THE ARCHITECT ROLE IN THE AGE OF AI The future of architecture will be shaped by human vision and refined by computational intelligence. AI will not replace architects—it will redefine their role, expanding creative possibilities rather than diminishing artistry. The real question is not whether AI threatens creativity but how architects can harness it to push boundaries. AI enhances efficiency, optimizes designs, and unlocks new possibilities, but it does not replace human intuition, judgment, or vision. Architects remain the curators, decision-makers, and storytellers of the built environment. This shift is not about speed but intelligence. AI can handle repetitive tasks, freeing architects to focus on innovation, sustainability, and deeper engagement with design. We are at a pivotal moment. Those who embrace AI will not only adapt but lead. The future of design is not human or machine—it is the fusion of both, creating something greater than either could alone. “ART, TECHNOLOGY, MYTH AND MAGIC” ZERO ONE is a digital art festival that operates at the intersection of art, technology, myths, and magical practices. The festival and its contents this time will delve into the enigmatic phenomenon of Artificial Intelligence. We have chosen to refer to it as 'BINA.' In this year's festival, we will seek to ask whether we can define what 'Bina' is and what its boundaries are. Why is it called 'artificial' when, in reality, it maintains a dialectical relationship with its creators, humans? What does the connection between ancient systems of intelligence and the new ones look like? CULTURE + TRADITION Traditionally, masks were associated with ceremonies that had religious and social significance or were related to funerary customs, fertility rites and medical practices. The forms and appearance of these masks invariably were prescribed by tradition, as were their uses. These social and cultural practices have acquired new personal and social meanings today in the virtual space. Compared to a conventional approach, based on cultural and geographical characteristics, new filters and masks could represent a so-called ‘digital tribe', which defines a new cyber culture within the physical world. What we call a ‘digital tribe’ can be described as "a collective of things living in a great big digital zoo". The use of digital networks allows the tribe to self-organize and propagate through collaboration with other digital creatures. In a way, the tribe behaves in the same way in which that circuitry in the human body (the brain) enables our bodies to create connections that we never knew we needed. This makes communication possible not only between the tribe and the physical world, but also between the human and the digital. TECHNOLOGY + MATERIAL Today, there is a clear understanding that the development of digital technologies is directly linked to the configuration of the physical world. The fusion of digital and physical systems is challenging traditional models and ‘disrupting’ our understanding of materiality and computational language. The exposure to new modes of production and material performance through advances in the fields of synthetic biology, biotechnology, and material sciences has given designers access to intricate material resolution. Colliding advanced computation through new simulation and form-making techniques enables makers to re-invent manufacturing procedures, optimize standard material applications and propose novel design expressions. CONCEPT + DESIGN This research utilizes robotic automation within digital manufacturing processes as an opportunity to explore the fabrication of digitally created products. We attempt to bridge the gap between traditional, physical masks and the modern masks, virtual, unseen coded versions of the ‘digital tribe’. Through an installation on layered transparent surfaces, we explore the translation of such coded surfaces into interactive tangible interfaces and the frozen dynamism of digital masks. CODE + FABRICATION The algorithm we created for this project is based on the very same traditional proportions (da Vinci, 14th century), although it translates them and other spatial “anchors” into dynamic generators. These anchors serve as field stimulators and create a unique form and visual language, hence a new facial expression. Once we shift towards fabrication, the mask has its own behaviour which we do not always control, giving the unpredictability or a physical glitch to enter, challenging the very core of traditional and modern creation.