Author: STRAND

Kosta Stojanović

https://doi.org/10.60152/g4nw7f65

Abstract: In contemporary architectural discourse, multifamily housing requires a fundamental redefinition. Traditional divisions between dwelling, work, and public life no longer reflect the complexity of modern living. This paper explores hybridity in residential architecture, not as a simple blend of typologies, but as the spatial ability to adapt through transformability, ambiguity, and ambivalence. A hybrid apartment, in this defined context, is a spatial entity that does not have a firmly defined program, but enables different usage scenarios – an apartment as a workspace, a public microspace, a place of collectivity, but also of individuality. The research relies on a theoretical framework that includes concepts of flexibility, typological mutations, as well as philosophical approaches to space as an unfixed field of potential. In this context, the apartment is seen as a space of possibilities, where it is important how the space is used, not how it was initially designed. The paper analyzes examples from different urban environments, from experimental housing models to adapted spaces within the existing housing market, in which the boundaries between private and public, work and housing, fixed and variable are almost erased. Through a critical analysis of spatial models that support multifunctionality, the paper asks the question: is it possible to redefine housing typology not as a final form, but as a processual platform for everyday life? In this framework, the hybrid apartment becomes a paradigm of modern housing, an apartment that not only has the ability to adapt, but also the potential to actively participate in shaping a new culture of life, work and community. In the end, this paper aims to map new criteria for designing apartments that go beyond functionalist patterns, introducing the dimension of spatial indeterminacy as a basis for generating long-term relevance and social sustainability in housing architecture.

Keywords: hybridity, housing, spatial flexibility, typological mutation, architectural design

How to cite this Paper (Harvard referencing style):

Stojanović, K. (2025) ‘Concepts of Hybridity in Residential Architecture‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 287–295. 

See publication On Architecture (2025) Conference Proceedings

Hyunsoo Kim

https://doi.org/10.60152/9jsx2ym4

Abstract: The frequency and intensity of disasters worldwide are accelerating due to a complex interplay of factors. Climate change and environmental degradation are exacerbating natural disasters such as floods, droughts, and landslides, while man-made crises such as war and terrorism fueled by religious and ethnic conflicts are recurring. Furthermore, explosive population growth and dense urbanization are leading to a significantly higher incidence of emerging infectious diseases than ever before. These multifaceted crises disproportionately impact vulnerable populations in developing countries, where resource constraints exacerbate the impacts. Temporary structures are a standard response, but their long-term use has been widely criticized by researchers for causing numerous problems, including loss of community and psychological distress for survivors. This study addresses this critical gap by proposing a holistic, multisystemic framework designed to build true resilience beyond simple disaster response. This framework is based on five core principles: comprehensive local contextual analysis, rational integration of local traditions and modern technologies, strategic inclusion of community facilities and shared spaces, proposals for long-term environmental restoration systems, and the development of adaptable, integrated master plans. To demonstrate the adaptability and flexibility of this framework, it is applied to a comparative analysis of five case studies representing diverse geographical and socioeconomic conditions: desertification in Spain, an earthquake in Turkey, landslides in Nepal, a volcanic eruption in Indonesia, and an epidemic in the Democratic Republic of the Congo. This analytical approach led us to propose a novel, context specific architectural model and integrated master plan. Ultimately, the results of this study demonstrate that this adaptive model offers a transformative paradigm for disaster recovery, shifting the focus from immediate, short-term relief to a sustainable process that actively regenerates human societies and surrounding ecosystems for a more resilient future.

Keywords: Multisystemic Framework; Disaster Resilience; Adaptive Modular Architecture; Post-disaster Reconstruction; Ecological Restoration; Community Resilience

How to cite this Paper (Harvard referencing style):

Kim, H. (2025) ‘Beyond Architecture: A Multisystemic Framework for Sustainable Disaster Recovery‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 264–286. 

See publication On Architecture (2025) Conference Proceedings

Suncica Milosevic, Ajla Aksamija

https://doi.org/10.60152/0tsspqyq

Abstract: The Sava Center in Belgrade is one of the most iconic architectural and cultural landmarks of Yugoslav Modernism. Built between 1976 and 1979, it functioned as a major congress and cultural venue, embodying ideals of civic ambition, technological innovation, and public accessibility. With its monumental Brutalist aesthetic and an all-encompassing spatial program, it remains a uniquely significant example of the region’s architectural innovation and technological advancement. This research presents a performance-based retrofit framework for historically significant buildings of this scale and typology, using the Sava Center as a hypothetical case study. Developed through a multi-method approach – bridging architectural history, building science, and digital performance modeling – the study demonstrates how design, technology, and heritage values can be aligned to improve energy performance without compromising architectural and cultural integrity. Methods include archival research, BIM modeling, hygrothermal and thermal envelope simulations (Revit, WINDOW, THERM, WUFI), and whole-building energy analysis (IES VE). Results suggest that the proposed design strategies could reduce energy use by over 50% while preserving the building’s original character, programmatic intent, and civic function. Initiated in 2021, the study coincided with actual renovations to the Sava Center’s Congress Hall building following its simultaneous privatization and designation as a cultural heritage site. These interventions, though aimed at energy efficiency, were completed rapidly, with minimal transparency and significant programmatic changes. Although the renovations concluded before the study’s completion, the presented case study remains a critical reference for more systematic and preservation-sensitive retrofits. In a region where too many significant buildings built between 1945 and 1991 are being rapidly privatized and, unfortunately, demolished, this framework helps illuminate the substantial potential for their protection – both through cultural heritage designation and sensitive, energy-efficient renewal. This research introduces the overarching framework, key findings, and policy implication, with future work to expand on detailed analysis.

Keywords: Brutalist architecture; energy-efficient retrofitting; cultural heritage preservation; building performance modeling; adaptive reuse; Western Balkans

How to cite this Paper (Harvard referencing style):

Milosevic, S. and Aksamija, A. (2025) ‘Preserving the Past, Modeling the Future: A Retrofit Framework for the Sava Center in Belgrade‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 246–263. 

See publication On Architecture (2025) Conference Proceedings

Dragana Zorić

https://doi.org/10.60152/v0ujucm7

Abstract: The Brutalist Cookbook explores radical architectural form in landscape. Landscape architecture often positions itself at the intersection of ecology, design, and urbanism, yet its disciplinary potency is diluted by a persistent vagueness—both in scope and in form. While it aspires to address urgent issues like climate resilience and social equity, it often lacks the formal rigor and aesthetic ambition that would give it cultural traction. The field’s retreat from composition and spatial articulation in favor of systems thinking has led to projects that are technically sound but visually and experientially underwhelming. In seeking legitimacy through science and sustainability, landscape architecture has too often abandoned its design imagination—its capacity to propose compelling, provocative forms that reshape how we relate to land, space, and one another. Brutalism by contrast, embraces a raw, uncompromising aesthetic rooted in the expression of structure and material. It rejects ornament in favor of the intricacy of the structural detail and bold, often monolithic forms. It values a material and tectonic honesty resulting in an architecture that feels visceral, sculptural, and often confrontational. Its aesthetic impact lies not in delicacy or decoration, but in the drama of scale, repetition, and exposed materiality. Brutalism challenges conventional ideas of beauty, favoring intensity over charm, and integrity over polish. Therefore, if the Modern movement considered architecture as an object, with landscape as an accessory, the Supermodern movement focused on architecture as a field effectively co-opting landscape logics Landscape Urbanism reversed the relationship—positioning landscape as the primary organizational system for architecture, then this research proposes a body of work that will demonstrate the simultaneity of architecture and landscape architecture. Organized into a series of design vignettes, it envisions the two disciplines not as separate, but concurrent – where their tectonic results operate simultaneously on a conceptual, experiential, and temporal level —toward a more integrated and imaginative spatial future.

Keywords: landscape, architecture, brutalism, form, hybrid

How to cite this Paper (Harvard referencing style):

Zorić, D. (2025) ‘The Brutalist Cookbook‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 236–245. 

See publication On Architecture (2025) Conference Proceedings

Nora Lefa, Ema Alihodžić Jašarović, Sara Stojkanović

https://doi.org/10.60152/o7nsk274

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 Intelligence, following the Montenegrin call for participation in the competition for the selection of the national representative at the 2025 Venice Biennial of Architecture. Unmediated, 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..

Keywords: Viscelar intelligence, Yugoslavia, body memory, post Yugoslav landscapes, insidness

How to cite this Paper (Harvard referencing style):

Lefa, N., Alihodžić Jašarović, E. and Stojkanović, S. (2025) ‘Do Not Touch Yugoslavia! A Visceral Response in the Era of Artificial Intelligence‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 228–234. 

See publication On Architecture (2025) Conference Proceedings

Ioannis Bardakos, Malvina Apostolou

https://doi.org/10.60152/h1lxhb9a

Abstract: This paper proposes membranes as dynamic interfaces for x-disciplinary entanglements across inter multi-, cross-, and trans-disciplinary practices. Membranes, arising transitional spaces, could reconceptualize the notions of in-between, the liminality, the uncanny and the non-places. Unlike static spaces, membranes can be dynamic structures with measurable properties defined by elasticity, tearability, porosity, and selective permeability. These characteristics enable membranes to mediate flows of knowledge, methods, as well as concepts between disciplines, and to operate through mathematical formulations that include functions, permeability coefficients and topological transformations. Multi-layered systems could enable simultaneous disciplinary distinction and hybrid emergence. Extending this framework, we introduce multi-individuation, that is processes where disciplines maintain identity while generating novel forms through membranic interaction. This form(s) of interaction(s) and transformation(s) could bear cognition, emerging from recursive encounters between fields, producing methodologies and vocabularies irreducible to their constituent parts. Through techno-artistic practice and computational humanities applications, we aim to demonstrate how membranic thinking could provide tools for experimentation and knowledge production. By illustrating how mechanisms of x-disciplinary exchange operate within intersecting scales and concepts of science, technology and arts, this framework could offer an approach to disciplinary hybridization and fusion beyond traditional models.

Keywords: membranes; multi-individuation; cognitive process; space; disciplinary hybridity

How to cite this Paper (Harvard referencing style):

Bardakos, I. and Apostolou, M. (2025) ‘On Membranes Within Disciplinary Entanglements: A Cognitive Framework‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 221–227. 

See publication On Architecture (2025) Conference Proceedings

Jessica Priemus

https://doi.org/10.60152/m5n1t1cx

Abstract: This essay 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.

Keywords:

How to cite this Paper (Harvard referencing style):

Priemus, J. (2025) ‘Weaving Error: Imperfection as Resistance in Material Practice‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 212–220. 

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Simona Žemaitytė

https://doi.org/10.60152/u4uqfa2h

Abstract: As an artist-researcher, at this conference, I share a screen work focusing on the supervolcano in Southern Italy known as the Phlegraean Fields (Campi Flegrei). The studies of this volcano have been at the center of my postdoctoral art-based research at the Lithuanian Academy of Music and Theatre. A volcanic caldera of Phlegrean Fields, characterized by an ongoing bradyseismic crisis, experiences slow ground uplift and subsidence accompanied by seismic activity. It is also one of the most densely populated areas near the city of Naples, hosting over half a million people. The caldera features several notable craters, including Lake Averno- believed by the Romans to be the entrance to the Underworld (Hades), active vulcano Solfatara, naturalistic oasis of Astroni, and many others. The Phlegrean Fields caldera is rich not only in natural wonders – thermal waters, craters, natural oasis, but also legends and historical heritage. Here lies a sunken city of Baia, the Amphitheater of Flavio, and the market columns falsely called Tempio di Serapide, which are natural “meters” of bradyseism. In a multidisciplinary framework of researching via art making, science, history, architecture, and geology merge. The video explores the landscape as a body and the body as a landscape through choreography and movement of the camera. Through dialogue with residents of Pozzuoli and Naples, as well as volcanology scientists, this work aims to deepen the understanding of what it means to live intimately with the challenges posed by bradyseism.

Keywords: Campi Flegrei, volcanoes, bradysism, art, dance

How to cite this Paper (Harvard referencing style):

Žemaitytė, S. (2025) ‘Dancing Landscapes of the Phlegran Fields‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 203–211. 

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Nora Lefa

https://doi.org/10.60152/6n47dmf2

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.

Keywords: matter, information, reality, art, Villa Pamphilij, exhibition

How to cite this Paper (Harvard referencing style):

Lefa, N. (2025) ‘Tangible Shadows‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 196–202. 

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Elif Ayiter

https://doi.org/10.60152/d19bwahk

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.

How to cite this Paper (Harvard referencing style):

Ayiter, E. (2025) ‘The Wondrous Travels of Felix Ringtail‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 189–195. 

See publication On Architecture (2025) Conference Proceedings