For the version in Serbian, click here.

Prolegomena:

Proposition 1:
Given that the idea behind the project is a dynamic future (Proto-City), rather than traditional staticity (Ethno-Village), we propose a solution of a processual nature that expresses transformation.

Proposition 2:
In order to achieve what we are aiming for, we must rely on references of truthfulness.

These references are as follows:

• The present—not (only) the future—is focused on health. We speak from both an economic perspective and from the standpoint of collective and individual consciousness.

• The future is the coming generations—children.

• The “future” (only) stands on an objective Present if it sees the Past.

• A mature Present perspective understands the Past (History), and based on History (repetition) and Context, it anticipates (builds) the Future.
  

Thus, the main postulates outlined above—Present, Past, and Future—will serve as tools for constructing the Narrative-Design Map.

Present

The Present is a Factory. A place (in time) that represents the ontological foundation for the development of everything else. The drawn rectangle at the base offers us a symbolic image of the Earth, or rather its four sides (the Four Cardinal Directions – the Four Sides of the Square), thus providing the ideal initial context for the Present.

The Present is a thin line that exists between the Past and the Future — a paraphrase of Aristotle.
Or, more precisely, the Present is a point in space (not time) that separates two infinities.

Present — Dualism

The main (Northern) facade of the Factory represents the Dualistic Essence of the Present Moment.

The facade, divided by the line that stands between the Past and the Future, constitutes the entire position of the Present. Left — Future; Right — Past.

On the right (Past), there is a predictable rhythm because the Past has already occurred. This predictability, or the geometric regularity of the rhythm, is also visible on the Western Facade, which follows this flow. The rhythm takes the shape of the letter V, a symbol of Woman and Birth.
On the left (Future), an arrhythmic ideogram is formed due to the nature of its unpredictability, which exists only in anticipation. The arrhythmic flow extends onto the Eastern facade as a natural continuation.

Present — Homage to Rain

Homage to the Gods of Rain — The Droplets

The main design element consists of simulated raindrops that celebrate the Idea of Water as the foundation of all growth. The droplets are evenly spaced but form different ideograms depending on whether they are positioned to the left or right of the Present Moment.

The right side depicts an articulated rhythm of the already known Past — Historical Repetition.

Homage to the Rain Gods — The Droplets

The left side of the building depicts the unpredictability (arrhythmia) of the Future, yet with implications of Past Rhythms.

The material of the “Future Droplets” shares the same shade as the facade cladding of the “Past,” and vice versa — the “Past Droplets” are materialized in the facade cladding of the Future. Here, we obtain the implication of the Future within the Past, and the Past within the Future — an elaborated Yin and Yang symbol illustrating the overlap of two temporal directions at the boundary of the Present moment.

Present — The Chimney

Redefining the new Factory as a place of life’s birth rather than pollution.
The wooden Chimney as an Alchemical Symbol of industrial transformation.

The Chimney as a Symbol — Deconstruction of the Symbol

At first reading — The archetypal (industrial) design of the old Factory — the silhouette of a familiar archaic image.

At second reading — A circle inscribed within the rectangular form, which gives us the beginning for what follows and represents one of the main motifs of the entire campus — the Map of Civilization.

At third reading — A landmark within the complex symbolically represented as a Lighthouse.

Present — The Staircase

On the symbolic interpretations of the Spiral Staircase

Spiral staircases are used in art (and also in psychoanalysis and dreams) as symbols of Individuation.

The staircase is positioned at the center (the Line of the Present) and visually divides the building into two parts — Future and Past.

The staircase begins at the “Historical Side” of the base (Origin) and ends in the “Future” of the Roof (Goal).
This placement of the element is quite precise and fully aligns with the concept of development.

Lighthouse — Watchtower

The watchtower is located on the “Future” part of the Roof, which contextually aligns with what we aim to convey:

“The completeness of the Circle (Wholeness) resides in the Future, which has the capacity to see the Past.”

Myths and Facts — Planters as Encyclopedic Content — Educational Apparatus

Glamping

Past

Landscape Installation

A mature and synthetic vision of the Present through the constituents of the Past. Here, we pay tribute to History and draw the Map of Civilization.

The Time Polygon — Map of Civilization

Description and Concept:

The Time Polygon “Map of Civilization” is designed as a unique educational and recreational space that guides children and adults on an interactive journey through time. Inspired by the Cosmic Calendar and Montessori Methodology, this polygon is organized into a series of concentric circles, with each circle representing a key period in the development of human civilization. Through exploration, children and adults move backward through history, starting from the present, getting acquainted with the most important events, cultures, and figures that have shaped the world as we know it today.

Structure and Design — The Polygon as an Educational Playground for Children

Starting Circle — The Present:

The journey through the polygon begins immediately after the factory, which serves as the visual exponent of the Present. This circle represents the modern era and the starting point for their journey backward through time.

The starting circle is designed to gradually introduce children to the concept of time and history, featuring interactive elements that prepare them for deeper exploration of the past.

Concentric Circles:

As children move away from the starting circle—the “Present”—they transition into earlier epochs such as the Renaissance, the Middle Ages, Antiquity, and finally ancient civilizations like Ancient Greece and Sumerian culture. These circles are physically marked by special bands (markers), creating visually distinct boundaries between different historical periods.

Within all the circles combined, there are about 200 specially designed planters. These planters are not merely aesthetic elements but also key educational tools. Each planter denotes an important historical figure or event, and their position within the circle corresponds to the time period they belong to. For example, in the Renaissance circle, children might encounter a planter dedicated to Leonardo da Vinci, while in the Antiquity circle, they could find a planter dedicated to Aristotle.

The plants growing in these planters symbolize longevity, vitality, and the lasting impact of those historical figures on the world as we know it today.

Planters as Historical Monuments:

Each planter within the circle represents a small interactive monument. On the planter, there are brief biographies and key characteristics of the figure or event it symbolizes. The planters are designed to allow for constant rearrangement — old figures and events can be replaced with new ones, introducing new personalities and occurrences into focus. This flexibility enables the polygon to remain dynamic and continually engaging for visitors.

Interactive Elements:

Journey Through Time and Missions:

At the start of the game, children receive a mission — a task to find and discover a certain number of key historical figures strategically placed throughout the polygon. This mission begins in the starting circle, the “Present,” where children are given a map displaying the different circles and the locations of planters containing hidden clues.

As children move from one circle to another, using the map as a guide, they arrive at planters containing information or puzzles that they must solve in order to proceed further.

Inside each planter, there is a hidden drawer containing a puzzle related to the respective figure or event. These puzzles are designed to encourage children to explore, think critically, and interact with their surroundings.

The drawers in the planters allow for flexibility in tasks — for example, Leonardo da Vinci might be part of one mission focusing on the “Mona Lisa,” while in another mission, children explore the “Last Supper.” In this way, tasks and missions can be continually refreshed, offering children new challenges with each visit to the polygon.

Conclusion:

This game concept offers children the opportunity to learn about the past and significant historical figures in an interactive and enjoyable way. Through the search for planters and solving puzzles, children gain an understanding of how “visually” distant these figures are from us in terms of time. This “hide and seek” game not only encourages critical thinking and an investigative spirit but also enables children to connect historical events with concrete personalities, making the past more tangible and comprehensible. In this way, learning becomes a dynamic experience that leaves a lasting impression on children about important moments in history.

Interactive Elements:

Thematic Path:

Children move through the polygon following a Thematic Path, designed in the shape of a growing and branching plant, symbolizing the expansion and development of knowledge.

Practical Workshops: Workshops Through the Epochs

A series of diverse workshops is proposed, covering key aspects of civilization’s development and thematically linked to specific historical periods.

Workshop “Beginnings of Civilization” (Neolithic, Early Bronze Age, Early Civilizations up to 2000 BCE)
Workshop “Cultures and Empires” (2000 BCE – 500 CE)
Workshop “Middle Ages and Feudalism” (500 – 1300 CE)
Workshop “Renaissance and Discoveries” (1300 – 1700 CE)
Workshop “Industrial Revolution” (1750 – 1900 CE)
Workshop “The Modern World” (1900 CE – Present)

These workshops offer children and adults the opportunity to experience key aspects of civilization’s development through hands-on activities, enabling a deeper understanding of history and its impact on today’s world. Each workshop is thematically connected to a specific period, but together they provide a comprehensive insight into the evolution of human civilization.

Garden of Wisdom and Finale:

At the end of their journey through history, children arrive at the final “Garden of Wisdom,” where they collectively plant the seeds or plants they have gathered during the game (from the drawers in the planters). This garden symbolizes the culmination of their learning and progress, where the knowledge gained is transformed into a tangible act — planting a living symbol that will grow and bloom as a representation of their educational journey.

After the planting, a small ceremony is held where each child receives a certificate or a “Guardian of Knowledge” badge as recognition for their participation and successful completion of the mission. This ceremony further strengthens their sense of achievement and provides children with a lasting memento of their journey through history.

Children’s Playground

Game Theory – The Relationship Between the Circle and the Square

In relational dynamics, the Circle and the Square stand in deep, fundamental opposition. Their conflict is not merely aesthetic, but archetypal: the Square is the exponent of adulthood—a crystallization of mature consciousness that strives for clarity, stability, and defined boundaries with the outside world. It is a form that knows how to say, “here is where I end, and there is where you begin.” In contrast, the Circle is a symbolic representation of childhood potential—an open infinity, an unbounded and unrestrained movement that knows neither beginning nor end. The Circle is the eternal impulse of play, freedom, and a naivety that sees the world as an endless field of possibilities.

The playground, as a part of the proto-city, remains the only fragment of the urban fabric that follows an organic, circular stylistic language—mimicking the rhythm of nature, and the childlike perception of time and space—a rhythm that expands, spins, and multiplies without rigid rules. The transparent moments of this architecture of naivety are not accidental, but necessary: they preserve the memory of childhood’s open heart, still unframed by the concerns of adulthood.

Yet it is important to note — that circular installation can exist only because it rests upon a stable foundation, a square paving laid down by the adult generation. The foundation is square, static, and serious. This urban composition, with a square base and a circular top, offers us a refined image of a deeper principle that transcends the playground itself: we find the same principle in the image of a factory — where the base, the foundation of the facility, retains the square, solid character of the adult world, while the top, the chimney, emerges in a circular form, as a sign of release, exhalation, transformation. Thus, through this subtle mimicry, we are presented with two architectural constructions greeting each other in the same pose — affirming one and the same eternal principle: that stability and freedom, boundaries and infinity, are inseparable and mutually dependent poles of the same being.

Sport

Leonardo da Vinci – Treatise on Painting (paraphrased excerpt):

“Observe the plant: it does not come into being by itself. It depends on the soil that nourishes it, the rain that waters it, the sun that gives it warmth and light, and the wind that spreads its seed. Thus, the plant is not merely what we see—it is the sum of all these influences, a part of a larger cycle of life. In the same way, one who wishes to paint nature must understand all causes and effects, must grasp how one thing gives rise to another, and how nothing exists in isolation, but as part of an endless web of reasons and consequences.”

Just as, according to Da Vinci’s definition, a plant is not merely a plant but a visible moment within a larger process, so too is the ideogram not a mere sign, but the eidetic exponent of the entire product in its totality.

The Beobast ideogram is not merely a sign, but a condensed story of the entire life cycle of a product — from seed to table. The sun within it represents the original idea and the light that initiates growth; the clouds and sky reflect the strength and breadth of the vision that allows that idea to expand and evolve. The rain embodies the multiplicity of processes — the work on the land, careful cultivation, nurturing, and effort through various stages of ripening. The plant symbolizes the dual nature of action — rooted in tradition yet reaching toward innovation. The earth, as the feminine principle, bears witness to the matter from which all things emerge and to the dedication to preserving the natural cycle. In this way, the ideogram becomes a reflection of Beobast’s philosophy: no part of the process stands alone — cultivation, production, and delivery are inseparable threads of a single fabric of life, devoted to simplicity, quality, and deep respect for nature.

The Future, or the Present with Historicity

Entrance Forecourt

The future is here “marked” by the presence of fictional characters from (literary and cinematic) futures.

Ironically, visitors first step into the future, only to discover the past afterward — but this inversion is not accidental. It is necessary.

The future is constantly present; the present and the past are illusions—elusive shadows in an eternal flow. We are never truly in the “now”; we are always one step ahead — in the future.

The great heroes of fiction stand here as beacons of what is to come. They are not merely symbols, but guides—role models poised on the edge of an unknown tomorrow. Their presence is a greeting, a gesture of welcome, making it clear to visitors from the very threshold: this is the Future — and you are already in it.

Site Renders

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Fengxi Community, Huaxin Town, Qingpu District, Shanghai ​

Central Green Valley Program Concept Design​

Huaxin Town: Positioned as the core area of the Hongqiao International Open Hub, Huaxin Town is renowned as the first express delivery town in China, highlighting its pivotal role in the logistics network.

Qingpu: Serving as the gateway city of the Shanghai metropolitan area, Qingpu is a new urban space that seamlessly blends the ancient charm of Jiangnan with the advancements of modern civilization.

The objective of this Design Mission was not to provide a coherent design syntax but to establish a diversifying contextual beginning that can serve as an aesthetic-philosophical reference for any style. We consider this the ultimate point of any integration.

Analysis of the Problem:​

In addressing the multifaceted needs of diverse age groups—young, middle-aged, and elderly—it becomes evident that simplistic and uninspired designs fail to satisfy our profound emotional, intellectual, and spiritual demands. A truly fulfilling environment cannot be achieved by catering to isolated needs or imposing strict separations; instead, it must emerge through holistic integration, where the surroundings organically reflect and enhance our personal identities.

Design Response:​

Mutual influences – Because it is Natural​.

Influences of Architectural Elements:

Symbolic Ideogram of the Circle: The landscape design employs the circle in various interpretations, symbolizing unity and continuity, laying the foundation for an architectural lexicon.

Squaring the Circle: This concept represents the rational thought process, structuring the architectural narrative through logical compartmentalization and categorization.

Tree of Life: Illustrating interconnectedness, the Tree of Life metaphor highlights the intrinsic link between all components, with branches and fruits symbolizing different functions and their interdependencies.

The branching structure of the Tree of Life represents the natural growth of ideas and spaces, creating a dynamic and evolving environment. This interconnected design supports various activities and interactions, promoting a lively and cohesive community. Each element, from public to private spaces, contributes to the urban ecosystem’s overall harmony and functionality.

“Nothing in the universe exists in isolation. Everything is connected to every other thing.” – Gautama Buddha

Something about Basic Philosophical Guidelines.

Translating Potential into Reality.

Why Circle into Square?

Circle is potential. Infinite freedom in a cyclical representation.

Square is a category. A category made of 4 choices.

Solution: Find 4 points within the circle.

Four choices within freedom. Logically drawing, such squaring of the circle can offer an exit. Four objective choices standing in diagonal alignment across the central point.

The central point, if of a gravitational nature, implies a general direction. Direction implies a path, and the path is translating a possibility into actualization.

Doubling pairs, the number 2, has implications of the female principle. The whole phenomenon of the square, guided by Pythagorean mathematics, algebraically stands in the symbol of the woman, in the number 2.

A square implies two vertical and two horizontal lines in the case of a square that stands in an unequal side relationship (square in an unbalanced form – transitional period). Horizontal lines are closer to the center (the central point) than Vertical ones. The Earth symbol, in relation to the Heaven symbol, has a greater proximity to the Center in this case. Since the lines are representatives of content, we will assume that this is a place where further choices can be made, i.e., the final choices necessary for secure and permanent existence. Choices that do not arise as a consequence of the “pushing force of the Cosmos” but as entities in the making, pulled by the gravitational force from the future.

Comments:

Horizontal is the field, and vertical are constituents and participants.

Horizontal is the context, and vertical is the individuality.

This project is conducted in collaboration with JALP London LTD.

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Urban Village | 城中村

The “Urban Village” project of Fengxi Community in Huaixin Town

Architectural language not only responds to society’s functionalist necessities but also answers questions concerning spiritual-aesthetic needs.

One “vs” Many (Individual “vs” Collective)

The design consists of individual functional units combined to form a multi-functional organic whole.

While “one versus many” might seem like opposites, they actually exist in symbiosis, constantly complementing each other. The goal of the “one” is to contribute to and elevate the “many”, and in turn, the “many” elevates the “one”. For the Many to act as One, connections, directions and unifications are essential.

“The whole is greater than the sum of its parts.” – Aristotle

Influence Of Shanghai Landmark Village Architecture​

• Small Stacked Volumes (Houses) ​
• Shaders on windows, doors​
• Courtyards (Siheyuan)​
• Distinctive roof lines​
• Narrow lanes​
• Materials: Stone, Brick, Wood

Modern Village Typology​

Rather than a singular, monolithic centre, our design ethos gravitates towards a Village Typology characterized by exploration, diversity, and fluid movement. Embracing a contemporary interpretation of the Traditional Chinese Village paradigm, our vision encapsulates a vibrant nexus of communal life.

Dispersed Entrances​

Our architectural typology strategically disperses entry points throughout the building and across various floors, encouraging visitors to engage with the structure from multiple vantage points. By distributing access points in this manner, we mitigate congestion at entrances and offer diverse experiential journeys with each visit.

This project is conducted in collaboration with JALP London LTD

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Weaving the Tale of Duality

• Twin buildings, alike yet distinct
• Duality and the beginning of multiplication
• Dynamic Symbol – Balance | Yin-Yang 
• Three ideograms | The Three Star Deities
• The bridge, the connection
• Homage to local paper-cutting and bamboo-weaving
• Final Comment  

Duality

In the realm of contemporary architecture, where innovation and symbolism intertwine to create authentic spaces, our proposed architectural project aims to bring forth a profound philosophical concept – Duality. Through the architecture of twin buildings, similar yet distinct, we seek to embody the first principle of multiplication and evoke a sense of balance and contrast as polar opposites of one singularity.  

Duality as the First Principle must be seen as a cohesive entity in order to convey its dynamic purpose. For us to see the complete image, we must find the missing pieces.

Missing Pieces

In our architectural narrative, each building compensates for what might be considered its ‘missing part’ through the language of architectural dance. Like the intertwined duality of the yin-yang symbol, the imprint of one building is delicately presented on the other. This architectural reciprocity mirrors the essence of dynamic movement behind the symbol of Duality.

Exegesis of artwork – Swapping elements

The Three Ideograms 

The Three Star Deities

In Chinese mythology, the number 3 is linked to the Sanxing, also known as the Three Star Deities. These deities are Fu (福, meaning happiness), Lu (禄, meaning prosperity), and Shou (寿, meaning longevity). They are often depicted as elderly figures, each holding a symbol of their respective attributes.

Together, these deities symbolize the three essential elements of a fulfilling life—happiness, prosperity, and longevity. 

The Three Ideograms – Fu (福)

The Three Ideograms –  Lu (禄)

The Three Ideograms – Shou (寿)

Unifying Presence

The Glass-Enclosed Bridge

A transparent bridge connects the two structures at the heart of our architectural twins, forging a symbolic and functional union – two chains that bind two buildings. This shared space is a modern interpretation of the traditional Chinese gate.

Transformations 

Facade Elements: Growth, Simplicity, and Local Artistry

The façade of our twin buildings is not merely a structural component; it is a canvas for storytelling, adorned with the vibrant threads of local artistry. In a harmonious tribute to the region where these structures will take root, the façade pays homage to the area’s rich artistic heritage, drawing inspiration from the profound symbolism found in indigenous paper-cutting and bamboo-weaving traditions.

These traditional crafts, revered for their intricacy and delicate allure, impart a profound sense of cultural integration into our architectural endeavor. The very essence of our design is woven into the intricate patterns and motifs inspired by these local art forms. As such, our twin buildings become more than structures; they become living testimonies to the artistic tapestry that defines this distinctive region.

Final Comment

Business is motion

“Motion is life,”  Leonardo da Vinci.

How does all of the above relate to the office (business) building?

Business is motion; it’s a process. Business represents a dynamic state of existence. It deals with and fills the missing pieces.

Our intricate yin and yang symbol explains these concepts precisely. “Compensation facade elements” form dynamic patterns that signify the complexity behind a logically articulated business. This pattern isn’t simple, nor should it be. Only when the viewer comprehends all the components can they grasp the meaning behind the pattern.

Why did we deconstruct the ideas of happiness, prosperity, and longevity?

All of these ideas are things we continually seek in life. Even though we have a general understanding of their appearance and feeling, they still appear before us as a puzzle image that we must connect and piece together.

Ultimately, the means to connect these images in real life is through the tool we commonly refer to as “business.”

This project is conducted in collaboration with JALP London LTD

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This work is the architectural com­mentary of the existing architecturally-formed claim. Philip Jonson, in his New Canon house, artic­ulated a socio-critical thesis and represented it through his work: Public Persona is open – Private Persona is concealed.

The methodology that has led to such a conceptual representation of the idea is clear: If archi­tecture is conceptualized to its simplest logically-aesthetic units, and if the basic logic element is completely refined, all further complications can be read from this element. The realization of these theoretical elements is achieved in the following way:

a) public rooms are made of glass and open to the environment (second level in New Canon house)

b) private rooms are made of con­crete and enclosed to the environment (first level in New Canon house)

We hold that Jonson’s methodology is completely right into important points:

First, in rethinking private-public relations and second, in the idea of taking simplicity as a potential carrier of pol­ysemic meanings. However, the problem arises in selecting the exponents/exemplars of this idea. Spatially grouped units (public on one and private rooms on the other side) are (in the constitu­tive sense) to general notions and no fundamental concept can be derived from them. This, of course, stands if we want this concept to be able to connote high complexity within itself (second point of Jonson’s methodology). In fact, Jonson’s problem is the problem of non-recognition of nu­ances between which there are different semantic properties.

If we want to name this problem a mistake, then we have to distance ourselves and say that this error exists today, but not during Jonson’s time. We say this for one basic pragmatic reason. The exterior walls of the functionally grouped rooms (again, public and private) are not any more in­volved in broadcasting or hiding our intimacy and individuality.

Completely marginalized interior dividing walls are now in charge of defining the borders of our intimacy, half-intimacy and public persona. The distribution of these walls in the syntax structure of the house limits the boundaries of our, conditionally speaking, “free” behaviour. This way of dissociation from other people (especially people from our own family) exponentially grows with the increase in the urbanity of the environment in which we live.

“Time for yourself” or “personal time” does not mean going to sacral and contemplative space any­ more. This is now a retreat into a physical space which is a prolonged intimate persona. On the other hand, as we turn more to nature, the need for these types of separation disappears. The primal instinct or Russell’s primordial pleasure brings us together and invoked group activ­ities as opposed to group stagnation. With increasing global urbanization, the human spirit is in a constant sense of deprivation of integrally natural stimuli. This kind of explication of one of the characteristics of modern civilization (alienation) is one of the strongest indirect suggestions for returning to natural beauty.

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The Power of Simplicity in Modern Architecture

As practitioners of architecture, we are constantly seeking to strike a balance between form and function, between simplicity and complexity. In our latest housing project, we have embraced the minimalist aesthetic by designing modular houses that measure 3×3 meters and exude simplicity. However, this simplicity belies a more complex urban plan that allows for successive expansion.

One could say that these houses embody the architectural principle of parsimony, or the idea that the simplest design is often the most effective. The 3×3 meter starting point of these houses allows for a certain level of customization and adaptability, while the ability to add on to the initial form allows residents to create a living space that is uniquely their own.

But the real beauty of these modular houses lies in their placement within the urban plan. The site is tiled in a “chess-like” pattern, a symbolic representation of the binary principle at the foundation of all computer technology. By multiplying the initial form and arranging the houses in this pattern, we have created a visually stunning community that is a testament to the complexity that can arise from simplicity. It is a reminder of the age-old adage “the whole is greater than the sum of its parts,” and a nod to the philosopher Aristotle’s concept of the whole being “more than the sum of its parts.”

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What is a Museum? Is the museum just a building, or is it actually a symbol?

A museum is an object intended to testify to the time that the visitor did not live in. The time when the actualisation was actualised. The museum is a carousel ride on which we perceive a different scene, and live another one’s life. A place that tells stories of the events that led to this very moment and this very location. The value of the museum is in raising awareness of the emotions that history awakens in us. The museum is ultimately the best exponent of critical regionalism in the most basic and purest definition. The museum is evidence of past times.

Like every Story, composed of the Beginning, the Middle, and the End, the museum is a symbolic drawing that imitates a similar canonical pattern.

In the base of the museum, but also in its final denotation, the cross of Christ (Constantine) is imprinted. This symbol is a formative modality of the overall appearance and function of the design.

Since any reduction of the symbol to an architectural form is an insult and over-simplification, the symbol is in this case decomposed and redefined by the morphology of the architectural vocabulary.

The museum, like any story, begins as a “status quo”. The old, but still preserved building of the library, which communicates its historicity. The newly formed sentence (base-line) begins and adapts to the given status quo, and receives the initial insinuation and direction from it. Freed from all semantics, this sentence (line) experiences exponential growth.

Growth transforms and divides in the middle of the story when there is a conflict (semantic opposites). Conflict is the simplest confrontation of two opposing lines (ideas). At this moment, we are in the centre of the plot of the eidetic story, since it is a place in time where the “decision” is made.

The story ends with a half-circle (principle), which in its halfness indicates the incompleteness of the present and suggests fantasized anticipations as basic building blocks of the future.

The formal manifestation of the museum relies directly on the “suggestive-unfinished work of art” as opposed to the “harmonious completion”, given that, although long, the history of Nis is completely unfinished and untold. Dominant “mountain” motifs that are woven through the entire design of the museum, remind of the hills and mountains that have been our basic landmarks for a long time throughout our local history. A direct explication of this motif is necessary for understanding Nis in its Spirit of Deep Time.

The shape-giving symbol design lines, fullness and gaps. Gaps in which ontological existence is meant to be fulfilled. Although our symbol is decomposed, the basic values ​​of its lines remain poly-semantic because there is a world of potential and a space for tailoring new ideas. The gaps take on the role of a descriptive tool, and in them are placed the previous “testimonies” of our historicity. These “positive gaps” have their visual-formal progression in the binary scheme from the beginning to the end and function as morphemes of the newly formed sentence.

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The New Earth Bath Spa is an architectural complex that seamlessly combines traditional Hawaiian symbols with a contemporary design aesthetic. The idea for the spa originated from the Marquesan cross, a symbol of great significance in Hawaiian culture. This symbol represents the balance between nature and human life, as well as the harmony between the different elements. It is often used to symbolize the connection between the spiritual and physical world and serves as a reminder of the importance of living in harmony with the natural environment.

The Story of four Elements, or the Four Stories of one Symbol

The building is divided into four distinct elements, each represented by a unique design ideogram that tells a story. As you enter the building, the narrative becomes more intense and gradually relaxes towards the ocean view. The water element is emphasized through the placement of the symbol in the pool, where it can be fully appreciated in its entirety.

This design choice is a nod to the traditional Hawaiian concept of “waiwai,” which emphasizes the importance of water in Hawaiian culture. The symbol’s visual pattern is incorporated throughout the building, including the fence, walls, ceilings, and floors, creating a cohesive and ornate design.

The design of the spa is a testament to the fusion of ancient symbols and modern architecture. The use of the Marquesan cross is not only a nod to the rich cultural heritage of Hawaii but also serves as a reminder of the connection between the past and the present. The spa is not only a place to rejuvenate the body but also a place to reconnect with the past and the present.

The spa’s architecture and design philosophy are a perfect example of how traditional symbols can be translated into a contemporary architectural language

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The Myth

According to the Orisha legend, Olodumare, the god of all gods, sent the female deity Oshun down to earth to create a world with a group of male deities. Oshun wore a gold dress and jewelry. She was dark, beautiful, and quite flirtatious. While they admired her beauty, the male gods didn’t think that they needed Oshun’s help to create a world. Frustrated that she wasn’t getting the reverence she deserved, Oshun left this boy’s club and went to the moon, where she lounged and admired herself in the mirror. Oshun didn’t try to convince the male gods of her value or demand reassurance that she was worthy — she just left. She knew they wouldn’t get far without her.

Oshun’s departure caused the Earth to dry up. Without water, there weren’t any plants or animals. There was no life. The gods didn’t know what was going on; they didn’t connect their failed attempt of creation to the missing goddess. Confused by their lack of success, they went back and informed Olodumare that they couldn’t create the world he had requested. The gods explained that the world was barren. Olodumare looked at them quizzically, noticing that Oshun was no longer with the group. He explained to them that Oshun — her love, beauty, and energy — was essential to create the world and life on it. The chagrined gods apologized to Oshun and begged her to come back and provide her life-giving energy and love. She accepted their apology, but sternly told them not to treat her dismissively again. Upon her return, the world became fertile and beautiful.

Story told by line

This installation is an architectural commentary, or better yet, an architectural translation of one of the archetypal stories whose matrix we can observe as ontological to all stories in general.

The “story of the Goddess”, shows us the dynamics of events that we can notice in all religious stories, but also in all the old myths, fairy tales, etc. God, singularly one, separates from the beginning on the masculine and feminine principle (two oppositions), in order to develop the multitude. The “multitude” is a necessary construction within which individuation is possible. One – many – one. The archetypal matrix of each story.

The story of the Goddess depicts conflict. Conflict, which as we know is necessary for every maturation. Within the conflict, a “Wrong,” or anti-thesis is recognized. Only with conflict, the principle of contrasting oppositions is obvious, and only with this knowledge, the conflict is overcomeble. The female principle, which retreats to the Moon (the symbol of the woman, in relation to the Sun, which is the symbol of the man), and with its separation stops the process of multiplication (the principle of many).

The final act of the story depicts the intervention of the First Principle, which again unites the sets (this time in balance), in order to return the process of multiplicity to the initial path.

The sculpture is read from north to south in a vertical orientation, or right to left in horizontal orientation.

The story of the lunar phases

The story of the Goddess is also special because of her relationship with the Moon. In almost all archaic myths and stories, the moon is associated with the principle of women. The moon, in relation to the sun (male principle), is the other (night) side of light.

As the moon is shown in its lunar phases, our story imitates this pattern. The story begins with a circle without light.

– The first symbol – The first act of the story – The initial distribution of the Gods – In the new moon (initial scenario), the tendency of the line towards separation is already visible. Dualism is presented as one of the first laws

– Second Symbol – Second act of the story – Conflict – In the full moon, the unfolding is complete (the part of the story where the Goddess moves to the moon). The moon is sliced both horizontally and vertically. The explication of the double motif is further amplified by their opposing tendencies. This symbol in a different distribution could be associated with the symbol of yin and yang, and many other symbols, which show the complementarity of duality, but the “conflict” does not allow us to do so and communicates two opposing ideas.

– The third symbol – The third act – overcoming the conflict – In the last symbol, the setting Moon, a cubist image is printed which, with horizontal and vertical connections, makes a systematization and actually provides a picture of the totality.

The story ends with a symbol of a circle that contains within itself the starting point of light. The end of this story is the beginning of the story of Human. This story of God, conflict and reconciliation is a necessary predisposition of every story since it contains three archetypal constituents of all stories, introduction, plot and unfolding.

Symbolic Abbreviation

The Pavilion / Sculpture shows a double symbolism, as is the nature of its existence

– Fluid form (waveform), stands in direct reference with the Goddess Oshun and her connection with the principle of water.

– The sculpture draws a volute. Volute, as a female principle that crowns the top of the column, and thus makes it “Ionic”.

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