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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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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The focus follows the visual suggestions of the exterior. The exterior has its own coherent, or incoherent narrative.

The focus is on the Center – the Beginning. The center is the cause – the Reason.

The causes are complex in nature.

In their form, the causes start from one – the principle.

According to their content, the causes are presented as many.

The tripling of choices as a bridge between conception and manifestation.

Triangle – denotation of the first geometric body.

Focus follows example or anti-example. Balance, or distortion. The point at which the expected ideality exists in a distorted version.

The distortion of the form distracts the view to the ceiling – the sky – the main motif – the first principle – the sun.

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The chronological order that led this project, and which defines the discourse between humans and their surroundings looks like this:

cosmos-city-human/thought

All three can be said to be complicated entities, as well as ontological beings; however, contrary to the cosmos, which represents infinite space, and a human, which represents infinite complexity, the city remains the only one that can be sensibly cognizable, and as such will be used as modus operandi of the heuristic game of cognition.

It should be noted that the city is not viewed as the existence of separate, specific representations, but as a sub-existence of abstract thoughts. In this context, the city becomes a miniature symbol of the cosmos and a colossal representation of a human. In order to reduce this hypothetical cosmos to the level of a city representation, we had to articulate the ideogram of the cosmos as a manifestation of a conceptual idea. Since the composition of this idea is of irregular shape, archaic formulas and urban mythologems that are still evident in the area of architectural contemplation had to be used. The dodecahedron, as one of the most suggestive symbolical representations of the cosmos, found its place in the phenomenology of the cosmos and remained, as such, deeply rooted in history. In order to restore the glory of the dodecahedron, but also move it to the context of modern thought, we decomposed/deconstructed its formal shape and left it for the human logical/pre-logical (observational) apparatus, led by the innate human need to put things back into their initial (harmonic) order, to compose it back to its original shape. These tendencies towards unfinished, suggestive sculptural forms have always driven the need for upgrading, developing and reworking, which is needed for understanding anything, including the understanding of the cosmos/city. However, although there is awareness about the magnitude of the cosmos, there is no awareness about the effort and the persistence of the cosmos which has been working for 13.8 billion years to create what we today call a conscious being. This is why we decided to represent the concept of the Cosmic Calendar via the only medium that is big enough to express it and explain it – via architectural work. We did this through 12 ideograms which represent the time distance between the Big Bang and modern man, and the changes that marked the stages of this long journey. We hope this constellation of various cosmic morphemes sends a moral and ethical message but also demonstrates a strong analogy between the maturation of the cosmos, city, and a human.

POSTULATE II SALUTATION OF A CITY

I have always liked the idea of the same edifice in two cities (The Statue of Liberty, Arc de Triomphe, etc.) It is a strong poetic image of two cities saluting each other, of their mutual respect and joint perseverance through years and centuries. I have never, however, heard of one city saluting all the others through symbolic respect for their existence, perseverance, and, ultimately, their shared ideas. The realization of this idea would be, naturally, almost impossible to conduct due to the fact that the edifice to represent the salutation and symbolic respect would be infinitely complex. We have, however, developed an idea of one city saluting all the others through something that exists everywhere, but is still authentic. This “something” is Constellation Orion one of the most famous constellations that can be seen from almost everywhere in the World. Our installation is the reflection of this constellation on Earth the same reflection that exists in the Sky and thus in every city. Copenhagen, through this representation of nature, opens, through a big, hieratic salutation, a new mono-dialogue with its brothers, neighbours and other ontological and mythical beings that compose the essences, but also the physical constitutions of other cities.

POSTULATE III INVERSE ARCHITECTURE

Modern architecture is mostly based on an architectural piece of work and an accompanying text, which is, in most cases, just a technicality or formal didactics of architectural composition’s functional parts. A smaller, but more valuable part of architectural work is based on the principle that promotes architectural work as a physical manifestation of either an idea or a concept with a theoretical explanation which serves to explain the idea and make it clearer for an observer. However, we have turned the process from the architectural work theoretical explanation observer model to the theoretical concept observer-architectural work model, in which architecture is used as an instrument for a description of the textual concept.

THE ARCHITECTURE OF Metalinguistics

Language, as a complex system, has come to the moment of introspective analysis and parsing via paralanguage constructions in hypothetical situations. It is a known fact that every science, especially science that is completely abstract and has exclusively an instrumental role out of which it can’t expand such linguistics, can’t allow itself to get to the moment in which it uses itself for defining itself as these patterns lead to the meaninglessness and to the creation of new undefined patterns. In order to expand these mostly limited experimental frameworks, we came up with the idea of introducing, or transposing, architecture as an instrument for describing language. When we speak about language, we refer to it in both its narrow (linguistic) sense and its idiomatic sense which is used for understanding, explaining and creating any (artistic) piecework. If we start off with a canonical pragmatic language expression and turn it into a formal shape, we would get something like this…

We would get a linear-time system which is composed of the concepts separated by pauses. This formulation has been the main problem of linguistics and cognitive sciences that study it for some time now. In this text, we won’t be dealing with grammar rules that connect these concepts and connect them into a coherent whole. We’ll deal exclusively with ideas that condition and define the existence of these concepts as necessary for the articulation of our thoughts through rhythmic units, e.g. sentences, dialogues, etc. In order to explain modern sub-linguistic models that are used by analysts, and theorists of language (both linguists and art critics), we have to go back to the “Universal grammar” which was studied by the linguists of the 17th and 18th centuries who divided language into deep (non-conceptual) and surface (phonetic) structures. They tried to find the connection between the two and thus create a single linguistic system. Although this theory has been abandoned and replaced with structural linguistic theories whose methodological approach managed to create progress in the systematization of language, the idea of the existence of 2 parallel language systems remained. The remainder of this story can easily be transferred to Freud and his theoretical essay on “slips in speech and writing” which was later used by Derrida in his deconstruction (not deconstructionism), and then in all sub-linguistic models well-known and used. If we would try to turn these modern sub-linguistic systems into a formal shape, they would look something like this…

Concepts are unclear, their continuity isn’t evident, and neither is their genesis (except for the assumption that complexes and neurosis influence their constellation. They exist below the surface of “surface” language and dictate its form and manifestation.

The error in this entire idea is based on the idea that the entire language (spoken, written, idiomatic, etc.) being suggested exclusively by sub-linguistic elements which are, again, defined solely by the personal unconscious and thus relatively individual can’t be a subject to any universalities although universalities were a starting point for Universal grammar. Although the argument stands that a big portion of our personalized language is influenced by personal, unconscious sub-linguistic creations, it seems rather limiting and restrictive, especially with today’s knowledge in psychology, psychiatry, etc. which negates this absolutistic idea to a certain degree.

In order to gain a perspective different from the one that is commonly accepted, we need to free ourselves from a two-dimensional view of the system in which sub-linguistic variables are infinite and hard to understand, and thus difficult to describe. The only solution to offer some kind of explanation is introducing a third modus (inverse sentence model), which has a direct, vertical influence on the previously mentioned linear-time form, whose purpose isn’t a didactical explanation of fragmentary meaning, but a rather pre-articulate-ed disposition of explaining the whole; which is perceived in a single moment with full intensity, is always present, does not have a strict beginning, middle or end and thus does not condition concepts in their linking properties, but is embedded in their pauses and exists in the imagery (non-discursive) form and has the same influence as personal sub-linguistic authorities. This model, as you can conclude, is not based on the personal conscious or personal unconscious (where the number of discursive and non-discursive concepts and other things that influence language is infinite, or where knowledge and understanding of the interlocutor, writer, artist, etc. are required). It is based on the collective unconscious or personal superconscious-ness which is the only sphere that is dominated by generalizations that have a direct influence on every person, and yet, a small number of people are aware of their influence on sentences, dialogues, texts and even epochs. However, this system, as already mentioned, can’t be explained via instruments of language, but has to be projected in three dimensions, especially because of the influence the primordial representations have. It would look like this…

In our case, we decided to select 12 universal primordial representations, although there are many more but still fewer than individual representations. The advantage of using these universalities lies in the fact that people have the same or very similar relationships to them (except in the cases of extremes). Another advantage is the fact that the relationship itself exists and is excluded from many scenarios in which an observer or an interpreter finds himself in the situation to choose affirmation or negation because the representation excludes him. When we relate these three patterns, we get a system that can look like this…

The goal of this text and, at the same time, the goal of this sculptural-archi-tectural piece of work is awakening and enriching language that we use on daily basis, but are still not aware of grand archetypal implications which influence it and which add ethical and esthetic values to even most banal sentences. We have already mentioned the possibility of applying this model to artistic idioms other than language and this would function by means of explaining artists’ aspirations, e.g. their personal tendency towards specific archetypes among those most common in their language system. This would make the analysis of any text, sculpture, or image, as well as of an architectural piece of work much easier and more straightforward.

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