During my summer vacation in 1988, when I was waiting for a midnight train in front of the Warsaw Central Station, I managed to exchange Czech koruna for Polish zloty at a bargain. As a sixteen-year-old teenager, I was very surprised that the first passer-by bought the Czech currency. But I didn’t pay much attention to the Central Station itself – the most modern building in Warsaw at that time. Architecture interested me only marginally, I might have just raised my eyes to the top of the Palace of Culture and Science, the highest structure in the city built in the style of socialist realism...

The post-digital contradicts the usual notions of city and architecture, and crosses field boundaries – ideas from media theory, geology, or environmental studies become crucial for understanding the future of architecture in relation to Earth and to individuals. We discussed the definition and meaning of the term “post-digital” in architecture with the Finnish media theorist Jussi Parikka. Additionally we explored the deep history of media technology, non-human agency in urban contexts, the politics of corporations and digital platforms, and the role of architecture in the Anthropocene.

We talked with Greg Lynn about his research in augmented reality at the Angewandte in Vienna and at UCLA in Los Angeles, about intelligent machines and robotic architecture, about the Boston based firm Piaggio Fast Forward, about the Venice Architecture Biennale, global warming and nuclear power, about design and other contexts of high performance design. Greg Lynn is still a person of tremendous importance for the development of digital architecture in Prague and Bratislava. He visited the AFAD and UMPRUM repeatedly and was also one of the speakers at the first Experimental Architecture Biennial Prague in 2013.

The transformation of a former cemetery into a park with a children’s playground sees a half-forgotten garden become a site of active rest for all generations. The design works with three basic principles – activating the park boundary, allowing free movement inside, and introducing new additions to the existing structures. Additional planting creates an extension of the zigzag tree arrangement of the original alley into the diagonal tree grid across the whole area of the park. Keeping a gap around the root system of the trees, the entire area was stabilized with a walkable gravel surface, thus relieving the only existing communication axis. The historical layer of the original cemetery structures was preserved. A team comprised of an architect, a landscape architect and an artist was behind this winning proposal.

The strong local glassmaking tradition is reflected both in the work and design by Lasvit and in the architecture. Joining all the buildings together into one functional unit, the new design brings a contemporary interpretation of the typical two‑story glass maker's house. Two new abstractly shaped volumes with rectangular plans and gabled roofs were added next to the original protected 19^th century houses. The glass building replaces a corridor that used to connect both historical houses, inside there is an office café, conference room, and sample library. The black building, at the back of the site, contains a three-story open space for the testing and presentation of 1:1 samples, glass objects which can weigh up to five tons.