ON ARCHITECTURE (OA2026)

The concept for the conference Crosscutting, Exploring New Horizons was developed precisely through raising questions in the interdisciplinary sections or crosccuting and fusion of science, technology, architecture, art and society:

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New methodologies that are developed in an interactive interdisciplinary connection, using and developing, for example, AI. We need to focus on understanding the concept of creativity within architectural design, art creativity and exploration of creativity in the context of integration of new AI technologies in the process of architectural design and art design. 

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Investigating the criteria for evaluating what has been achieved, benefits the community. Investigating indicators and metrics to assess the impact and value of projects, initiatives, institutions and industries.

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Use and invention of new materials, new concepts.

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Examples of case studies conceived and conducted by different profiles, scientists, architects, artists, ecologists as a response to global challenges in the domain of social well-being.

The above-mentioned questions were indicated in the previous conference, now the focus is on scope and realization, in theoretical research as well as examples of realization and research of the effects of these realizations.

OA2026 would bring together partner institutions from different parts of the world, which would work together to organize and realize the event. The motivation for holding the conference at multiple locations, in several places simultaneously, is the exchange of knowledge, dissemination of research results and possible interaction and implementation directed towards stakeholders and sponsors. Therefore, the key principle is networking.

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

Engaging in the production of new crude forms and other original concepts of obvious functionality, the plan is to expose coordinated dilution of organised extraction of people, data, and resources, and counter the long-omnipresent echoes of supermodernity narratives that obscure the actualities of alienation. Rather than dwelling on localities and place-making, accelerations and excesses, and other familiar post- and super-modern imaginaries, New Formations, New Perceptions will reinforce meaningful material practices to lay bare technologies in service of continuing conflicts and propose a counteractive stream of thought and artefact production.

A particular aspect to address is the tale of technological climax, which re-enacts old myths, acting as a supermodern’s theological anchor, a belief that is the centre of obfuscation. The task is to overcome these propagated unsound perspectives through analysis, seek superior material positions, (re) invent liberatory instruments of practice, object-making, and theory construction.

The efforts are to result in an assemblage of publicly exhibited functional artefacts of analysis, a showcase of produced cultural tools, instigating a robust discussion and publication.

Convenor
Dr Aleksa Bijelovic
School of Design and the Built Environment, Curtin University, Perth WA, Australia
Creative Practice Petokraka, Belgrade, Serbia and Perth WA, Australia

Call for Panelists: Broadened Sub-topics

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Collaborative Education & Collective Intelligence 

Exploring how international joint studios serve as labs for testing new design methodologies and fostering collective intelligence.



• Integrating Emerging Technologies (AI & Beyond) 

Harnessing AI and innovative digital tools to expand architectural creativity and assess the performance of resilient design systems.


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Cross-Cultural Adaptation & Urban Contexts 

Case studies on how design concepts are mutated and localized to fit diverse regional, climatic, and socio-cultural urban environments.



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The Aesthetics and Philosophy of Future Space 

Philosophical inquiries into architectural aesthetics and functionalism in an era of planetary change (Anthropocene).


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From Speculative Research to Real-world Impact 

Investigating how speculative methodologies transition into practical realization, influencing urban policy and architectural standards

Convenor
Dr Hyunsoo Kim
Jeju National University, Faculty of Art & Design, South Korea

The discussion positions educational architecture not merely as a response to pedagogical change, but as an active agent in shaping new forms of urban coexistence, social equity, and spatial justice in rapidly transforming cities worldwide.

Key Questions
How are contemporary educational models reshaping the spatial organization and architectural identity of schools?
In what ways can schools operate as hybrid urban infrastructures rather than isolated institutional buildings?
How can educational architecture respond to increasing cultural diversity, accessibility needs, and environmental challenges?
What role can schools play in post-industrial and low-income urban contexts as drivers of social cohesion and wellbeing?
How can architects reconcile global educational frameworks with local social, cultural, and urban specifi cities?

Convenor
Dr Francesco Carota
School of Architecture and Design, University of Kansas, USA
China Room Research Group, Politecnico di Torino, Italy

This paper presents an alternative view of construction projects with assets as units of project delivery and measure of project progress across the supply network, through the proposed asset orchestration framework and its subcomponents. Assets are the central concept here, with their identity, metadata, and prescribed path through defined stages, as the basis of their orchestration for closing the loop between disruption and
resolution for efficient project delivery.

The framework evolved over a decade of asset tracking and progress monitoring experience across the Middle East, Southeast Asia, North America, and Europe, where its value scaled with building geometry and supply chain complexity. Presented in the form of a conceptual essay, the framework is deliberately kept independent
from Geometrid, its technical implementation layer described later in the paper as a practical application example.

Keywords: asset orchestration, building information modelling, lean construction, project management, supply chain management, construction technology

Biography: Milos Jovanovic is a founding partner of Geometrid, a Singapore-based technology practice for the architecture, engineering, construction, and operations (AECO) industry. Founded in 2018, Geometrid provides a visual control platform to manage built environment assets across their lifecycles and supply chains, as well as tailored solutions and advisory services in this space. His work bridges digital design and fabrication with the realities of construction, supply chain, and project management. Before Geometrid, he was a computational design specialist at MERO Asia Pacific, contributing to Jewel Changi Airport in Singapore and Bukit Jalil National Stadium in Kuala Lumpur, Malaysia. He started on the complex geometry development team at MERO-TSK International’s construction systems office in Würzburg, Germany,in 2015. Milos studied at the Faculty of Building Construction Management, in the Department for Architecture and Urban Planning, at the University Union Nikola Tesla in Belgrade, Serbia, completing his bachelor’s degree in 2013.

Rather than offering a prescriptive model, the handbook provides a flexible framework that institutions and cultural practitioners can adapt to their specific contexts, capacities, and needs. It brings together tools, methodologies, and practical guidance for developing participatory governance structures, strengthening financial sustainability, fostering inclusive cultural production, supporting digital collaboration, and assessing social impact.

The handbook builds on experiences and practices emerging from the intersection of cultural commons, collaborative governance, and community-led cultural initiatives. Its objective is to support cultural institutions in experimenting with more open, participatory, and resilient organizational models while remaining responsive to diverse local conditions. The paper analyses how commons-based principles can be translated into operational frameworks for cultural institutions and examines the opportunities, tensions, and limitations that emerge in this process. By reflecting on the development of the handbook and its methodological foundations, the paper contributes to ongoing discussions on the role of commons-based approaches in shaping the future of cultural institutions and cultural governance.

Biography: Iva Čukić graduated from the Faculty of Architecture in Belgrade, where she earned her PhD in Urban Planning. Her research focuses on urban commons and urban transformation, which she approaches through the intersection of academic inquiry and practice-based engagement. She actively works with communities, supporting local initiatives in their efforts to address spatial issues and promote socio-political change guided by the principles of social justice. In 2010, she co-founded the collective Ministry of Space (Ministarstvo prostora), which strives to contribute to the democratic and equitable development of cities. In her academic career, Čukić is a member of the Laboratory for Planning Culture and Spatial Policy Design (LPCSPD) at the Research Centre of the Faculty of Architecture, University of Belgrade. She also regularly participates as a guest lecturer and critic at universities across Europe and beyond, including TU Berlin, ETH Zurich, and MIT. Iva’s work has been featured in the book 100 Women: Architects in Practice, published by the Royal Institute of British Architects (RIBA), which highlights women architects from around the world whose professional contributions advance the public good and environmental sustainability.

https://orcid.org/0009-0000-0614-2542

Through digital creation in the form of illustration and comics, chosen as references to the group of artists among the first to be affected by this technology, I aim to draw attention to new practices that challenge not only ethics but also the freedom of creative thought. Through a unique experiment, comparing my own creative process with the use of AI generative technology on the same artistic project, I seek to investigate whether advanced technology can not only imitate but also demonstrate the skill, imagination and originality of a human artist, and whether it is a suitable tool for creating an authentic work of art.

Abstract explanations of AI generative models often fail to align with the practical problems that artists face as a direct consequence of their implementation. These models have been trained on hundreds of thousands of visual files, both copyrighted and non-copyrighted, private and public. The wider public, as well as the creators of the original works, became aware of this only when major artistic platforms opened access to their databases without the authors’ consent. This was one of the key moments that triggered a broader reconsideration of the ethics of this practice.

Through the dialogue between human and machine, this project raises a central question of contemporary art: Does technology expand the definition of authentic artistic expression or does it erase it?

Biography: Jovana Subašić is Serbian based artist. She studied at the Faculty of Fine Arts in Belgrade, earning a Bachelor’s degree in 2020, a Master’s degree in 2021 and a Doctorate in 2026. She works in illustration and graphic design, collaborating with institutions such as Faculty of Mechanical Engineering at the University of Belgrade. Jovana spent three years as a researcher at the Department of printmaking at Faculty of Fine Arts in Belgrade. She is the recipient of several awards, including the University of Arts in Belgrade Award for Best Graduate of the Faculty of Fine Arts (2020/2021) and an award for “Artificial Intelligence – Creator or Plagiarist” in the Digital and AI art category at the FSU International Art Contest 2025. She has presented her work at numerous national and international exhibitions and participated in international projects such as “NATURE IS MY HOMELAND” and “Playing Narratives.”

https://orcid.org/0009-0000-0990-0767

Spherical objects drift through the space and appear at irregular intervals among the plant structures. Some plant forms resemble fruits or seed-like objects. The environment is structured as a continuous spatial field without clear boundaries between elements. Visual elements combine botanical and artificial characteristics within the same system.

SYNTHSPA, an installation unfolding across physical and virtual space. The exhibition brings together audiovisual works, digital prints, a vapor-based SUBSTRATE system, and virtual environments into a unified atmospheric field. The work constructs a calm condition shaped through controlled sensory regimes, ambient sound, and post-natural architectural forms. Across the video works, synthetic humanoid figures appear within carefully composed spaces of immersion and suspension. Bodily actions unfold slowly, maintaining states of stillness, restoration, and continuous regulation.

The work extends into virtual environments, where sculptural systems, ambient sound, and architectural forms continue across digital platforms. Closely related subseries such as BLOOM and SPECIMENS expand the broader SYNTHSPA framework through investigations into synthetic portraiture, behavioral conditioning, cosmetic embodiment, and speculative wellness systems.

Biography: Tanja Vujinović creates hybrid virtual ecosystems where techno-organic forms, synthetic avatars, and cybernetic soundscapes intersect. Her practice encompasses virtual environments, generative 3D worlds, spatial installations, and ambient sound through which she investigates relationships between the body, technology, perception, and artificially constructed environments. Using VR, AR, and interactive systems as instruments for building immersive spaces, she creates complex sensory landscapes where physical, virtual, and imagined realities merge. Her works often function as speculative architectures, synthetic gardens, or atmospheric systems in which wellness aesthetics, technological regulation, digital ecology, and post-natural forms of existence intertwine. Through her projects, she explores the ways contemporary technological systems shape the body, behavior, atmosphere, and collective experience. Selected solo exhibitions include AvantGarden at Kino Šiška, Ljubljana (2022); Spheres of the MetaGarden at Gallery of Contemporary Art Pančevo (2021); MetaGarden Sphere4 at DUM Project Space, Ljubljana (2021); Sphere3 at Osmoza, Ljubljana (2020); MetaGarden Sphere2 at Loža Koper Gallery, Coastal Galleries Piran, Koper (2019); Universal Objects at Gallery of Science and Technology, Serbian Academy of Arts and Sciences, Belgrade (2017); Superohm at Kapelica Gallery, Ljubljana (2011); Supermono 2/3 at Kapelica Gallery, Ljubljana (2008); and Dinamo at Small Gallery, Cankarjev dom, Ljubljana (2005), among others. She holds a degree in Painting from the Faculty of Fine Arts, University of Arts in Belgrade, studied as a guest student at the Kunstakademie Düsseldorf, and earned a Ph.D. in Philosophy and Theory of Visual Culture from the Faculty of Humanities, University of Primorska, Koper.

Two overlays extend the comparison. Vygotsky–Luria cultural-historical psychology conceptualises folkloric forms as cultural tools mediating memory, attention, skill, learning, identity, and collective action. William Pietz’s material culture critique examines object-value formation through exchange, embodiment, institutional recognition, colonial translation, and asymmetrical power. A final extension traces the post-1990 reassembly of these problems through heritage and public culture, nationalism, cultural property, commercialisation, participatory memory, and digital circulation. The analysis establishes methodological and ethical criteria for design research, enabling inherited motifs, objects, techniques, performances, and environments to be examined as mediated practices and contested formations shaped by labour, institutions, ideology, authority, and historically specific relations of exchange.

Keywords: folklorism; cultural mediation; design research; object-value formation; cultural tools; heritage and public culture.

Biography: Architect, designer, researcher, and academic leader whose work encompasses creative practice research, design pedagogy, curriculum innovation, and institutional leadership. An integrated programme of research and creative practice engages with architecture, interior architecture, exhibition-making, and interdisciplinary design inquiry, generating scholarly publications, original creative works, exhibitions, and public engagement outcomes. Contributions to research, education, and professional practice have attracted competitive funding and received national and international recognition through awards and collaborations.

https://orcid.org/0000-0001-8880-3155

Using Adaptive Speculative Design (ASD)—which shifts designers into existential subjects within disaster contexts—and the Multisystemic Framework (MsF) as a multi-layered analytical tool, this research establishes a mid-to-long-term residential master plan for post-war refugees on a site bordering Tel al-Hawa in southwestern Gaza. Through collaboration with universities in Türkiye and the Gaza Strip, data on post-war damage, local context, and the project site were collected. Over a six-month period, seventeen novice designers applied the ASD-MsF-driven process to analyze the data and carry out the design. Consequently, seven core unit modules were designed using hybrid structures of recycled concrete aggregate (RCA) and mud-bricks, while embedding Trauma-Informed Design (TID) throughout the spaces. These modules were then integrated into a bottom-up urban master plan. The proposals were evaluated via mutual cross-validation, combining internal validation from participating designers with external validation from an international panel of five multidisciplinary experts. The results demonstrated that ASD serves as an essential cognitive tool enabling designers to internalize local constraints beyond superficial empathy (M = 4.61), while MsF proved to be a data-driven, context-specific solution with high practical efficacy and validity (M = 4.13). In conclusion, the ASD-MsF methodology functions as a framework that effectively controls designers’ arbitrary formalist biases and realizes user-centered, resilient architecture in disaster situations.

To overcome physical uncertainties and implement the proposed master plan on-site, this study suggests an inhabitant-driven incremental modular construction method and highlights the need for structural simulations, prototype verification of local materials, and cooperative governance guidelines.

Keywords: Adaptive Speculative Design (ASD), Multisystemic Framework (MsF), Gaza Reconstruction, Mid-to-long-term Settlement, Trauma-Informed Design (TID), Community Resilience

Biography: Dr Hyunsoo Kim, is currently an Assistant Professor in the Department of Design at Jeju National University. She graduated from Seoul National University with a degree in Spatial Design, earned a Master of Architecture from The Berlage Institute, and received a Ph.D. in Spatial Design from Seoul National University. She has multi-year practical experience in solar energy, modular architecture, and projects for the urban poor in Athens, Beijing, and São Paulo. Since 2011, she has researched disasters, displaced populations, and disaster resilience, developing Adaptive Speculative Design (ASD) and Multisystemic Framework (MsF) to integrate humanitarian and ecological dimensions under Planetary Design. Since 2021, she has applied ASD-MsF to design education through studios at Jeju National University focused on modular architecture and spatial improvement for the urban poor, while conducting joint research with engineering and energy experts for practical implementation.

https://orcid.org/0009-0003-0862-1485