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Robert Comploj is a trained carpenter. During his training, the native Tyrolean completed a three-hour course in glassmaking. His passion for this craft was ignited. This was followed by a ten-year journey around the world, with the goal of perfecting his glassmaking skills. Comploj learned from renowned artists such as Eric Meek of the Corning Museum of Glass. After stints in the USA, England, and Denmark, Comploj returned to Austria and became self-employed in 2013. Four years later, he founded a glassworks in the seventh district of Vienna. Robert Comploj sees himself as a sculptor whose material is glass. The autodidact gradually focused his work on art objects, some of which were created in collaboration with notable artists like Thomas Schönauer and Hubert Schmalix. Comploj’s works are exhibited internationally at fairs such as Art Basel Miami and Art Brussels.

Tired of the sensory overload in the seventh district, Robert Comploj was looking for a new workspace. He wanted a place of peace. He found one in an unremarkable street in Vienna-Währing. Hidden behind a somewhat dull building facade is a green oasis. The light-filled spaces offer room for the workshop, a gallery
where events are also held and collectors are welcomed, as well as an office. Robert Comploj has been working here since 2022 with his team, which now comprises seven people.

Few materials are as sensuous as glass. Like melting honey, the thick molten glass is taken from the 1100-degree furnace and shaped. The material demands full devotion and concentration. Breaks are only possible once the workpiece is finished. Working with glass has a meditative quality. The processes are characterized by a rhythm that one must surrender to. Two to four people are involved in the creation of a glass object. Their teamwork resembles a choreography. The workshop is not just a functional workspace. The high ceilings and unique lighting create an atmosphere that conveys tranquility and allows for inspiration.
The organic quality is also reflected in the finished piece. Small bubbles are not flaws but part of the beauty and fascination of the alchemical process that transforms sand into glass.

Source: Studio Comploj (Press Kit)

After 25 years of professional costume design career, Ivana Vasić – costume designer, is very fortunate to have checked quite a few boxes on her vocational bucket list: designed costumes for epic fantasy, science fiction, theatre, film, television series, events but also HoReCa industries. Dean Devlin told her recently: “Are you aware that you and I have made almost a hundred episodes of television together?” The list of the international projects she left her mark is long: The Outpost, The Librarians: The Next Chapter, The Ark, The Machine, Tarot, The Deal. Dance pieces Moonfall and Nymph and several theatrical pieces at The Oerol festival in the Netherlands. The list of inspiring artists, filmmakers and producers she collaborated with over the time is vast…To name a few – Jonathan Glassner, Dunja Jocic, Jessica Green, Dominic Monaghan, Mark Hamill, Bluey Robinson, Orsi Nagypal, Suri Krishnamma, Celyn Jones, Bert Kreischer, Aaron Osborne, Emma Gojkovic, Jeremy Swift and many more.

CDH TALKS: The job of a costume designer is quite complex – to understand the character, the image, the story, the context, to integrate artistic talent with technical precision, to raise the overall aesthetic level of credibility that creates the experience. Can we consider such an artistic opus crucial in the triangle of director – actor – costume designer?

IVANA VASIC, KOSTIMOGRAFIA: Indeed, we might say that the costume designer’s task is to come up with the actor’s second skin, a wrapping that is to carry a pretty long list of semantic and visual information and expression. Being a semiotic language, just as any other object on the stage or screen is, costume needs to communicate with the audience with clarity and precision, yet to also populate the space and relay the artistic vision conceived by the director and emphasized through stage/production and light design and style. One needs to fathom the meaning of each character within the piece, to give life and both obvious and hidden clues to character’s psychology, history, current circumstances and future intentions. One also needs to bring in connection or to set apart characters to or from each other through visual clues and selection of items they wear. On the other hand, an actor or actress also needs to feel comfortable and true to their manner of portrayal, while wearing the costume. For all these reasons, shaping each look for characters in either form of syncretic arts comes as a result of a very close, almost intimate collaboration between director, actor and costume designer, using the text as the cradle and binding tissue throughout the process. The result has to be satisfactory to each – to be one of the instruments of storytelling, an organic element of the overall concept, to make the actor feel and be the character and to express the artistic style and vision of the designer. When it comes out right, it feels like alchemy.

CDH TALKS: You worked devotedly in the theater, before you dedicated yourself to video format. How challenging it is to “transition” from traditional theater costumes into film discourse?

IVANA VASIC, KOSTIMOGRAFIA: Theatre and film/TV do share the same roots, but the logistics and time perception around the two mediums couldn’t be more different. During the time I was predominantly designing for theatre, the film and TV shoots seemed quite intimidating and alien. But once I actually started being onboard those projects, I guess I got possessed by the excitement and the drive of it. The speed of thought and problem solving, the military-like crew discipline and the alarm clock hitting in the dead of night, when one wakes up only to catch a flight to some exotic destination are quite infectious, and in the most positive of all manners. It didn’t take me long to reprogram myself from one to the other. I guess everyone who choses any gig industry as a profession is pretty challenge-driven and likes the constant alteration of pace, and I am not an exception. What we do is an extension of our personalities. Theatre offers more time for analysis, discussion, trying things out and changing our minds. More or less anything is possible until the very premiere night. Film has the same philosophical liberties during the preparation period, but the closer it comes to the shoot, the more it becomes firmly structured. Once the shoot starts, there is no more time for changing very much. Some alterations and touch ups are tolerable, but no surprises and drastic stirs, as those could bring unease and unnecessarily consume time on set. And TV shows are like running long track sprints with obstacles. One must create, present, get approvals, shoot current episode, create the next episode, conceive further episodes and not lose their mind, all at once. This and last year we shot 4 seasons of two different TV shows consecutively (2 seasons per year), which truly was a test of endurance, concentration, discipline and creative capabilities. Typically, one show has about 10 weeks of prep and 16-20 weeks of shoot. At some point this year, we were simultaneously shooting a medieval episode on one production and events on a spaceship on the other. Luckily, no knights or astronauts were sent the wrong way.

CDH TALKS: Which of your costume – design – film – achievements are you most proud of?

IVANA VASIC, KOSTIMOGRAFIA: This is a very difficult answer. Every project is like a love affair and all designs feel like children. Creating concepts and designing does indeed feel very similar to falling in love. If I really had to choose the dearest to me, those would be the costumes for The Outpost, The Ark and The Librarians.

CDH TALKS: We are fascinated by your deep emotional connection with the work you do. You are deep rooted. Congrats!

IVANA VASIC, KOSTIMOGRAFIA: Thanks. I chose to study costume design in the first place as a result
of my graphic novel infatuation, especially science fiction and epic fantasy. ”The Outpost” gave me the opportunity to design an entire epic fantasy world, a pseudo-medieval universe populated with heroes,
queens, gods, villains, warriors and unknown kingdoms. For ”The Ark” I got to design astronautical suits of the future and base them on MIT’s beta research I stumbled upon, to shape crews of many spaceships and colonists on a livable planet, to rediscover ancient cultures taken by aliens to other planets where they evolved separately from the rest of humanity. The puzzles I was given to solve were more than exciting. And “The Librarians: The Next Chapter” is by far the most demanding project I have ever been on. Every episode being set in a different period, with different characters, style and concept. We created a few thousand costumes for the two seasons, at a surreal speed. Creating all of these characters feels like having my childhood dreams brought to reality.

CDH TALKS: Do you collaborate with Hollywood?

IVANA VASIC, KOSTIMOGRAFIA: I have continuously been working with Dean Devlin, one of Hollywood’s prominent figures, since 2018. We shot all of the mentioned projects in Serbia, as the Serbian film and TV service production industry has become a pretty popular destination for Hollywood projects.

CDH TALKS: It is a great compliment when  one production team entrusts the work to someone (a costume designer who comes from another cultural context. Can you share with us any anecdotes from working on large international projects?

IVANA VASIC, KOSTIMOGRAFIA: At some point during the second season of ”The Outpost”, there was a new king and his entourage in a script, who were supposed to be “gladiator-like” per the creators of the show. That was all the info I got. So, hm… I decided to shape them using ancient Slavic and Cossack iconography. The drawings were approved, we built the costume for the king, had the fittings with the actor and a presentation to the showrunner followed. I explained the old Croatian tattoos on his chest, the wolfskin of Daibog, Kolovrat carvings on the bullhorn used for drinking mied and the discrete pendant from Vinca, with a symbol that is widely considered to be a proto-European script. After I finished my substantial soliloquy, as if presenting some cross-over ethnological essay, all thoroughly based in an absolutely logical yet completely crazed imaginarium, the showrunner stood silent for a while, looked at me and said “Well, I have no idea what you just said, but it must make sense because I love how it looks”.

CDH TALKS: What projects are you working on now?

IVANA VASIC, KOSTIMOGRAFIA: At the moment I am preparing designs for two dance pieces with Dunja Jocic, which are set to premiere later next year in the Netherlands. Parallelly, I am brainstorming Shakespeare’s “The Twelfth Night” with a Montenegrin director, Lidija Dedovic, for the Belgrade Drama Theatre, also scheduled to premiere next year. Beside that, I am training diving, hopefully to compete at some master’s championships next summer.

CDH TALKS: Do you keep some secret we should expect in 2026?

IVANA VASIC, KOSTIMOGRAFIA: The partnership between Peris Costumes in Madrid and my company, Kostimografia, is planned to evolve and set up a historical costumes Rental showroom in Belgrade.

CDH TALKS: Congrats! Thank you on collaboration.

Koko Daš is a design studio started out of the desire to bring together the things that Mina, owner of Koko Daš studio, loves the most — space and hands. She is an architect and set designer by profession, but what inspires her the most is something that can’t easily be put into words — the entire process.

Although an observer might notice birds, flora, or colors, what matters to her are the beginning, the tension, and the ending. She finds beauty in things that don’t last. Maybe that’s why she chose paper – constantly explore its possibilities: its durability, resilience, and the way it transforms over time.

You may encounter Koko Daš work in theaters, store windows, events, on someone’s lapel, or on the wall of someone’s room. Wherever it appears, my approach is always the same: attentive listening, experimentation, and care for detail.

CDH TALKS: How would you define the identity of the Koko Daš brand from a spatial design perspective?

MINA, KOKO DAŠ: The identity of Koko Daš is rooted in understanding space through architectural precision and scenographic sensitivity — but expressed in a material that gives me complete freedom: paper.Whether I work on a small or large scale, I always think spatially: in terms of volume, void, color, light, and the whole composition.

CDH TALKS: Your paper work has a strong spatial logic. What does “space” mean to you?

MINA, KOKO DAŠ: For me, space is a form of language. It’s not just a physical dimension — it’s rhythm, movement, the direction of the eye and the experience.Almost like an emotion expressed through form. In my paper work, space is defined by small gestures: the way an edge curls, or how a single stroke of a scalpel — like a drawn line — transforms the two-dimensional sheet into a spatial form.

CDH TALKS: How does paper create atmosphere in relation to volume, stability, and light, independently of function?

MINA, KOKO DAŠ: Paper has a rare quality of being both light and architecturally precise.Its fragility creates a sense of softness, while its ability to hold volume produces a sense of structure. When folded, paper absorbs light, filters it, and gives it softness or sharpness.It acts as a small architectural medium — without needing a function, it creates atmosphere through its very presence and its relationship with light and air.

CDH TALKS: Do you think first about the form, the light, the material, or the emotion the installation should evoke?

MINA, KOKO DAŠ: I first think about the task itself — its purpose and intention — and then about the emotion, the impression it should create.Form, color, and light are the tools I use to build that feeling. Emotion defines the structure: whether it should be dynamic or calm. Only then do I decide how the surface will behave, where a line will fold, and how the shape will come together. The sequence is always the same: task → feeling → space → material → whole.

CDH TALKS: You’ve created theatrical installations, and now we also see your work in luxury retail spaces. Which architectural principles do you use most?

MINA, KOKO DAŠ: I am an architect by profession, but I’ve always worked in theater — even while studying.So scenography isn’t my past, it’s my focus and my niche. For me, architecture and scenography are the same thing — both are about shaping space. Everything that applies to architecture also applies to scenography and to paper — only the scale changes. I think in terms of proportion, movement, balance, and composition.When working for brands, it’s important to understand and respond to their aesthetic and their needs. Within that framework, I give myself freedom to shape the design.

CDH TALKS: To what extent do you work with light and shadow as spatial elements?

MINA, KOKO DAŠ: Light is one of the key points of my process, especially in theater.A stage design comes to life only when the light is set. Although there are people whose job is solely lighting — and I don’t interfere with their craft — I always think about how the scenography will look under different lighting moods. It’s similar with paper — a piece isn’t complete until light “passes” through it.Paper reveals its character only in relation to shadow; light is part of the composition, not an external effect.

CDH TALKS: How does the audience influence your work?

MINA, KOKO DAŠ: My work tends to appear “quiet,” minimalist, and emotionally strong.In a world overloaded with visuals, I notice that people respond to works that are calm, honest, and direct. That response reassures me that I don’t need to increase the scale or create spectacle to make an impact.It’s important to me that people feel intimacy in a small format — and that actively shapes how I continue to work.

CDH TALKS: Are there motifs or forms you keep returning to?

MINA, KOKO DAŠ: Yes — flora and birds.I often ask myself why exactly these motifs: I’m fascinated by the way nature combines colors with purpose — nothing is accidental. There’s a clear reason why flamingos are pinkish, and peacocks are iridescent… and every time I think about it, I come back to the key word that drives me: freedom. The search for freedom, the desire for freedom. And hands — they are my wings.

CDH TALKS: You’re formally trained as an architect. How has that shaped you?

MINA, KOKO DAŠ: Architecture taught me to think in systems, not in objects.To look broadly — first at function, then form, and then at the details on a larger scale.To keep asking questions and seeking arguments. Scenography added dramaturgy — the idea that every space speaks in symbols. Because of that, I can’t separate the two legacies today: I build small scenic structures with architectural logic — in theater and in paper.

CDH TALKS: Do you balance your artistic expression with commercial demands?

MINA KOKO DAŠ: Yes — but that balance comes naturally to me.When working with brands, I never abandon my principles — the idea of a cohesive whole. The commercial context is simply a framework — within it, I can find my own expression.And I believe that the brands who choose my work are precisely the ones who recognize that.

CDH TALKS: What happens when a brand commissions a spatial installation — how much can you “control”?

MINA, KOKO DAŠ: I control the aesthetics, the material, and the logic of the form, but I always leave space for the work to blend with the brand’s identity and the specifics of the location. What matters most to me is that the collaboration is a dialogue:they bring their world, I bring mine.The best results happen where the two overlap.

CDH TALKS: Where do you see your brand in a year?

MINA, KOKO DAŠ: I want to continue building collaborations with brands, but also to develop my own collections.This year, I launched a gift-oriented product line — carefully thinking about the kinds of gifts I would love to give to people I care about, and to myself. These products are based on paper design, translated into graphic design and then into different objects — that’s very exciting to me, and I want to keep expanding that story.

CDH TALKS: Finally, what would you like the audience to understand better about working with paper?

MINA, KOKO DAŠ: I’d love for people to understand that working with paper isn’t just a craft — it’s a way of thinking.It’s a material that asks for patience, precision, and gentleness — and in return, it offers incredible expression. Just like in the name of my brand: Koko Daš -as much as you give — that much you get back.

Renome Arte is the shared creative atelier of two artists — Sanja and Aleksandar Brzaković.
This artistic and marital duo has transformed their philosophy of joint creation into a space imbued
with closeness, strength, and an unmistakable inner pulse.

Renome Arte is a place where clay evolves into narratives of human character, and where the inner world takes sculptural form.
Their story begins as an intimate, almost familial tradition — one born from curiosity and
imagination, which gradually grew into a dedicated sculptural vocation. With each new work, they
reaffirm that sculpture is far more than craftsmanship to them; it is an interactive exchange, a
continuous dialogue, and an ever-present act of mutual elevation. What once began as a hobby has
matured into a committed, purposeful artistic journey.

Whether depicting male or female figures, the duo’s ceramic sculptures resist the classical form of
the bust. Instead, they embody character, emotion, and the tension of inner struggle. The face, as
Sanja and Aleksandar often say, is never merely a physical shape — it is a map of thoughts, dreams,
fears. A face has always been a mirror of the human soul, and their sculptural personas stand as
warriors of timeless values.

Who are the heroes?

Their series “Heroes of the Modern Age” boldly poses the question: what
does it mean to be a hero today? In a world where moral clarity is often blurred, Sanja and
Aleksandar mold figures who carry a “sword of knowledge” and a “shield of courage.” Their
sculptures are not idealized idols, but complex human beings — vulnerable yet steadfast, bearers of
justice, and symbols of inner stability.

By weaving archetypal symbolism into their work, the artists grant their sculptures an additional
dimension: each figure becomes a universal emblem of internal states, recognition, and shared
human experience — the familiar characters we all carry within us, regardless of time or place.

Symbolism and the spirit of tradition

For Renome Arte, clay is more than a material — it is a
poetic principle, a vessel of the four elemental forces: earth, water, air, and fire. Through this
symbolism, their art becomes a bridge between traditional craftsmanship and contemporary
expression, between manual skill and deep reflection on each character they shape.

The process

Every sculpture undergoes a deliberate, intricate process: from initial idea and sketch,
through the shaping of clay, controlled drying, and kiln firing. Then come glazing and, when
needed, gilding — each step offering an opportunity for both technical refinement and visual
transformation.

Art that transforms space — and the soul

Renome Arte does not merely create decorative
objects. Their sculptures introduce presence, emotion, and narrative into an interior. Whether placed
in a modern, classical, or eclectic environment, each piece has the ability to shift the energy of a
space and open an intimate dialogue with the viewer.

A vision for the future

Their works have already resonated with audiences — notably at the solo
exhibition “Heroes of the Modern Age” in the Residence of Princess Ljubica. Sanja and Aleksandar
continue to build upon their dream: they hope, and expect, that their creations will soon reach
european and global galleries. Still, as they often say, their greatest reward remains the simple,
persistent act of sculpting together — art as the enduring expression of their shared path.

There is no such a better way to describe potentials of luxury scene in Serbia. This end of summer, Culture Diplomacy Hub had a privilege to visit Hotel Biogor in Sisevac and Hotel Sunce in Soko Banja – not so far by one of the most intresting Wonder of the World: Rtanj pyramid.

Our greatest privilege is very often the opportunity to be the first to meet and recognize potential in tourism, business, art, human capital, etc. This time, those beautiful hotels surrounded by beautiful nature, with greatest potential to become in the function of economic development, aiming to materialise all aspects of culture diplomacy through material and non-material heritage.

High conscious about tradition, contemporary traveler needs, business needs of contemporary people, sustainability and ecology, introjected by menagements of this two beautiful hotels go to the extra mile when it comes to their service offers, pleasure and entertainment. Meeting their creative energy with nature enviorments around hotels make it fantastic experience, surpasses traditional way of summer-winter vacations.

Culture Diplomacy Hub will always not just recommend new practice when it comes to business and pleasure trip, but call people to the new perspective to this accssesible lifestyle.

YTV: https://www.youtube.com/@CDHChannel

Visit Sunce’s WEB: https://suncehotel.rs/

Visit Biogor’s WEB: https://biogor.rs/

Dina Johnsen – an artist formed by many worlds. Her international sojourns (Kazakhstan – Moscow -Belgrade – Oslo – Amsterdam – Stockholm) give her a trans-cultural perspective, which may make her work appeal to global audiences.

Between 2010 and 2012, she published two coffee-table books devoted to the Belgrade’s vibrant cultural scene: The Unseen Beauty, featuring the stars of the National Theatre of Belgrade, and The Belgrade Book, a visual tribute to the city itself. Her work sits at the intersection of photography, visual storytelling, cultural identity and city portraiture. She uses a visual medium (photo-monograph) to reflect a city’s identity – relevant for content that aims to promote place and culture.

During her stay in Norway (2012 – 2016), she was also photopraphed and interviwed the people who make difference in Oslo. In Amsterdam, she was active in philanthropy by supporting, together with her husband, a leading restoration project of the Rijksmuseum. The Night Watch by Rembrandt. Life in Amsterdam and later in Stockholm has become a big source of inspiration for Dina Johnsen. She creates abstract art using mixed-media and acrylic painting.

CDH TALKS: Is art, for you, an act of freedom or of belonging?

DINA JOHNSEN: It is many different things. It is curiosity – when you create and dont know what happens next. It is an urge for challenge. The desire to connect with other people when doing photography. And finally, when I stay in the process and feel it is coming right, I feel so great, elevated, even blissful. 

 It happened so that I had to give up my professional career in fashion magazines at the age of 40, when I followed my husband and left Moscow for Belgrade in 2009, where we lived for 3.5 years. After a year of getting families with the city, I realized that I could do something in photography. This made me learn new things, meet new people, face quite some challenges and definitely enjoy the process and my life in Belgrade. I felt so happy there!

CDH TALKS: We can conclude Belgrade introduce you in your current professional path: art. If you could describe your artistic mission in one sentence – what would it be?

DINA JOHNSEN: In photography it is showing the beauty of others. In painting – exploration.

CDH TALKS: You photographed the soul of a cities through its people. What hidden energy did you find behind their eyes?

DINA JOHNSEN: I would generalize a lot if I say something about everyone I photographed. Everyone has her or his own uniqueness. I think people want the world to see the best versions of themselves. It doesn’t have to be always a physical beauty necessarily. It can be how much they love and proud of what they do, or their bravery showing their vulnerability. I feel there is much more goodness hidden there in people than one could see at the first sight.

CDH TALKS: You successfully completed the project: ”The Belgrade Book” capturing a very emotional portrait of a city. What emotion or story did you want the world to feel when seeing Belgrade through your eyes?

DINA JOHNSEN: I felt so happy and even sometimes emotional when working together with my Belgrade book team. Especially, when a shooting would go really well and we would connected so greatily with a personality we were photographing. Thinking that we were doing something good together and for a good cause was very moving.

CDH TALKS: In the process of photographing Belgrade, what moment or person touched you the most?

DINA JOHNSEN: It was quite a story. I was scouting together with Katarina Grčić Nikolić (she then worked and still works as costume designer at the National Theater of Belgrade). She was showing me one of the parks in Belgrade. We were there completely alone on a sunny summer day. All of a sudden four giant homeless dogs approached and surrounded us. The dogs looked at us and growled angrily. I was scared to death, as I thought that at any moment they could rush at us bite us half to death. I didn’t know what to do. We froze. Katarina was calm. I even saw a slight smile on her face. She looked at me carefully, and said quitely: ”Don’t move. Don’t look them in the eyes. Just stay still.” I followed her advice and stood with her motionless and looked over dogs’ heads. They growled for some time looking at us and then went away. We left the park right away. I still remember that scene so vividly. I was deeply impressed by Katarina. She was just a girl – a gentle, intelligent young woman who saved us from a serious disaster. I’m so grateful to her and still incredibly moved by what she did. If she ever reads these lines, I want her to know that she is ture hero.

CDH TALKS: Thank your for sharing this story. So… How did you choose the personalities featured in your book?

DINA JOHNSEN: I had a team of great people when was working for the Belgrade Book project. They were helping with styling and make-up, light, budgeting, graphic design, editing, transportation etc. One of the very important discussion partners was Violeta Slepčević who was the executive producer of the project. She knew everyone in Belgrade. She is extremely professional and effective in execution of, I am sure, any project she takes. We had a pool of 100 names (when we started) from the spheres of art, culture, film, sport, theater and TV. The list eventually crystallized into a remarkable collection of people – amazing individuals telling the story of the city they love.

CDH: How can photography or visual art change the way outsiders perceive a nation?

DINA JOHNSEN: I think visual language can tell a great story about the history of a nation, its national character, its believes and traditions, about its simple life, too… Through this knowledge we can learn about other peoples culture and understand that they are not much different than us, and we have so much in common. This all eliminates fear. This brings peace.

CDH: Do the artists transform reality – or merely reveals what is already there?

DINA JOHNSEN: I feel art is a kaleidoscope which arise in a colorful way in front of our eyes and make us surprised, sad, fascinated, angry, confused, inspired, or blessed.. Artists play with both. When they reveal what was already there, showing something which was earlier unknown, un-noticed or neglected, they do transform the reality by having impact on people’s perception, the way people see the world and believe what is right and wrong.

CDH: Are there new projects or cities you’re currently exploring? 

DINA JOHNSEN: I am exploring AI lately playing a lot at different platforms and of course at ChatGPT. I am writing a tech-noir thriller story about a robot (with consciousness) powered by AI. It is her. Her name is Nora. She lives in a dystopian world many years from now and is trying to figure out who killed one of the wealthiest members of the society. It is so much fun.

Sources we used: AI http://www.dinajohnsen.com/

When the doors of the World’s Columbian Exposition opened in Chicago in 1893, the world gasped. The sprawling ”White City”, illuminated by electric lights and built upon the ashes of the Great Chicago Fire, embodied America’s arrival on the global stage. It was a vision of order, progress, and grandiosity – a neoclassical dream that seemed to promise the future.

Yet, for one man, this architectural triumph was also a cultural tragedy. Louis Sullivan, the visionary often called the ,,father of modern architecture”, walked among the gleaming domes and colonnades of the Fair and saw not the future, but the past resurrected.

Sullivan, who had been reshaping Chicago’s skyline with innovative steel-frame skyscrapers, believed in an architecture that expressed the spirit of modern life. His motto – ”form follows function” – became a rallying cry for the modernist movement. He imagined buildings that rose like living organisms, shaped not by imitation but by purpose, technology and truth.

But the White City stood in opposition to everything he believed. Daniel Burnham’s master plan revived classical European styles – Corinthian columns, domes, arches – in an era when Aamerica’s cities were exploding with industrial dynamism and social transformation. To Sullivan, it was a dangerous illusion: an America dressing itself in European nostalgia just when it was poised to define its own identity.

His own contribution to the Fair, the Transportation Building, was a stunning departure. With its golden archway, intricate ornamentation, and bold use of color, Sullivan’s design radiated individuality amid the uniform whiteness surrounding it. Critics admired it, but the public adored the grand symmetry of the neoclassical halls instead.

Sullivan later wrote bitterly that the World’s Fair had ”set back modern architecture by fifty years.” He wasn’t entirely wrong. In the years that followed, the classical aesthetic of the Fair dominated American public architecture, while Sullivan’s organic modernism fell out of fashion. His firm declined, his commissions dwindled, and his proteges – including Frank Lloyd Wright – would carry his ideals into the next century.

Today, Sullivan’s vision feels prophetic. His insistence on authenticity, structure, and functional beauty laid the foundation for 20th-century modernism. The White City may have dazzled the 19th century, but it was Sullivan’s belief in the living spirit of architecture that ultimately shaped the cities we inhabit now.

The 1893 Chicago World’s Fair was both a celebration and a cautionary tale – a glittering moment when America looked backward while standing on the edge of modernity. And in that moment, amid marble facades and electric light, Louis Sullivan stood alone – the architect of the future in a city dreaming of the past.

According to ”EXPO 2025 Master Plan” in Osaka, Kansai, Japan (2020) it was an opportunity to return to life as a starting poing, rebuild awareness of the life of each other and take a careful look at life in diverse forms in the natural world to explore a sustainable future of the world.

The Osaka – Kansai region was home to the foundation of the ancient Japanese state. Therefore, the region has many resources for historical tourism, including World Heritage sites, national treasures, historical buildings, as well as important cultural properties.

As the lights dimmed on Expo 2025 Osaka, Kansai, the world left Japan with more than memories – it left with a renewed sense of purpose. Over six transformative months, the island of Yumeshima become a living laboratory where imagination, innovation and empathy coverged. The Expo’s theme, ”Designing Future Society for Our Lives”, proved not just an aspiration but a lived experience. This theme makes individuals think how they want to live and how they can maximise their potential. It is also intended to drive co – creation by the the international community in designing a sustainable society that supports individuals’ ideas of how they want to live.

A Global Conversation

From April to October 2025, more than 150 countries and international organizations gathered in Osaka to explore what the future could look like if humanity worked in harmony. Pavilions from every corner of the world offered glimpses into a shared tomorrow – one shaped by sustainable cities, renewable energy, and technologies guided by compassion rather than competition.

The Japanese Pavilion become a symbol of quiet brilliance, combining ancient aesthetics with futuristic design. Through interactive installations, Japan told its story: thta progress rooted in cultural soul endures longer than any machine. The Grand Roof, a vast circular structure at the heart of the Expo, stood as a metaphor for unity – a reminder that innovation, like life itself, flows in cycles.

Humanity at the Center

Unlike expoes of the past that glorified industrial might, Osaka’s narrative placed people at the center. It was a place where technology learned to listen – from robots that assisted the elderly with dignity, to AI – driven art that responded to emotion. Visitors were invited not only to see the future but to feel it. Beneath the digital spectacle lay a profoundly human question: What kind of world do we want to live in together?

Cultural Bridges and Soft Power

Beyond the dazzling displays, Expo 2025 was a triumph of cultural diplomacy. Nations used their pavilions not just to showcase products, but to share philosophies, traditions, creative spirit. Artists, chefs, architects, and inovators collaborated across borders, proving that culture remains the most enduring bridge between people. For Japan, it was an opportunity to reaffirm it’s role as a thoughtful global connector – one that blends innovation with humility and art with science.

Legacy of Hope

When the final visitors departed Yumeshima, what remained was more than architecture. It was a legacy of hope. The site will now evolve into a hub for green technology, start-ups, and cultural exchange – a living continuation of the Expo’s ideals. Yet its most lasting imprint lies within the millions who visited, inspired to design their own future societies with empathy and courage.

Osaka Expo 2025 may have closed its gates, but its spirit endures. It reminded the world that the future is not a distant horizon – it is something we create each day, through collaboration, respect, and imagination. In the heart of Japan, humanity caught a glimpse of what progress can look like when it remembers its soul. The Expo began as an exhibiotion of innovation, but it ended as a celebration of connection – proving that the most advanced idea of all is, and always wil be, our shared humanity.

Sources we used: EXPO 2025 Master Plan – December 2020, Google Search, AI

In a world racing toward innovation and globalization, Oman stands as a reminder that true progress begins with identity. The Sultanate’s Vision 2040 is more than an economic blueprint — it is a cultural philosophy, a national awakening that intertwines heritage, diplomacy, and sustainable growth. From the shores of Muscat to the vast deserts of Dhofar, Oman’s transformation radiates a quiet confidence – one rooted in balance. While others rush to modernize, Oman chooses to harmonize: between tradition and technology, humanity and innovation, nature and ambition.

A Vision Rooted in Culture

Oman’s journey toward 2040 reflects its soul — patient, wise, and forward-looking. At the heart of this vision lies the belief that development should not erase identity but amplify it. The preservation of traditional crafts, music, and architecture goes hand in hand with the rise of innovation hubs, renewable energy projects, and cultural diplomacy initiatives.

The Royal Opera House Muscat, for instance, stands as more than an architectural masterpiece; it is a global stage where East meets West. It embodies the country’s message: that cultural exchange can be a bridge, not a battlefield. Oman’s leadership has long recognized that dialogue — not dominance — is the key to peaceful coexistence.

The Diplomacy of Culture

For decades, Oman has played a unique role as a mediator and bridge-builder in the region. Its diplomacy is guided not by confrontation but by understanding — an approach deeply rooted in the Omani ethos of respect and hospitality.

Vision 2040 extends that spirit beyond politics. Through cultural partnerships, art exchanges, and heritage tourism, Oman is shaping a new form of diplomacy — one that speaks through creativity, empathy, and shared humanity.

As part of this effort, new cultural institutions are emerging across the country, connecting Omani artists with their global peers. From contemporary art exhibitions in Muscat to literary festivals and youth dialogues, Oman is creating platforms where ideas travel freely, just like the ancient caravans that once crossed its deserts.

Sustainability as Identity

While many nations pursue sustainability as a policy, for Oman it is a way of life. The Vision 2040 framework integrates environmental stewardship into its cultural fabric — protecting coral reefs, deserts, and mountain ecosystems as part of the nation’s identity.

Eco-tourism initiatives invite visitors not only to see Oman but to feel its rhythm — to walk through wadis, listen to desert silence, and experience hospitality rooted in centuries of tradition.

This blending of nature, culture, and modern vision positions Oman as a regional model of balance — a state where green growth and cultural continuity coexist harmoniously.

A Message to the World

Oman’s story is not one of speed, but of purpose. It reminds us that in an age of acceleration, depth still matters — that progress without roots is fragile. Vision 2040 is, at its essence, a conversation between generations: between the wisdom of the past and the imagination of the future.

As the world looks to Oman, it finds a country that believes diplomacy can be poetic, and that culture can be power.

Because in Oman, vision is not just about what the future will look like — but about who we will become.

Sources we used: www.spf.gov.om, AI, Pinterest

 

In recent years, the term ,,fempreneur’’ referring to women entrepreneurs – has sparked debate around the world. Some see it as empowering, while others question whether such a label should exist at all. We asked international entrepreneur and creative leader Mila Litvinjenko for her perspective. 

”The most important thing for a woman is her decision—whether she wants something or not.’’ says Litvinjenko. ‘’Regardless of the circumstances she must ask herself: ‘’Am I ready to stay committed to my idea?’’ Circumstances are never perfect. The right moment is the one when she  is ready.’’

She points out that the emergence of women-led enterprises, even in regions that traditionally placed women within the domestic sphere, marks a meaningful shift. ,,Of course, the starting positions are not the same’’ she reflects.

‘’When a woman is also a wife or a mother, her path becomes more complex due to the expectations connected with those roles. Yet her professional autonomy and personal fulfillment remain essential – whether she becomes an entrepreneur of chooses employment. What truly matters is the sense of purpose and self-realization.’’

For Litvinjenko, professional engagement transcends economic necessity – shapes identity and culture. ‘’From a mother’s perspective, it is important to be a role model through whom children learn about resilience and independence. Today, when society often glorifies the idea of ‘’marrying well’’ or finding a good provider, we must remember that genuine growth comes through work and creation. That is where a woman’s true power lies. When she works, she grows – and through that, she earns respect. Otherwise, she may end up in a kind of self-chosen captivity.’’

In a rapidly transforming world. Litvinjenko’s words remind us that entrepreneurship – whether male or female – is not merely and economic act, but a cultural one. It challenges traditions, redefines values, and most importantly, reflect the courage to choose one’s own path. 

Litvinjenko’s perspective goes beyond the boundaries of gender discourse. For her, entreprenurship is not only about business success – it is an act of self-expression and transformation: 

‘’At the beginning, my biggest challenge was my youth, not my gender’’ recalls Litvinjenko. ‘’I didn’t even mention that I owned a company. When it comes to gender – I’ve always  been against such divisions’’. 

While much of discussion around gender and etrepreneurship focuses on the challenges women face, Litvinjenko points out that men, too, can be constrained by traditional expectations. ,,For men, entrepreneurship is expected. No one questions their decision to be away from home or not to see their children often – it’s considered normal. That, too, is a product of social norms shapred by stereotypes.’’

She believes the healthiest path forward lies in collaboration, not gender competition. ‘’For both men and women, the best approach is to work together rather than separately. It’s essential not to be defensive. The statement, ‘’I can to everything on my own; I don’t need you’’ is a big mistake.’’

Her reflections remind us that entrepreneurship – whether male of female is far more than economic pursuit. It is an expression of personal freedom and a catalyst for cultural progress. By working together rather than apart, men and women have the potential to shape a more balanced and empathetic world – one where equality is not declared, but lived, talking us about importance of support in general: 

‘’Support is not when I applaud and cheer you, but when we have a conversation. A look beneath the eyebrows is where every attempt at dialogue ends. People try to find flaws in you. It’s very important not to be rivals.’’

In the end, Litvinjenko’s view resonates with evolving dynamics of international entrepreneurship. Female entrepreneurship, in that sense, is ont just a matter of economics – it is a bridge between societies, a medium of understanding and representation, where women entrepreneurs often become cultural ambassadors without even realizing it – through their work, values, creativity, their role is to promote dialogue, innovation and empathy – qualities that are essential in both business and diplomacy. 

Her atitudes remind us, the future of entrepreneurship lies in redefining what success means – not just about numbers or expansion, but purpose, impact and legacy. The women who understand that are not simply fempreneurs – they are leaders of change.