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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Designing with Flavors | The Architect’s Sensory Palette

Design Inspired by the 5 Tastes of Architecture

In the world of design, innovation knows no bounds, and creativity is limited only by the imagination. Today, we embark on a unique journey—a journey that transcends the conventional boundaries of architecture and ventures into the realms of taste and sensation.

‘The Grammar of Taste’ is a project that brings together two seemingly distinct worlds: the art of architectural design and the sensory delight of culinary mastery. Here, we explore the intriguing parallels between flavours and forms, where the five primary tastes of cuisine find their architectural counterparts in the five ontological elements of design.

Join us in a realm where spaces become dishes, and designs become flavours. We invite you to savour not only the culinary creations but also the very essence of design itself, where innovation meets inspiration, and creativity knows no bounds. Welcome to ‘The Grammar of Taste,’ where taste and architecture merge to create an unforgettable experience for the senses.

Symbolism Unveiled
Decoding the Language of Point, Line, Triangle, Square, and Circle

In the realm of culinary delights, flavours come to life through the harmonious combination of five primary tastes: Sweet, Salty, Sour, Bitter, and Umami. Yet, in the world of architecture, a similar culinary-inspired framework can be applied to create spaces that tantalize the senses. This is the intriguing concept we explore in the fusion of restaurant design and the five ontological elements of architecture: Point, Line, Triangle, Square, and Circle.

In the lexicon of gastronomy, the notion of ‘spicy’ evokes a unique and exhilarating sensation that doesn’t conform to the conventional classification of tastes. However, for our culinary architectural endeavour, we’ll embrace ‘spicy’ as an essential ingredient in the recipe for creating spaces that leave a lasting impression.

Unlike a home dining area, a restaurant is no ordinary place for experiencing tastes. Through its architecture, a restaurant should transcend the ordinary, elevating its purpose and embodying its unique essence. It should resonate with the very elements that define its existence.

Much like the artistry of a master chef who crafts delectable dishes from a palette of flavours, architecture draws from a foundational palette of five ontological components. Each of these elements holds the potential to be as versatile and profound as the five tastes of cuisine.

Point

In the architectural realm, the ‘Point’ serves as a singular focal element, akin to the tangy ‘Sour’ flavor that awakens the taste buds. Just as a zesty twist of citrus can invigorate a dish, the ‘Point’ in design adds vibrancy, directing attention to specific details that deserve recognition.

In the world of art and philosophy, the ‘Point’ transcends mere physicality and ventures into the realm of abstraction. Wassily Kandinsky, a pioneer of abstract art, extolled the ‘Point’ as a spiritual element. For Kandinsky, the ‘Point’ represented the beginning of a journey, a singular mark that could evoke profound emotions and ideas. Much like the philosopher Immanuel Kant’s notion of the ‘noumenon,’ the ‘Point’ exists beyond immediate perception, serving as a gateway to deeper realms of thought and aesthetics.

Line

The ‘Line’ in architecture serves as the structural backbone, much like the bitter undertones in culinary creations that provide depth and contrast. It offers guidance and definition to spaces, similar to how bitterness enhances and balances flavors in a dish.

The ‘Line,’ an elemental force in architecture, resonates deeply within European artistic traditions. Explore the works of Dutch artist Piet Mondrian, known for his contributions to De Stijl, an art movement that sought to distill visual language to its fundamental elements. Mondrian’s iconic abstract paintings, characterized by grids of lines, epitomize the movement’s quest for visual harmony and purity. Much like the philosopher Georg Wilhelm Friedrich Hegel’s dialectical process of thesis-antithesis-synthesis, the ‘Line’ in Mondrian’s art symbolizes the synthesis of opposing elements into a unified whole.

Triangle

Architectural ‘Triangles’ embody equilibrium and harmony, akin to the ‘Umami’ taste in cuisine that enhances overall flavor. Just as a dash of soy sauce elevates a dish, the ‘Triangle’ element in design introduces a sense of balance and vitality to a space.

The ‘Triangle,’ symbolizing balance and harmony, resonates artistically with the architectural principles attributed to the ancient Greek mathematician Pythagoras. Pythagoras had an enduring fascination with the number three, considering it the first true number and a symbol of cosmic harmony. In his teachings, he emphasized the triad as a fundamental principle, where the One represents the origin, the Two embodies wisdom, and the Three signifies the ultimate harmony. The ‘Triangle,’ composed of the
number three, evokes the mystical and stable nature cherished by Pythagoras, symbolizing the divine union of the One and the Two.

Square

The ‘Square’ in architecture embodies stability and order, much like the ‘Salty’ essence in food that adds structure and balance to flavors. Similar to how salt enhances and balances the taste of a dish, the ‘Square’ element contributes depth and sophistication to design.

The ‘Square’ in architecture encapsulates principles of stability and order. Just as the German architect Walter Gropius championed the Bauhaus movement’s emphasis on geometric purity and functional design, the ‘Square’ symbolizes the pursuit of precision and equilibrium in architectural composition. In the artistic domain, German painter and art theorist Josef Albers delved into the profound elegance of the ‘Square,’ as evident in his iconic ‘Homage to the Square’ series. Within our architectural narrative, the ‘Square’ serves as the meticulously structured canvas upon which life unfolds—a testament to the enduring quest for perfection and harmony.

Circle

The ‘Circle’ in architecture symbolizes unity and continuity, much like the sweet ‘Circle’ that completes a delectable dessert. The ‘Circle’ element seamlessly connects elements, providing a sense of completeness and satisfaction.

The ‘Circle,’ mirrors the philosophical concept of the eternal and the infinite. It invokes the ideas of artists who believed that circles represented the spiritual and the cosmic. In architecture, the ‘Circle’ serves as a symbol of completeness, echoing Plato’s philosophy of the eternal and unchanging Forms. Our architectural ‘Circle’ encompasses the boundless potential of design, inviting us to contemplate the infinite possibilities that arise from unity and continuity.

The Art of Senses | Where Geometry Meets Gastronomy

In this exploration of architectural symbolism, we are reminded of the profound connections between art, philosophy, and design. Each element—Point, Line, Triangle, Square, and Circle—transcends its material form, inviting us to delve deeper into the realms of creativity, perception, and philosophy. Just as artists and philosophers have sought to express the ineffable through their chosen mediums, our architectural
elements beckon us to ponder the profound questions of existence and aesthetics in the spaces we inhabit.

The Bar

The bar wall, mirroring the intricate design of the ceiling, seamlessly extends the mosaic of our architectural ideas—Point, Line, Triangle, Square, and Circle—across both horizontal and vertical dimensions. This harmonious continuity echoes the philosophical concept of unity in duality, where the earthly experiences at the bar harmonize with the celestial grandeur above. It’s a visual and conceptual testament to our dedication to crafting a holistic dining experience where every element, from floor to ceiling, is meticulously choreographed to delight the senses and inspire the soul.

Immerse yourself in the rich symbolism of architectural elements, where ‘Points’ punctuate moments of focus, ‘Lines’ lead your gaze, ‘Triangles’ evoke balance, ‘Squares’ signify stability, and ‘Circles’ encompass unity.

Amidst our architectural masterpiece, a modernistic Red Sculpture—a trio of interconnected boxes—stands as the embodiment of the ‘missing link,’ adding a tantalizing touch of spice to our sensory symphony. This sculpture enjoys its own illuminated enclave, inviting contemplation and curiosity, as it symbolizes the unexpected and unifying ‘spicy’ element within our design.

The ceiling serves as the grand culmination of our architectural culinary masterpiece—a vibrant mosaic where all the ‘flavors’ seamlessly meld together, crafting a symphony for the senses. This magnificent canopy represents the pinnacle of our design narrative, akin to the ultimate dish on our menu of design.

The Dualism

In our restaurant, every design element tells a story, and the dualism between wood and stone is a captivating narrative that separates and unites spaces with both visual and functional finesse. As you traverse our tiled walking paths, the cool, grounding touch of stone beneath your feet guides your journey. Step into our dining area, and the warm embrace of wooden floors welcomes you to a space where culinary magic unfolds. This deliberate contrast of materials not only visually defines zones but also enhances the overall dining experience. It’s a harmonious dance between the rugged strength of stone and the inviting warmth of wood, illustrating the perfect blend of aesthetics and function that defines our architectural innovation.

Our restaurant’s innovation extends beyond the culinary realm, where five grand ‘Menus’ transcend their conventional role. These towering structures, each representing one of our architectural elements—Point, Line, Triangle, Square, and Circle—embrace a dual purpose. While they symbolize the heart of our ‘Grammar of Taste’ design, they also function as elegant privacy separators, gracefully delineating the bustling walking paths from the serene dining area. These monumental installations not only invite you to explore the rich symbolism within our space but also offer a sense of seclusion and intimacy, creating a uniquely immersive dining atmosphere that balances openness and privacy in perfect harmony

Within our architectural wonderland, the final two ‘Menus’ serve as dedicated separators for our exclusive conference room area, tailored for discerning business meetings and gatherings. These distinctive zones are not only defined by the striking presence of these architectural marvels but also enhanced by the elegant integration of glass paravans that seamlessly connect with the ‘Menus.’ In this unique enclave, the fusion of aesthetics and purpose redefines the art of corporate dining and collaboration.

Moreover, in the interplay between the ‘Square’ and the ‘Circle,’ there lies a profound symbolism that resonates with our commitment to business excellence. The ‘Square,’ with its structured precision, embodies the ideals of organization and order—the very foundations of successful enterprises. Meanwhile, the ‘Circle’ represents unity, inclusivity, and the constant flow of ideas—a reminder that innovation and collaboration are at the core of our business ethos.

This project is conducted in collaboration with JALP London LTD

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“I still have no way to survive but to keep writing one line, one more line, one more line…”
― Yukio Mishima

“Possessing by letting go of things was a secret of ownership unknown to youth.”
― Yukio Mishima

“Only knowledge can turn life’s unbearableness into a weapon.”
― Yukio Mishima, The Temple of the Golden Pavilion

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In the symbolic representation of interior elements, number three represents the basic form and structure of the world as a whole. It represents the relationship between thesis and antithesis, as well as the integration of these opposing forces. The triangle is the fundamental shape of all surfaces and represents the first surface or the first rational world.

The presence of the number two represents basic dualities and the concept of doubling. This can be seen in the two libraries, which represent the duality of knowledge and its storage.

The door, as a single constituent, represents the gateway to the “further” interior. It serves as a dividing line between the outside and the inside and symbolizes the transition from one state or place to another.

The construction and deconstruction of these interior elements is a process of creating and dismantling structures and systems. It represents the building and breaking down of the physical and symbolic structures that make up the world. This process is essential for growth and change, as it allows for the creation of new structures and the modification of existing ones.

Overall, the symbolic representation of interior elements reveals the fundamental principles and dualities that shape our understanding and experience of the world. It highlights the importance of structure and balance, as well as the role of transitions and change in shaping our reality.

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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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• For further symbolic and theoretical readings, take a deeper look into Phantasmagoric Syntax

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