New Polish Nomenclature
Short Description
New Polish Nomenclature is a theoretical exploration in recovering repressed cultural memory through architectural deconstruction. The project moves beyond ‘modernisation’ to mine Poland’s complex, ‘Baroque soul’, establishing a new system of meaning for the built environment.
By stripping core symbols—folk rugs, Chopin’s compositions, and the rigid geometry of the Gierek-era slab block—of their original contexts, the project reassembles them into a contemporary architectural language. The folk rug is unravelled into structural ribbons; the slab block is invaded by a fluid, organic skin. This thesis asserts that cultural identity is an architect’s primary asset, arguing that we must stop mirroring the West and start mining our own subconscious to build the living language of the future.
Prompt Logic
The prompt logic followed a ‘Top-Down’ orchestration method. Using Google Gemini LLM, I developed an elaborate taxonomy of symbols, translating abstract cultural concepts into specific structural and material parameters. This rigorous analysis generated a tiered system of sub-prompts that guided the generative process.
The logic was designed to navigate the latent space of Midjourney v7 with surgical precision, ensuring the output adhered to a specific ‘Baroque-Deconstructivist’ aesthetic rather than generic AI styles. The goal was to use AI not as a random generator, but as a high-fidelity ‘compiler’ for a deeply personal and researched architectural vision.
Process
The process utilised a multi-model pipeline to bridge the gap between memory and reality. Following the initial research phase, numerous ‘symbolic seeds’ were generated and curated for material fidelity.
Once the static architectural language was established, the scenes were evolved through hundreds of iterations to achieve a ‘hyper-material’ quality and dynamism. To move from static vision further I utilised Veo 3 to bring these scenes to life. This end-to-end workflow represents a synthesis of historical research, computational fluid dynamics, and generative aesthetics.
Ultimately the inspiration came from my own identity as a Polish citizen and the main challenges were to do with judging the outputs for their cultural relevance and quality.
