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This year the Kosovo National Pavilion at the Venice Biennale will be curated by the duo Poliksen Qorri Dragaj & Hamdi Qorri.
Up to the present day, migration plays a significant role in the social development of Kosovo. It manifests itself in different forms, which differ in motives, manner and duration. The exhibition deals with a special form of migration, which illustrates that the migratory process is not completed with the simple move to another country. It often takes place in different phases, some of which end in a return to the home country. This return can be temporary, seasonal or permanent, but what they all have in common is that they ensure that connections and networks of different kinds are created between the homeland and the hostland. This form of migration can be described with the concept of translocality, a model of life that is becoming more and more prevalent – people living in multiple places at the same time, maintaining connections between hostland and homeland through communication, transfer of knowledge, information, material and immaterial goods.
In the course of the tense political situation and an ever-worsening marginalization of the Albanian population during the breakdown of the Yugoslavian Republic, hundreds of thousands of people sought refuge and protection abroad. In some cases, this flight would often last for decades without return.
During this conflict- and war-related migration wave in the late 1980s to the late 1990s, people fleeing found temporary arrival mostly in OECD countries, regulated in the form of a residence permit as politically persecuted persons. This legal status did not provide for a return to the homeland as long as the reason for flight had not been resolved and lifted. For many refugees, this represented a state of waiting and lingering, because the reason for migration was not a self-determined one – on the contrary, it was violently imposed from the outside.
The perceived locality of this migration group is the starting point for a spatial-philosophical narrative: transcendent locality. The concept of transcendence is variously described and defined from ancient to contemporary philosophy. Common to all meanings is that transcendence implies the process of crossing a boundary that separates two fundamentally different spheres.
For the individuals living in migration, the circumstance of not being able to return to their homeland for an indefinite period represented a deep caesura in their lives. On the one hand, the migrated individuals were physically present in the hostlands. superficially managing their everyday life and functioning in their new environment. But on the other hand, the emotional presence was a different matter: due to the conflict, attention and thoughts revolved around the abandoned homeland, fears and insecurities often did not allow the individuals to arrive in the hostland. They were located in an intermediate state between the physical present and the abandoned before. In this state, boundaries between the immanent being in the present and the transcendent being in the mind blur – the migrated individual is in a transcendent locality.
This project explores the impact of transcendent locality on immanent space in the short and long term: how the return of migrants after the war has affected Kosovar cities and how the social migration networks, which developed in the hostlands, impact on urban space in the form of translocal urbanism. It opens discussions on how urban planning can respond to these specific conditions in order to create urban resilience and liveable cities.
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The installation serves as a metaphor for the idea of transcendence – the physical representation of a subjective state. It consists of an outer and an inner frame made of aluminium, in the middle of which a further frame made of neon tubes is located. All of these are multiplied horizontally.
Fragments
The installation is modularly assembled from individual parts. In the context of the project, this is how the transcendent locality is also composed. Individual fragments of memories and stories from the homeland are complemented by new impressions and experiences in the hostland and embed the transcendent locality in it. Memories and new impressions mean that this place is subject to a constant dynamic and never reaches a final state.
In between
Through migration, the center of life is left behind and, with increasing time, is supplemented by a second home in the hostland – this can be seen as a gain. Translocality, however, also strengthens the state of being in between.
The exterior and interior frames pick up on this motif as fixed constructions, in which the feeling of being in between is picked up by the neon.
Multiplication
The subjective confrontation and reflection with one’s own transcendent and immanent location in the context of migration is repeated again and again and becomes a constant companion.
The installation as a physical construct and as a metaphor depends very much on the individual perspective. Viewed from a distance, fragments, layers and spaces in between result in a coherent picture and, conversely, dissolve into their individual parts with increasing proximity – similar to the transcendent locality, which transforms into translocality and no longer lets people leave the intermediate state of proximity and distance between two places of being at home.
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Këtë vit paviljoni i Republikës së Kosovës në Bienalën e Venecias do kurohet nga ekipi i arkitektëve dhe kuratorve Poliksen Qorri Dragaj & Hamdi Qorri.
Deri më sot, migrimi ka pasur rol të rëndësishëm në zhvillimin social të Kosovës. Manifestohet në forma të ndryshme, të cilat dallojnë për kah motivet, mënyra dhe kohëzgjatja. Ekspozita trajton një formë të veçantë të migrimit, e cila ilustron se procesi i migrimit nuk përfundon me shpërnguljen e thjeshtë në një vend tjetër. Shpesh zhvillohet në faza të ndryshme, disa prej të cilave përfundojnë me kthimin në vendlindje. Ky kthim mund të jetë i përkohshëm, sezonal ose i përhershëm, por e përbashkëta e tyre është se ato bëjnë të mundur krijimin e lidhjeve dhe rrjeteve të llojeve të ndryshme midis vendlindjes dhe vendit emigrues. Kjo formë migrimi mund të përshkruhet me konceptin e translokalitetit, një model jete që po bëhet gjithnjë e më i përhapur – njerëzit që jetojnë në shumë vende në të njëjtën kohë, duke ruajtur lidhjet midis vendlindjes dhe vendit emigrues përmes komunikimit, transferimit të njohurive, informacionit, të mirave materiale dhe jomateriale.
Në rrjedhën e situatës së tensionuar politike dhe një margjinalizimi të përkeqësuar të popullsisë shqiptare gjatë shpërbërjes së Republikës Jugosllave, qindra mijëra njerëz kërkuan strehim dhe mbrojtje jashtë vendit. Në disa raste, kjo ikje shpesh do të zgjaste për dekada pa kthim.
Gjatë kësaj vale të migrimit për shkak të konfliktit dhe luftës në fund të viteve ‘80 deri në fund të viteve ‘90, njerëzit që iknin gjetën strehim të përkoshëm kryesisht në vendet e OBZE-së, të rregulluar në formën e një leje qëndrimi si persona të përndjekur politikë. Ky status ligjor nuk parashihte kthim në vendlindje për sa kohë nuk i ishte dhënë zgjdihje dhe fund arsyes së ikjes. Për shumë refugjatë, kjo përfaqësonte një gjendje pritjeje dhe ngecjeje, sepse arsyeja e migrimit nuk ishte nga vetëdëshira– përkundrazi, ajo ishte e imponuar me dhunë nga jashtë.
Lokaliteti i perceptuar i këtij grupi migrues është pikënisja për një narrativë hapësinore-filozofike: lokalitet transcendent. Koncepti i transcendencës përshkruhet dhe përkufizohet në mënyra të ndryshme që nga filozofia e lashtë e deri në atë bashkëkohore. E përbashkët për të gjitha kuptimet është se transcendenca nënkupton procesin e kapërcimit të një kufiri që ndan dy sfera thelbësisht të ndryshme.
Për individët që jetonin në migrim, rrethana e moskthimit në vendlindje për një periudhë të pacaktuar përfaqësonte një cezurë të thellë në jetën e tyre. Nga njëra anë, individët e që migronin ishin fizikisht të pranishëm në vendet emigruese, duke menaxhuar në mënyrë sipërfaqësore jetën e tyre të përditshme dhe funksionimin në mjedisin e tyre të ri. Por nga ana tjetër, prania emocionale ishte një çështje tjetër: për shkak të konfliktit, vëmendjes dhe mendimeve që silleshin rreth vendlindjes së braktisur, frika dhe pasiguritë shpesh nuk i lejonin individët të arrinin në vendet e huaja. Ata ndodheshin në një gjendje të ndërmjetme midis të tashmes fizike dhe asaj të braktisur më parë. Në këtë gjendje, kufijtë midis qenies imanente në të tashmen dhe qenies transcendente në mendje mjegullohen – individi migrues e gjenë veten në një lokalitet transcendent.
Ky projekt hulumton ndikimin e lokalitetit transcendent në hapësirën imanente në periudhën afatshkurtër dhe afatgjatë: si ka ndikuar kthimi i migrantëve pas luftës në qytetet kosovare dhe si rrjetet sociale të migrimit, të cilat u zhvilluan në vendet emigruese, ndikojnë në hapësirën urbane në formën e urbanizmit translokal. Ai hap diskutime se si planifikimi urban mund t’i përgjigjet këtyre kushteve specifike në mënyrë që të krijojë qëndrueshmëri urbane dhe qytete të jetueshme.
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Instalacioni shërben si një metaforë për idenë transcendente – paraqitjen fizike të një gjendjeje subjektive. Ai përbëhet nga një kornizë e jashtme dhe e brendshme prej alumini, në mes të së cilës ndodhet një kornizë e mëtejshme e bërë nga tuba neoni. Të gjitha këto shumëzohen horizontalisht.
Fragmente
Instalacioni është montuar në mënyrë modulare nga pjesë të veçanta. Në kuadër të projektit, kështu është i përbërë edhe lokaliteti transcendent. Fragmente të veçanta kujtimesh dhe tregimesh nga vendlindja plotësohen me përshtypje dhe përjetime të reja në vendet emigruese dhe ngulitin lokalitetin transcendent në të. Kujtimet dhe përshtypjet e reja nënkuptojnë se ky vend i nënshtrohet një dinamike të vazhdueshme dhe nuk arrin kurrë një gjendje përfundimtare.
Në mes
Nëpërmjet migrimit, pjesa qëndrore e jetës lihet pas dhe, me kalimin e kohës, ajo plotësohet nga një shtëpi e dytë në vendin emigrues – kjo mund të shihet si gjë e dobishme. Translokaliteti, megjithatë, forcon njëtrajtshëm gjendjen e të qenit në mes. Kornizat e jashtme dhe të brendshme i trajtojnë këto motive si konstruksione të fiksuara, në të cilat ndjesia e të qenit në mes vërehet nga neoni.
Shumëzimi
Përballja dhe reflektimi subjektiv me vendndodhjen e vet transcendente dhe imanente në kontekstin e migrimit përsëritet dhe bëhet një bashkëudhëtar i vazhdueshëm. Instalacioni si konstrukt fizik dhe si metaforë varet shumë nga këndvështrimi individual. Shikuar nga larg, fragmentet, shtresat dhe hapësirat në mes rezultojnë në një pamje koherente dhe, në mënyrë të kundërt, shkrihen në pjesët e tyre individuale duke rritur afërsinë – e ngjashme me lokalitetin transcendent, i cili shndërrohet në translokalitet dhe nuk i lë më njerëzit të largohen nga gjendja e ndërmjetme e afërsisë dhe distancës midis dy vendeve të të qenit në shtëpi.
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Ekspozita e CCP-së do jetë e hapur nga 5 Korriku deri me 13 Korriku në hapësirat e Lapidariumit te Muzeut të Kosovës, nga ora 11 deri ne 16:00. Hapja e ekspozitës dhe e festivalit te sivjetëm do bëhet me 4 Korrik nga ora 18.00.
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The CCP exhibition will stay open from the 5th till the 13th of July at Museum of Kosovo Lapidarium, daily from 11am to 4pm. the opening of the exhibition and the festival will be on the 4th of July starting from 6PM.
“Negotiating storytelling: Heritage constructs as contested narrative devices” Manifesta 14 x Research training group DFG 277 Identity and Heritage 5.9.2022, 19-21h, Kino ARMATA. In which ways do heritage constructs operate as collective practices of storytelling? Which narratives do they behold or erase? How do narrative methodologies mold the collective memory?The Research Training group Identity and heritage from the TU Berlin, Bauhaus-Universität Weimar and the Technical Universities of Dessau and Erfurt have been engaging with the critical analysis of heritage constructions since 2016 through the research of specific case studies. During their visit to Pristhina, this panel discussion will bring into dialogue their experience within academic contexts with the on-going work by Manifesta on the resignification of Pristhina’s heritage and the role contemporary art has on contesting hegemonic narratives. If, following the words of Catherine Nichols, the writing of history should no longer be left to the historical sciences, What new role should academia play and which lessons are to be drawn from activism and contemporary art in producing better narratives?The panel will introduce the work of the research group from germany through 5 inputs that will be discussed as framed in the dialogue already started by Manifesta 15. Topics such as counteracting historical sources, acknowledging the biased emplotment of historiography, delegating interpretive authority, the destabilization of knowledge, the preservation of narratives and narrators, the institutional response to social changes, the understanding of heritage as social construction or the relevance of an expanded interdisciplinarity in the actualization of academic work will be addressed. How do we challenge historiography? How to tell stories otherwise?Research training group DFG 277 “Identity and Heritage” with Bekim Ramku, Director of Kosovo Architecture Foundation,Paul Domela, Head of Business, Manifesta Biennale and Alush Gashi, Kino Armata
The World Around Young Climate Prize is a project that will provide mentorship and support for the self-started projects of 25 under-25s whose practice is deeply invested in addressing climate change in their communities. We are open to applicants from a range of fields including architecture, engineering, agriculture, activism, digital design as well as other creative industries.
The idea of the prize is to support the generation born into the climate crisis in the most impactful way we can. After a global open call, The World Around will provide a bespoke academy and mentorship program led by some of the best designers. and thinkers of our time (our “Design Champions”) for a cohort of 25. Ultimately three finalists will be selected to present their work and ideas at our next major event at the Guggenheim Museum in New York in 2023.
I’m excited to share that the prize is now open for applications and you can also nominate someone directly. We have already received some inspiring submissions from all over the world, and I would love your help in connecting us to your networks to drive further nominations, applications and visibility for the project before the deadline on October 31st 2022.
20 projects in 16 countries, from Indonesia to Cape Verde
Geneva, Switzerland, 2 June 2022 – The Aga Khan Award for Architecture (AKAA) today announced 20 shortlisted projects for the 2022 Award cycle. The projects will compete for a share of the US$ 1 million prize, one of the largest in architecture.
The 20 shortlisted projects were selected by an independent Master Jury from a pool of 463 projects nominated for the 15th Award Cycle (2020-2022).
The Aga Khan Award for Architecture was established by His Highness the Aga Khan in 1977 to identify and encourage building concepts that successfully address the needs and aspirations of communities in which Muslims have a significant presence. Since it was launched 45 years ago, 121 projects have received the award and nearly 10,000 building projects have been documented. The AKAA’s selection process emphasises architecture that not only provides for people’s physical, social and economic needs, but that also stimulates and responds to their cultural aspirations.
Photographic representations of the 20 shortlisted entries will go on display in an exhibition in King’s Cross, London from 2 June to 30 June, as part of the King’s Cross Outdoor Art Project, coinciding with the London Architecture Festival.
Bahrain
Bangladesh
Cape Verde
India
Indonesia
Iran
Lebanon
Kuwait
Morocco
Niger
Palestine
Senegal
Sri Lanka
Tunisia
Turkey
United Arab Emirates
The shortlisted projects have undergone rigorous reviews, at the site of each project, by independent experts, including architects, conservation specialists, planners and structural engineers. The Master Jury meets again this summer to examine the on-site reviews and determine the final recipients of the Award.
The nine members of the independent Master Jury who selected the 20 shortlisted projects are: Nada Al Hassan, an architect specialising in the conservation of architectural and urban heritage; Amale Andraos,Professor at the Columbia University Graduate School of Architecture, Planning and Preservation; Kader Attia, an artist who explores the wide-ranging effects of western cultural hegemony and colonialism; Kazi Khaleed Ashraf, director-general of Bengal Institute for Architecture, Landscapes and Settlements, in Dhaka, Bangladesh; Sibel Bozdoğan, a Visiting Professor of Modern Architecture and Urbanism at the Department of the History of Art and Architecture, Boston University; Lina Ghotmeh, a French-Lebanese architect who leads a practice where every project learns from a vernacular past to build a new “déjà-là”; Francis Kéré, an AKAA laureate and internationally renowned Burkinabè architect who received the Award in 2004 for his first project, an elementary school in Gando, Burkina Faso; Anne Lacaton, founder of Lacaton & Vassal in Bordeaux in 1989, who focuses on the generosity of space and economy of means;Nader Tehrani, founding principal of NADAAA, a practice dedicated to design innovation, collaboration and a dialogue with the construction industry. For more information, please see the biographies of the Master Jury.
The Aga Khan Award for Architecture is governed by a Steering Committee chaired by His Highness the Aga Khan. The other members of the Steering Committee are Sheikha Mai Bint Mohammed Al Khalifa,President, Bahrain Authority for Culture and Antiquities, Manama; Emre Arolat, Founder, EAA – Emre Arolat Architecture, Istanbul; Meisa Batayneh, Principal Architect, Founder, maisam architects and engineers, Amman; Sir David Chipperfield, Principal, David Chipperfield Architects, London; Souleymane Bachir Diagne, Director, Institute of African Studies, Columbia University, New York; Nasser Rabbat, Aga Khan Professor, Massachusetts Institute of Technology, Cambridge; Marina Tabassum, Principal, Marina Tabassum Architects, Dhaka; and Sarah M. Whiting, Dean, Graduate School of Design, Harvard University, Cambridge. Farrokh Derakhshani is the Director of the Award.
For the full AKAA press announcement & links to all the project go to the Aga Khan Award for Architecture Link.
Kosovo Architecture Foundation is pleased to be a partner in the Manifesta 14 Western Balkans Project: Co-Producing Common Space and Shaping Formations of Solidarity in the Western Balkans and Beyond, co-funded by the European Union.
The International Foundation Manifesta, the initiator of Europe’s only nomadic cultural biennial and initiator of the Manifesta 14 Western Balkans Project, is collaborating with the City of Prishtina, Kosovo to develop Manifesta 14 Prishtina which will open its doors from the 22nd of July to the 30th of October 2022.
Organised for the occasion of the biennial, the International Foundation Manifesta has set up the Manifesta 14 Western Balkans Project which aims to enlarge the outreach and duration of the European Nomadic Biennial by developing a cross-regional collaborative platform including a vast array of cultural and civic activities across the region. An integral objective of the project is to open up the Western Balkan to create a project that breaks the confines of isolated cultural infrastructures and networks.
Liking architecture, urban planning, human rights, arts and culture, the Manifesta 14 Western Balkans Project proposes a plethora of diverse activities in 2021 and 2022 ranging from in-depth cultural research, expert talks and conferences to exhibitions and events across the region.
The partner network of the Manifesta Western Balkans Project promotes a politics of care between different communities in the Western Balkans and aims to stimulate broader cross-border network structures, where knowledge production and local expertise can thrive.
The activities in the development process will be the result of close collaborations between the International Foundation Manifesta, The Netherlands and nine partners from the Western Balkans: Kosovo Architecture Foundation (KAF); Post-Conflict Research Center Sarajevo (PCRC); RRITU (Termokiss) Prishtina; Museum of Contemporary Art (MoCA) Skopje; Quendra Harabel Tirana; APSS Institute Podgorica; NGO Aktiv Kosovo; Meydan D.O.O. (Hestia) Belgrade; Institute of Contemporary Art (ICA) Sofia; European Roma Institute for Arts and Culture (ERIAC) Berlin.
The Manifesta 14 Western Balkans Project has been awarded a Creative Europe Western Balkans grant by the European Union.
More information on the project and activities will follow.
See:
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Fondacioni Kosovar i Arkitekturës fton studentët dhe gjithë ata të interesuar në arkitekturës nga Kosova dhe jashtë saj për të kontribuar në organizimin e Festivalit të Arkitekturës në Kosovë që këtë vit do mbahet nga 13 Shtatori deri me 03 Tetor 2021.
Gjithë të interesuarit duhet dërguar një email të shkurtër me kontaktet e tyre në events.kaf@gmail.com deri me daten 3 Shtator.
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Kosovo Architecture Foundation calls all students and interested in architecture
from Kosovo and beyond to contribute in organizing the Kosovo Architecture Festival, which will be held from the 13th of September till the 3rd of October 2021.
All interested should send a short email with their contact details by the 3rd of September on events.kaf@gmail.com.
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Under the theme of “Alter-Nation” the 9th edition of the Kosovo Architecture Festival will start on September the 13th. As in the past editions the biggest event of its kind in the region will present before the local and international audience visionary professionals, up and coming architects, planners, designers, as well as Future Architecture creatives. The list of keynotes and the full program will be announced end of August.
Due to Covid-19 restrictions the event will be partially held online and all on site events will require for the audience members to be vaccinated or offer proof of compliance according to the Kosovo Ministry of Healthcare Covid-19 guidelines in effect from the 20th of August 2021.
The Kosovo Architecture Festival is jointly organized by the Kosovo Architecture Foundation and the biggest pan-European design platform the Future Architecture Platform.
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Nen temen e “Alter-Nation” edicioni i 9-te i Festivalit te Arkitektures ne Kosove do filloj me 13 Shtator. Sikurse ne edicionet e kaluara ngjarja me e madhe e llojit te vet ne regjion do prezentoj para audiences lokale dhe asaj globale profesionist vizionar, arkitekt te te ri dhe ne ngritje, planifikues urban, dizajner, si dhe aplikues te perzgjedhur nga platforma Future Architecture. List a ligjeruesve kryesor si dhe programi i plot do behet publik ne fund te muajit Gusht.
Pershkak te restriksioneve per parandalimin e Covid-19 nje pjese e eventit do mbahet ‘online’ kurse te gjitha ngjarjet tjera qe do organizohen me prezencen e publikut do ju kerkohet deshmia e vaksinimit apo deshmi tjera ne pajtueshmeri me udhezimet per Covid-19 te Ministrise se Shendetesise me efekt nga 20 Gusht 2021.
Festivali Kosovar i Arkitektures eshte organizim i perbashket i Fondacionit Kosovar te Arkitektures dhe platformes me te madhe Evropjane te dizajnit Future Architecture Platform.
2021 Call for Ideas: Landscapes of CarePresent your newest work and ideas at the events that form the core of the 2021 European Architecture Program.
Future Architecture Call for Ideas is more than a competition; it’s a platform, providing practitioners and conceptual thinkers with the opportunity to express their ideas and to be both seen and heard. A successful application would mean the opportunity to begin exchanging your projects and proposals with peers from all over the world, as well as with high-profile institutions including museums, galleries, publishing houses, biennials and festivals, all to assist you with finding avenues toward international recognition. Apply, and let the Future Architecture platform support you in elevating and sharpening your practice.
This year, we are inviting multi-disciplinary emerging professionals from all over the globe to apply with transformative projects related to our built environments. Send us your completed projects, your theoretical or conceptual propositions for spatial, social or cultural innovation, and join our discussion about the Landscapes of Care.
We welcome projects that address systemic change (prototypes and systems), site-specific cases (projects customized and adapted for certain contexts and tasks) and new alliances (cross-, trans- and multi-disciplinary projects exploring new design processes and methodologies).
Landscapes of Care
Contemporary societies face dynamically changing challenges. The extractive and consumptive logics of the system create globalised issues, impacting different regions in real time. Geopolitical boundaries protect economic returns above and beyond protecting social interests while the recent pandemic spreads, and new territories and ecologies are rearranged according to logics of migration which are inextricably connected to the flow of financial wealth. Confronting this scenario, new regional initiatives question political divisions and corporate interests. Fluid boundaries traced by local organisers and citizens emerge to fill the spaces as yet un-commodified by the free market; spaces of exception free from the control of policy. The flow of persons generates new modes of neighbourhood living and political commitments that demand care, empathy and awareness of the other. The recent health crisis has challenged entire societies, demonstrating how they can effectively, rapidly and mostly peacefully take action. Designers, architects and urbanists see themselves handling social and political issues, rather than simply the spatial and formal aspects of a project; facing up to the challenge of transforming decades of self-complacency into active practices dealing with the politics of relations, of local communities, of energy flows, and of ever-changing urban dynamics.
“Landscapes of Care”, the proposed theme for the 2021 edition of Future Architecture platform, will explore the dynamics of solidarity and collective self-organisation, the networks of trust working at the neighbourhood scale, and transitional common spaces and activities. The edition aims to trigger dialogues around the challenges of a society facing up to the myths of endless growth, the glorification of borders and national identity, and the hardships labelled as austerity by capitalism.
Future Architecture’s board will invite selected applicants to present their projects at the annual Creative Exchange event in February 2021. The CEx2021 will take place via the online format of the Future Architecture Rooms within the Common Room – an unconventional virtual environment for presentations, lectures and matchmaking. The platform will cover the cost of the preparation and delivery of video content for 25 selected applicants. Selected applicants will then be invited to participate in activities within the European Architecture Program, implemented by the institution members of the platform across Europe. The platform will cover the costs of travel (from within Europe) and accommodation needed for engagement in public events, or production costs for online events, and will provide an honorarium to the participants that they invite to contribute to their events.
All applications will be published on the website of the Future Architecture platform. The applications will be judged by the Future Architecture board of members, the Future Architecture alumni, and members of the public through online voting.
Timetable and Deadlines
Eligibility
The call is open to emerging architects, landscape architects, urban planners, designers, engineers, artists, curators, people involved in architectural communication and anyone whose professional work is focused on the future of architecture and living environments.
To be eligible as an emerging creative for the Future Architecture Platform, applicants must meet the following criteria:
The open call starts at 12.00 am CET on 17 November 2020, and all entries must be received by 6 January 2021. Multiple entries are permitted as an individual or as a collective.
Future Architecture 2021 Program >>
Call for Ideas general inquiries
info@futurearchitectureplatform.org
Call for Ideas press inquiries
Maša Špiler, PR manager
masa.spiler@mao.si
