Artistic media and techniques should be viewed as tools for solving problems in the field of architectural design. Only visually literate architect is able to give successfully create an architectural composition. The key to solving it does not exist, otherwise all compositions would be successful. Composition will be successful depending on the author’s approach to work. Therefore, the research of visual composition is more important for students of architecture than the traditional approach to the works of art, where instead of the creative idea, the focus is on skill and technique. As far as the authors know, there are no scientific works that connect visual literacy, creativity, architectural education and architectural design in this way. In order to improve the program of studies in architecture in Niš, this research was conducted through several experiments (creativity tests). Results of the research show that the students did not have enough knowledge about creativity when enrolling at the faculty. Nevertheless, it is possible to improve their creativity by changing the structure of curriculum. Recommendations for improving practical teaching are based on the overall results.

Over the past five years, generative AI has carved out a major role in architecture, especially in education and visual idea generation. Most of the time, the literature talks about AI as a tool, an assistant, or sometimes a co-creator, always highlighting efficiency and the end product in architectural design. There is a steady rise in empirical studies, yet the real impact on how young architects learn still lacks a solid theory behind it. In this systematic review, we dig into peer-reviewed work from 2015 to 2025, looking at how generative AI fits into architectural design education. Using PRISMA guidelines, we pull together findings from 40 papers across architecture, design studies, human–computer interaction and educational research. What stands out is a clear tension: on one hand, students crank out more creative work; on the other, their reflective engagement drops, especially when AI steps in as a replacement during early ideation instead of working alongside them. To address this, we introduce the idea of “AI sparring”. Here, generative AI is not just a helper—it becomes a provocateur, pushing students to think critically and develop stronger architectural concepts. Our review offers new ways to interpret AI’s role, moving beyond seeing it just as a productivity booster. Instead, we argue for AI as an active, reflective partner in education, and we lay out practical recommendations for studio-based teaching and future research. This paper is a theoretical review and conceptual proposal, and we urge future studies to test these ideas in practice.

Rad istražuje ulogu umetničkog iskustva u celovitom razvoju deteta predškolskog uzrasta, sa posebnim osvrtom na likovnu i muzičku umetnost. Polazeći od teze da umetnički način mišljenja objedinjuje sve aspekte ljudskog bića: kognitivne, afektivne i psihomotoričke; rad analizira kako aktivno bavljenje umetnošću podstiče kod dece divergentno (nelinearno) mišljenje, emocionalnu ekspresiju, socijalnu interakciju i razvoj estetske osetljivosti. Savremeni pedagoški okviri, poput Ređo Emilija pristupa, prepoznaju umetnost kao prirodni medij kroz koji deca istražuju svet. U tom procesu, kroz saradnju vrtića sa umetnicima i ustanovama kulture, sam prostor dobija ulogu „trećeg vaspitača“. Pored toga, kreativno izražavanje kroz likovne i muzičke aktivnosti jača dečje samopouzdanje, podstiče radoznalost i razvija veštine potrebne za celoživotno učenje, kao i otpornost na neuspeh. Rad pruža konkretne smernice za integraciju likovnih i muzičkih aktivnosti u predškolski kurikulum, naglašavajući značaj kreativne atmosfere, slobodnog izražavanja i otvorenog dijaloga. Zaključuje se da je ključno usmeriti pažnju na proces stvaranja, a ne na finalni produkt, čime se kod deteta podstiče razvoj samostalnosti, kreativnosti i autentičnog odnosa prema svetu.

This study presents the analysis of the creative work of art of the artist Jovan Grgurovic from Pirot. Methods used in this study are biographic and analytical and deductive. The research is made using the structural and functional analysis (specialization, classification of certain works in artistic periods or phases of development) and synthesis (analyzing the entire artist's personality in the light of real happenings in culture). The works of the artist which were analyzed in the text as representatives of certain phases of the artist's development, were perceived both from the aspect of artistic form and from the aspect of their content because formal and content aspects of the work of art are impossible to be perceived separately. Although the form, idea and content were clearly and strongly defined from the very beginning of his creative work, the work of Jovan Grgurovic is difficult to be defined as belonging to only one style orientation. In his paintings, mosaics, murals, sculptures and stained glass we can recognize the influence of cubism, expressionism, enformel, poet realism, symbolism. The simplest periodization of artist's works could be made through three basis phases: monumental, intimate and poetic.