Mila Mojsilovic, Vladimir Milenkovic

DOI Number
First page
Last page


Drawing on the idea that abstraction of architectural design is repeatedly demonstrated by new concepts, and that the idea of the design contains a fragment of its internal laws, the paper raises the question of alteration of forms towards new time- space categories. In contrast to Euclidean geometry based on the continuity of geometric forms, fragmented forms draw upon deformations and variability, operating in the limit zones, for the design, zones of the greatest creativity and potentiality. A new understanding of reality shaped by digitization of all systems has created the basis for forms of self-organization, openness, contingency, and emergence. What we have before us is basically a new aesthetics that goes beyond the horizon of visible in a way that allows the whole world and all its parts to be seen in a completely new, immaterial way. This means that architectural forms appear in the visibility zones, together with the forms of their systemic dislocation.

Full Text:



J. Armitacge, "From Modernism to Hypermodernism and beyond: An Interview with Paul Virilio". Theory, Culture & Society, 16(5-6), 1999, pp. 25-55.

G. Bataille, Visions of Excess: Selected Writings, University of Minnesota Press, 1985.

J. Berger, Ways of Seeing, Penguin 1990.

M. Blanchot, The Infinite Conversation, Minneapolis: University of Minnesota Press, 1993, pp. 308.

R. Brain, “The Romantic Experiment as Fragment”, in Robert M. Brain, Robert S. Cohen and Ole Knudsen, eds., Hans Christian Ørsted and the Romantic Legacy in Science, Springer, Dordrech, 2007, p. 227.

G. Deleuze, Two Regimes of Madness Texts and Interviews 1975–1995, MIT Press, 2006, p. 160.

M. DeLanda, "Deleuze, Diagrams and the Open-Ended Becoming of the World." In Making Futures: Explorations in Time, Memory and Becoming, edited by Elizabeth Grosz. Cornell University Press, 2000.

Ž. Delez, Razlika i ponavljanje, Fedon, 2009.

Ž. Delez, K.Parne, Dijalozi, Fedon, 2009, p. 55.

K. Frampton, Studies in Tectonic Culture, Cambridge, Massachusetts: The MIT Press, 1995.

M. Heikkilä, At the Limits of Presentation: Coming-into-Presence and its Aesthetic Relevance in Jean-Luc Nancy’s Philosophy, Peter Lang GmbH, Internationaler Verlag der Wissenschaften 2008.

S. Jeska, Transparent Plastics: Design and Technology, Basel: Birkhäuser, 2008.

B. Kolarević, Architecture in the digital age: design and manufacturing, Spon Press, New York/London, 2003.

P. Lacoue-Labarthe, J.L. Nancy, The Literary Absolute: The Theory of Literature in German Romanticism, SUNY Press, 1988.p.44.

D. Mellamphy, “Fragmentality (thinking the fragment)”, Dalhousie French Studies Vol. 45 (Winter 1998), pp. 83-98

M. McLuhan, Understanding Media The Extensions of Man, The MIT Press, 1994, p. 146

B. Massumi, “Sensing the virtual, building the insensible”. From Hypersurface Architecture, edited by Stephen Perrella, Architectural Design (Profile no. 133), vol. 68, no. 5/6, May-June 1998, p. 16

V. Mosco, The Digital Sublime: Myth, Power, and Cyberspace, MIT Press, 2004.

J.L. Nancy, The Sense of the World, Univ Of Minnesota Press, 2008, p.126.

G. Nicolis, I. Prigogine, Exploring Complexity, W.H. Freeman, New York 1989.

P. Osborne, Anywhere or Not at All: Philosophy of Contemporary Art, Verso, 2013, p. 58.

A. Picon, “Architecture and the Virtual Towards a new Materiality?”, Praxis: Journal of Writing + Building (1990), p.114-121.

P. Rabinow, “Beyond Ethnography: Anthropology as Nominalism” Cultural Anthropology 3(4):355– 364.

J. Rajchman, Constructions, MIT Press, 1998, pp.18-20.

J. Till, Architecture depends, The MIT Press, 2009, pp. 55-61.


  • There are currently no refbacks.

ISSN 0354-4605 (Print)

ISSN 2406-0860 (Online)