Art, architecture, urbanism, and landscape design are creative fields that have a significant societal impact. Urbanized and landscape environments affect not only the local quality of life of their inhabitants, but the environmental impact of cities associated with, for example, natural resource consumption or waste produced by urban populations has in many respects a global reach. Architects, urban planners, landscape designers, and collaborating artists think about the future in their design work or project activities (projective dimension of design), inevitably include scenarios of possible future events in their considerations and creative thoughts (projection-prediction), they also point to possible future crises, anticipate some future problems, conflicts, discrepancies, inhomogeneities... The accelerating process of global urbanization along with world population growth, climate change, environmental pollution, energy crisis, and new technologies brings many challenges to cities and their populations as well as their surroundings that they must face.

For artistic, architectural, urban, and landscape theory and practice to be in contact with current outlooks towards the nearest and more distant possible future, it is necessary to discover and cultivate the ability to navigate a very broad information framework, as well as the ability to hierarchize and categorize data, critically test them, and evaluate possible consequences of chosen solutions. The ability to find and gather essential/key data for input/output analyses and evaluate their meaning, significance, and interrelationships leading to obtaining crucial information as a basis for the creation and evaluation of the proposed concept of a given project, is then directly reflected in the nature, quality, and value of the resulting design (artistic, architectural, urban planning, landscape works, connections between them, and trans-media overlaps).

To evaluate correct/appropriate design results, possible future events, challenges, risks, and opportunities that can be revealed using various futurological methods should be considered and incorporated into the system. Philosophy, humanities, social and historical sciences, and art should be a creative and critical counterbalance to mere technocratic and economizing tendencies of the present and should contribute together with technical and technological research to ensure that physical and spiritual, natural and cultural, scientific and artistic, current and virtual dimensions of life are not suppressed by prevailing interests motivated only by immediate economic, territorial, power benefits. Thus, in scientific and artistic research, development, and inclusion of artificial intelligence (which is associated with many myths and concerns) into the creative process, philosophy, humanities, and art should reflect where this area is heading. For this, it is necessary that they are familiar with this development and have the opportunity to participate in it.

Futurology – a scientific discipline dealing with possible directions of future development is closely linked with art, architecture, and urban planning, and it is appropriate for artists, urban planners, architects, and landscape designers to use its procedures, methods, and/or critically define themselves against the method (Feyerabend: Against Method, London 1975; Silberberger (ed.): Against and For Method, Zurich 2021). Futurology has a number of procedures, methods, and models available for creating forecasts, scenarios, and visions of the future. For the purposes of our project, the following sequences of futurological activity are significant: In 1970, an expert in control theory Jay W. Forrester, a methodologist for studying complex dynamic systems (author of Urban Dynamics, 1969), created a model of global world development - "World 2", which became the basis for "World 3", a computer model created by a team led by D. Meadows, which was used to examine developmental tendencies of the contemporary world. The authors of the second report to the Club of Rome Mankind at the Turning Point (M. Mesarović, E. Pestel: Mankind at the Turning Point, The Second Report to the Club of Rome, New York 1974) then introduced the method of scenario/scenario analysis into the computer modeling system. Thus, value, normative, and target aspects become an inseparable part of global modeling.

The specificity of our project's approach lies in the fact that the output of the creative software Virtual Futurologist A°D°A is not graphs or numerical data that are difficult to interpret not only for users but also for the operator of predictive mathematical models themselves. A°D°A communicates in the form of text, answers specific questions, and thus provides an initial information base tailored to the user's needs. However, the outputs of the creative software Virtual Futurologist A°D°A are not the final product. A°D°A is not only a guide ("assistant") in the creative process, it is a multiplicity of diverse roles: it is an advisory board of experts and a college of critics. A°D°A is a tool that helps in the creative activity of designing objects, buildings, settlements, and landscape areas with regard to specific data. A°D°A is therefore both an environment and a tool for co-creation, it is a helper and co-author in developing creative procedures, processes, their tests, and adaptability. A°D°A is a member of the author team on the way to greater plurality, creativity, and resilience of society against future uncertainties.

Virtual Futurologist A°D°A builds on the work of a visionary, interpreter of the first computational operation procedures (algorithms) of automatic calculating machines - on the pioneering work of mathematician, musician, and poet Augusta Ada Lovelace. She predicted that calculating machines would be able to work not only with numerical symbols but also, for example, with images and/or musical tones. Her vision of "poetic science" is now continued by scientific-artistic and artistic-scientific research in the fields of art, design, architecture, and landscape design.