Project 134Sacred Geometry Let us look into the observation field of the etymology of the concept of design. Is there a limit within the meaning of a given term? How to define it, and yet not create limitations or directions? The focus remains on the conceptual and creative processes from which the shaped object, thing or space emerges. Project 134 (Sacred Geometry) follows a process in which theological and technological design connect and converge.An interpretation from which everything superfluous is phenomenologically removed leads to the concept of fundamental design, which is the starting point of the creative process. In order to reach a better level of understanding of the relationship between art, science, technology and theology, Project 134 discusses a certain new design of a clear anthropological perspective related to the eschatology of technology which in some respects fails to differ from theological patterns.In an effort to understand the cultural position of the modern man who designs reality, the project opens a field of reflection on the correlation between theological tradition and contemporary design in relation to new technologies. From cosmology to artificial intelligence, an overview of theological design that is implicitly connected to the new technologies of the modern world would create a fertile network of artistic meanings needed for a better conceptualization of the relationship between man as a being and the world in general.Examining comparisons of God’s intelligence and Artificial Intelligence, the exhibition focuses on creating a global design that would reunite theological art and new technologies in order to better orient the postmodern globalized man. It follows from the above that Project 134 is conceptually based on a symbol as a universal term that acquires an individual aspect during the diversity of approach or interpretation, contingent on the territory.In the dichotomy of the time of the existence of parallel realities, as well as the spheres of the creation of new experiences, an open field of communication and exchange develops. In order to expand the context of observation and consideration of the thesis on simultaneity, we decided to base our participation in the “Global Game” on research that would take place in several places at the same time and in several countries. The places are connected in the context of the flow of time through the exchange of research processes. The setting itself in the space of the pavilion is the result of the creation of a new space, an order within an order. The design of the given space is based on symbols that carry simple and equally familiar geometric shapes: a rectangle, a circle and a pyramid. The base of the pavilion is rectangular in shape and symbolizes the world in which convene a circle, symbolizing a hearth from which a triangle emerges, a composition of movement and a symbol of direction towards height. The number 134 is also taken as an Angel Number, a symbol of peace, harmony and health.Dušan Jovović, PhD, artist Biljana Јotić, MA in Art History, Commissioner