Blade Runner 2049 & HyperModernism<\/a><\/p>\n\n\n\nseason 5<\/strong> (2026): … loading<\/p>\n\n\n\nSF(a) Goals<\/h3>\n\n\n\n SF(a) \u2013 Society. Film. Architecture<\/em> is designed as a cross-disciplinary workshop<\/strong> combining didactic elements<\/strong> (public lectures, screenings, debates) with practical activities<\/strong> (graphic workshops, poster design, creative writing). The programme aims to:<\/p>\n\n\n\n\nFoster applied creativity and critical reflection;<\/li>\n\n\n\n Encourage the application of theoretical knowledge in real-world contexts;<\/li>\n\n\n\n Cultivate critical analysis of cinematic works as cultural and architectural artefacts;<\/li>\n\n\n\n Develop graphic communication skills through hands-on experience with digital tools;<\/li>\n\n\n\n Promote adaptability, competitiveness, and teamwork;<\/li>\n\n\n\n Strengthen analytical and synthesis abilities;<\/li>\n\n\n\n Build a sense of belonging within a collaborative and interconnected educational environment.<\/li>\n<\/ul>\n\n\n\nThe project also promotes knowledge exchange across a variety of academic fields, including architecture theory, urban sociology, philosophy, visual culture, literature, and history<\/strong>, while integrating artistic practices from photo-video, design, and contemporary art<\/strong>. Group talks and creative labs bring together students and tutors in a shared space of exploration.<\/p>\n\n\n\nWhy Dystopia?<\/h3>\n\n\n\n Why use dystopia as an alternative educational method? The question could also be reversed: why not?<\/p>\n\n\n\n
Architecture does not exist in isolation\u2014it is a manifestation of societal forces. Like cinema or literature, it embodies the aspirations, values, and anxieties of its time. No one designs a building solely to convey a message, just as no one sets out to construct a dystopian society. Yet dystopia remains an invaluable conceptual tool: it sharpens our critical perspective, allows us to deconstruct prevailing ideologies, and reveals alternative futures.<\/p>\n\n\n\n
In the current socio-cultural landscape, dystopia has moved beyond fiction; it acts as a mirror and critique of the present<\/strong>, encouraging students to examine how architecture both shapes and is shaped by contemporary crises and imaginaries.<\/p>\n\n\n\nTarget Group and Partners<\/h3>\n\n\n\n Participation is voluntary and open to students in architecture, visual arts, design, literature<\/strong>, and related fields. At the first edition (2022)<\/strong>, 25 students enrolled; in Season 2 (2023)<\/strong>, participation grew to 65 students. Lectures and screenings were open not only to workshop participants but also to the wider public.<\/p>\n\n\n\nTo bring these activities to life, the project collaborates with the Association of Architecture Students in Ia\u0219i (ASAI)<\/strong>and the Romanian Order of Architects \u2013 Ia\u0219i Branch (OAR Ia\u0219i)<\/strong>, alongside other institutional and cultural partners. Each edition is typically structured as a six-day programme<\/strong>, held between late June and early July, combining intensive workshops, lectures, and public exhibitions.<\/p>\n\n\n\nSeason 3 & 4 of this project were supported by the Romanian Order of Architects, from the Architectural Stamp Duty.<\/p>\n\n\n\n\nArchitecture is deeply embedded in our society and culture, narrating the story of our progress, values, and aspirations. Yet the deeper meaning behind a building\u2019s design often remains elusive. Beyond aesthetic appreciation, every structure carries narratives\u2014stories of context, ideology, memory, and collective imagination. This is where cinematography comes into play. As a form of visual culture, cinema […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-215","page","type-page","status-publish","hentry"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages\/215","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/comments?post=215"}],"version-history":[{"count":13,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages\/215\/revisions"}],"predecessor-version":[{"id":994,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages\/215\/revisions\/994"}],"wp:attachment":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/media?parent=215"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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