serbia (First floor, Room 103)

— KEYNOTE SESSION
— Phenomenology of Architecture
— Science, Technology and Architecture
— Architecture and New Media

9.30 — 10.30 am CET, Session Moderator Aleksandra Stupar (Serbia)
30 minutes per Presentation

Holobiontic Architecture: From Monologue to Multispecies Dialogue
Rachel Armstrong (Belgium)

Interstitium In-Between Scales: Translating Microbial Intelligence into Architectural Thinking
Dejan Todorović (Serbia)

10.30 — 11.30 am CET
Session continued

Generative AI in Design Education
Branko Kolarevic (USA)

Algorithmic Architectures: Spatial Politics of Critical Art in the Age of AI
Jelena Guga (Serbia)

11.30 am — 1.30 pm CET, Session Moderator Jelena Guga (Serbia)
30 minutes per Presentation

The Wondrous Travels of Felix Ringtail
Elif Ayiter (Türkiye)

DO NOT TOUCH YUGOSLAVIA! A visceral response in the era of artificial inteligence
Nora Lefa (Greece)

12.30 am — 1.30 pm CET
Session continued

The Brutalist Cookbook
Dragana Zoric (USA)

The Anthropocene Cookbook
Stahl Stenslie (Norway)

Break

— SPEAKER SESSION
— Phenomenology of Architecture

2 — 3 pm CET, Session Moderator Stahl Stenslie (Norway)
15+5 minutes per Presentation

Dancing landscapes of the Phlegran Fields
Simona Žemaitytė (Lithuania)

Unraveling New Spaces: The Exhibition as an Interdisciplinary Project
Davor Ereš, Jelena Mitrović, Petar Laušević (Serbia)

CODE, DECODE, RECODE. AI-Generated Imagery and Architectural Design Education
Spiros I. Papadimitriou, Agapi Proimou, Vasilis Stroumpakos (Greece)

3— 4 pm CET
Session continued

Intelligent Pedagogies: Assessing Student Urban Design Scenarios through AI and Semantic Spatial Analysis
Francesco Carota, Gustavo Amaral (USA)

24/7: Spaces of Collective Practice, Learning through collaborative discussions and action drawing
Bojana Jerković-Babović, Snežana Zlatković (Serbia)

Translational Terrains: The Interdisciplinarity of Spatial Narratives
Aygen Erol Çakir, Mehmet Ali Gasseloglu (Türkiye)

Break

4.30 — 6.30 pm CET, Session Moderator Dejan Todorović (Serbia)
15+5 minutes per Presentation

Soft Power Urbanism: Strategic Frameworks for Spatial Influence in the Global City
Ivan Filipović (Serbia)

The architectural language of togetherness: spatial patterns in the design of cohousing communities
Aleksandra Milošević Pantović (Serbia)

Schematizing Museum Architecture: Interpreting Spatial Relations through Diagrams
Bojana Sićović (Serbia)

The Spatial Features of Freud’s Uncanny
Mateja Kurir (Slovenia)

Concepts of Hybridity in Residential Architecture
Kosta Stojanović (Serbia)

Flexible Spaces in Micro Apartments: Regeneration and Transformation of Functional Zones in Contemporary Architecture
Maja Golović (Serbia)

Closing Discussion, 6 pm CET

[optional] Conference Dinner from 7 pm CET
Restaurant Mama Shelter
Knez Mihailova 54a, 11000 Belgrade, Serbia (Top floor, Rajićeva shopping center)
Menu is priced at 35 euro per person. Reservations will be accepted via email info@strand.rs no later then 20 November 2025.

5 December 2025, Friday, 9.30 am — 5.30 pm CET

Conference Day 2 with Panel (ONLINE via WEBEX)

Serbian Academy of Sciences and Arts, Belgrade, Serbia
Knez Mihailova 35, 11000 Belgrade, Serbia (First floor, Room 103)

— PANEL
— Interplay and Contradictions of Education, Research, and Production

9.30 — 11.30 am CET, Convener Aleksa Bijelovic (Australia, Serbia)
ONLINE via WEBEX

Monsters, Natures and Delights
Or Questioning Paradigms in Knowledge Production through Practices of Otherness and Creative Accidentality
Manuela Valtchanova (Spain)

Design-driven research as a radical practice of imagination
Anđelka Bnin-Bniński (Serbia)

Weaving Error: Imperfection as Resistance in Material Practice
Jessica Priemus (Australia)

Passion and Practicalities: Exploring distraction, routine, and production through geographic teaching and research in Western Australia
Connor Goddard (Australia)

Towards an informal photography pedagogy on the African continent
Davina Jogi (Australia)

Of Realised Cultural Tools as Fetish and Autodidactic Paradox; On to Smysl and Folklore
Aleksa Bijelovic (Australia, Serbia)

— SPEAKER SESSION
— Science, Technology and Architecture

11.30 am — 12.30 am CET, Session Moderator Branko Kolarevic (USA)
15+5 minutes per Presentation

The Role of AI in Architecture: Fantasies and Reality
Igor Svetel, Slađana Marković, Markus Hudert (Serbia)

Artificial Intelligence Tools in the Visualization and Architectural Reinterpretation
Vesna Stojaković, Isidora Đurić, Tijana Palkovljević Bugarski, Aleksandra Čelovski, Marko Jovanović, Igor Kekeljević (Serbia)

Into the Open: Towards an Educational Framework for AI-Assisted Design in Architecture
Timo Carl, Renate Weissenböck, Carsten Rohde (Germany)

12.30 am — 1.30 pm CET
Session continued

Role of creativity in use of AI in conceptual architectural design
Poturak Semir (Bosnia and Herzegovina)

Metaverse in architectural design: Metamodernism as a new architectural language
Jovana Tošić (Serbia)

Beyond Architecture: A Multisystemic Framework for Sustainable Disaster Recovery
Hyunsoo Kim (South Korea)

Break

— SPEAKER SESSION
— New ideas or project realization in Architecture, Urban Planning, Design and Arts

2 — 3 pm CET, Session Moderator Hyunsoo Kim (South Korea)
15+5 minutes per Presentation

Preserving the Past, Modeling the Future: A Retrofit Framework for the Sava Center in Belgrade
Suncica Milosevic, Ajla Aksamija (USA)

The Critter: Temporary Structure as Agent of Contemporary Urbanism
Dragana Zoric (USA)

Existence and the Spatial Memory of Gaza: The Case of Al-Alami Historical House
Abdurrahman Mohamed (Türkiye)

— SPEAKER SESSION
— New ideas or project realization in Architecture, Urban Planning, Design and Arts
— Architecture and New Media

3 — 4.20 pm CET, Session Moderator Aleksandra Milošević Pantović (Serbia)
15+5 minutes per Presentation

Tourist destination Poreč
Denis Ambruš, Vlatko Dusparić (Croatia)

On Membranes Within Disciplinary Entanglements: A Cognitive Framework
Ioannis Bardakos, Malvina Apostolou (Greece)

Tangible Shadows
Nora Lefa (Greece)

A Gift, Land Art at DAA residency, Bodrum, 2025
Nela Milic (UK)

Closing Discussion, 5.30 pm CET

17 December 2025, Wednesday, 8 pm CET

Exhibition Closing

Gallery of Science and Technology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia
Đure Jakšića 2, 11000 Belgrade, Serbia

Organization

Organization and Realization

STRAND – Sustainable Urban Society Association, Serbia

Partners

Serbian Academy of Sciences and Arts, Serbia

Gallery of Science and Technology of the Serbian Academy of Sciences and Arts, Serbia

People

Conference and Exhibition Concept
Professor Dr Ružica Bogdanović (Serbia)
ruzica.bogdanovic@strand.rs

International Coordination
Professor Dr Aleksandra Stupar (Serbia)
aleksandra.stupar@strand.rs
Associate Professor Dr Nora Lefa (Greece)
nora.lefa@strand.rs

Conference Coordinator
Aleksandra Pantović Milošević (Serbia)
aleksandra.pantovic.milosevic@strand.rs

Project Officers
Milan Maksimović (Spain)
Andjela Stojmirov (Serbia)
info@strand.rs

CONFERENCE(international, peer-reviewed, open call)

Rachel Armstrong

Holobiontic Architecture: From Monologue to Multispecies Dialogue

Dejan Todorović

Interstitium In-Between Scales: Translating Microbial Intelligence into Architectural Thinking

Branko Kolarevic

Generative AI In Design Education

Jelena Guga

Algorithmic Architectures: Spatial Politics of Critical Art in the Age of AI

Nora Lefa

DO NOT TOUCH YUGOSLAVIA! A visceral response in the era of artificial intelligence

Tangible Shadows

Elif Ayiter

The Wondrous Travels of Felix Ringtail

Stahl Stenslie

The Anthropocene Cookbook: Recipes and Opportunities for Future Catastrophes

EXHIBITION(international, juried with awards, open call)

Francesco Carota (Italy, USA)

Senka Ibrišimbegović (Bosnia and Herzegovina)

Spring Studio (Serbia)

Stahl Stenslie (Norway)

PANEL(international, open call)

Manuela Valtchanova

Monsters, Natures and DelightsOr Questioning Paradigms in Knowledge Production through Practices of Othernessand Creative Accidentality

Anđelka Bnin-Bniński

Design-driven research as a radical practice of imagination

Jessica Priemus

Weaving Error: Imperfection as Resistance in Material Practice

Connor Goddard

Passion and Practicalities: Exploring distraction, routine, and production throughgeographic teaching and research in Western Australia

Davina Jogi

Towards an informal photography pedagogy on the African continent

Aleksa Bijelovic

Interplay and Contradictions of Education, Research, and Production

STUDENT EXHIBITION(undergraduate students, invite only)

CONFERENCE
(international, peer-reviewed, open call)

EXHIBITION
(international, juried with awards, open call)

PANEL
(international, open call)

Monsters, Natures and Delights
Or Questioning Paradigms in Knowledge Production through Practices of Otherness
and Creative Accidentality

Passion and Practicalities: Exploring distraction, routine, and production through
geographic teaching and research in Western Australia

STUDENT EXHIBITION
(undergraduate students, invite only)