Vladimir Milenkovic Mariela Cvetic University of Belgrade, Faculty of Architecture, Belgarde, Serbia 269
Today, in ongoing cyber culture, much different from the period of more than
half century ago, it is possible to equalize real, virtual and illusional. At first glance
it seems that we are dealing with evolution, experiment, imagination, intuition, or
constant search for answers on questions that are constantly changing form. To the
world evolution is presented through a sequence of forms with visible and invisible,
small and continuous differences within a type. Experiment also has a limited scope
in which it takes place and shows results. Imagination is acknowledged by the power
of images, and intuition seeks for a form that would present in the best possible man-
ner vague essence. What does expectantly unexpected actually mean in architectural
design? Is predictable necessary any more?
backwards/ back-words^1
Naturalness. There is always a question about naturalness in the art process that
considers believing in romantic notion of instinct and trying out all the options until
“the one, the only true one” comes along.
As the direct insight in the matter of things, as the category, historically speaking,
inspiration was developing from subjective, overwhelming observation (pre – mod-
ernism), then acknowledging obvious truth on which rational knowledge is based^2
(modernism), into position of hypothesis created by quotation (or montage), and
thus became unstable, open and changes prone – to finally (in post-modern) notion
of intuition is created by rationality.
In any historical moment, intuition is (was) possible to occur any place: equally
in library, in the embrace of and under the awake eye of all theories, as well as the
histories, but also on the cracked plaster wall or “wall smudged with various stains”
(method followed by apprentices after, perhaps never read, the instruction of Leonardo
Da Vinci in his treatise on painting, point 69. On ways how to awake and stimulate
mind for various discoveries.).
Always: the one who teaches does not give any advices or recommends no tech-
nique that one does not use by oneself.
Unity of opposites (τεχνε – skill, λογος – knowledge). history of new materials in
art is history of 20th century: versitale methods that were used to incorporate new
materials in artistic work until the technological revolution – are the core of art work
of the student studying architectural design (ontogenesys = philogenesys).
Numerous possibilities of technology did not and can not alienate from art itself.
From xerox art as the strategy for dematerialisation of the art piece to vr as
strategy of electronic simulation of image (sound...) and connecting technology
with human being.
Ultimetly, technology, by definition, has expiration period: to stay useful it needs
to be new, updated. New computer multimedia uses old media as its basic material,
while software becomes avantgarde. (metamedia, lev manovich)
Skill in knowledge or the skill bears lust for skill. Technology allows sometimes to
be left behind in order to become familiar with the need to develop manual skills