Category: On Architecture

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. 

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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. 

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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. 

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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. 

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Aygen Erol Çakır, Mehmet Ali Gasseloğlu

https://doi.org/10.60152/4ceq9dre

Abstract: This paper examines how architectural knowledge is produced beyond built form by tracing its circulation across drawings, texts, exhibitions, archives, and moving-image practices. While interdisciplinarity is often framed as seamless collaboration, this study argues that the intermedial movement of ideas operates more precisely as translation, a process marked by rupture, displacement, and reinvention. Existing scholarship highlights the generative role of representation, yet a gap remains in mapping where and how translational operations reorganize architectural meaning, particularly in the unbuilt domain where work is frequently dismissed as preparatory or secondary. The objective is twofold. The term “translation” is employed here in both a conceptual and a methodological sense: conceptually, it denotes the shifting of meaning across disciplines; methodologically, it describes the analytical movement through which architectural ideas are traced across media. First, to theorize interdisciplinarity as a translational practice that alters both what is carried across and the frameworks that receive it; second, to propose a cartography, termed Geographies of Translation, that locates this practice in three terrains. Core Terrains track intra-disciplinary experiments where architecture re-articulates itself across. Threshold Terrains mark the discipline’s edge, where external perspectives reshape representational logics. Distant Terrains designate practices outside architecture that nevertheless produce architectural knowledge through estrangement. Methodologically, the study combines close reading of artifacts, media-archaeological attention to representation, and critical synthesis of architectural theory and cultural studies. The analysis yields three results. First unbuilt, and representational practices are shown to constitute sites of conceptual presence, not subordinate steps to construction. Second, this mediating process is recast as a constitutive rather than supplementary operation, dislocating and re embodying architectural ideas across media and disciplines. Third, interdisciplinarity emerges not as synthesis but as an unstable terrain generate critical value. By situating architecture within a constellation of translational terrains, the paper contributes a methodological and conceptual framework that redefines the role of the unbuilt, expands the scope of architectural historiography, and foregrounds translation as a condition of architectural knowledge.

Keywords: unbuilt; translation; interdisciplinarity; archive; art-architecture

How to cite this Paper (Harvard referencing style):

Erol Çakır, A. and Gasseloğlu, M. (2025) ‘Translational Terrains: The Interdisciplinarity of Spatial Narratives‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 175–187. 

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Jovana Tošić

https://doi.org/10.60152/1f19646l

Abstract: The new trend in architectural design and urbanism shapes so-called postreality aesthetics in architecture, or metamodernism, as a new architectural language that primarily utilizes digital technology. The paper analyzes the emergence of a new architectural language from the perspective of architectural criticism, examining the architectural narrative of the metaverse and the architectural trends it promotes. What is the connection between architectural criticism, the history of architecture, architectural archives, and the future of architectural design in a metaverse-shaped world? Since existing cultural and historical references shape their elements, Metaverse architectural trends have evolved mainly without severing their connection to architectural history. The focus of the theoretical framework in this paper will be on the interconnection of the notions of metaverse, multispace, metamodernism, postreality, modernity, and architectural language. The analysis of the examples encompasses metaverse architectural concepts created by 3D artists and extended-reality architectural studios, as they seek a new architectural language, establish a framework for metaverse architecture, and develop a suitable aesthetic. Additionally, the paper examines the emergence of a new architectural paradigm influenced by the metaverse and AI, and its impact on urban development and sustainability.

Keywords: metaverse; metamodernism; multispace; architectural language; architectural criticism; postreality

How to cite this Paper (Harvard referencing style):

Tošić, J. (2025) ‘Metaverse in Architectural Design: Metamodernism as a New Architectural Language‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 165–174. 

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Semir Poturak

https://doi.org/10.60152/j7pdhwsl

Abstract: Advancement of AI (Artificial Intelligence) technologies has a strong impact on evolving role of creativity in architectural design. Advancement and rapid adoption of Artificial Intelligence technologies brought new challenges to the philosophical debates on creativity, further expanding the ambiguity resulting in lack of adequate education and professional improvement. This review paper argues that the integration of generative AI technology in architectural design fundamentally transforms the nature of exercised creativity to shift the focus from idea generation to problem framing and critical curation. In this paper new essential skills such as semantic articulation (prompt crafting’) and iterative visual refinement are identified based on the synthesis of foundational theories on creativity and the operational reality of modern AI generators. Findings of this paper suggest that AI externalizes ideation process demanding enhanced capacity for strategic unpredictability, conceptualization and aesthetical evaluations. Advancing integration of AI within conceptual architectural design demands further development of creative intelligence that will facilitate requirements and limitations of collaborative human-AI ecosystem.

Keywords: artificial intelligence, creativity, architectural design, design, education

How to cite this Paper (Harvard referencing style):

Poturak, S. (2025) ‘The Role of Creativity in Integrating Artificial Intelligence within Conceptual Architectural Design‘, in R. Bogdanović (ed.) On Architecture — Crosscutting and Fusion of Disciplines, Proceedings. Belgrade, Serbia: STRAND, pp. 157–164. 

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