A video-essay: Biomimicry acts as an undisputed guiding thread in many design and creation processes and creates a certain harmony between built and grown environments through its basis, consisting of the sophisticated shaping of nature. But why only imitate the forms of our living environment when we can also take the functioning of cross-global communication, which fauna and flora have refined for millions of years, as a model to transform our social coexistence into a living together and for each other?

It is a fictional film focusing on the experiences of queer people in the general public and public toilets with a twist. Generally, queer people feel uncomfortable in the streets and public places in Baku including the restrooms. There are many unfortunate cases of physical attacks, harassment, and hate crimes. Baku’s streets ARE NOT SAFE for queer people. But, the movie takes a different look at the issue and tells a story of a gay man using public toilets as cruising areas.

Bolnisi - is a magical city in Georgia, that has a very interesting historical past. But that's it. The present is frozen and all the people are waiting for something to happen.

It took more than a decade of community-led advocacy (1985-1998) to convince leaders to transform the defunct Port Authority terminal into a park. Through their dedicated participation and many years of public engagement, Brooklynites inspired the idea that the park should feel democratic and reconnect people with the riverfront. After opening in late 2021, rather than speaking about the design himself, Michael Van Valkenburgh wanted to know what people think about the park and how they use it. The user experience is what makes the design, and so Spirit of Space spent a week observing the many experiences and chatted, completely at random, with people at various places within the park. Through these many observations and insights with the public, the design intention was revealed. “I was taking care of this elderly gentleman who lives up on Columbia Heights, and I was describing to him what was happening on the piers. He had a big picture of the piers with all the warehouses on it from when he first moved here…and he was in his 80’s, he was blind and sort of housebound. And, once they opened I said I really want to bring you out of the house, take you to the park, and take your shoes off and let you walk on the grass. That was a really special moment, to be able to give that to him…You think, this is probably the only opportunity this man is gonna have to come put his bare feet in the grass after living in Brooklyn all these years.”

The short movie 'Humansize the city' catches a glimpse of the profane experience of a person within the city frame. Even so, it refers to the spirituality hidden underneath the surface. It perceives the city inhabitant as a human being whose life consists of the performance of everyday human acts rather than the grandiosity of celebration festivals. Each human movement or gesture embodies a ritualistic nature and seeks a place to be expressed or manifested within the urban environment. The film questions how even underlooked architectural and urban spaces give meaning to a person in his everyday struggle in search of it.

The film documents the journey of a coat worn by various people.

Attention economy is the largest and most disruptive innovation in both the information and in marketing. Smart homes are ubiquitous, connected devices that enable people to monitor, and that which is exploited by a large number of people. Attention economy is, therefore, revealed in the transformation of the public sphere into a panorama of relationships of things, of affects, of intentions. The singular constellation of social relations is the ‘state of Things’. It is also, in a way, a mode of production, which throws light on and gives expression to the intensities of this social process and appears in it a kind of objectivity and a mode of definition so that the political process may more appropriately be regarded as a kind of activity. A space is thus less a specific place or a general archetype of entities, and more a particular constellation of relations and a particular object. A space is thus, one in which, what is stored in the ‘actual’ is also what can be transformed into a modulating effect of that, and the inclusivity of the non-human perspective, be it nature or machine.

First episode of a mini series about Belgian contemporary architecture commissioned by Wallonie-Bruxelles Architecture in the framework of EUMiesAward 2022 . Let’s discover the Trinkhall Museum, the outsider art museum in Liège designed by Atelier d’Architecture Beguin-Massart.

Our short film investigates matters of urban spaces and their perception and critically approaches their potential for the adaptation of new residents. The particular potential of becoming a new or a second home to each individual. How easy is it to achieve this effect, and how can we measure this city's quality? Can the urban landscape define notions of home, and what properties of the city's spatial organization can create a homelike atmosphere? The notion of home is very personal to everyone, it is hard to quantify, but the concept is united by a strong shared sense of values. Home means a friendly place, a comfortable one, accessible and open. Such a perception can contribute to the natural development of both young people and adults. This story is about two friends who recently moved from their native Kyiv to Berlin and Warsaw and faced the need of adaptation to the new context, both cultural and urban. We reflected on the process of interaction with the new urban environment, up to the point where the new city and its architectural landscape started to shape the sense of a home.

The film explores where the boundaries of inclusive design are and how they can be further extended by setting pre-determined barriers. The project fictionalises the story of a traveler without knees and how he lives in a modern city. In the process of social discipline, it is a necessary thing to deconstruct the single-mindedness and wishful thinking of the designers in a playful way. In the process of making the film, I tried to identify similarities in the symbolic forms of everyday life and intertwined them with ''poor images'' to examine the tiny narratives of fragmentation and chatter from the position of a spectator.