For Every Woman
My name is Amila Terzić and I'm 28 years old.
I am currently completing my master’s degree in architecture, having enriched my academic journey with an Erasmus exchange program in Poland. This international experience broadened my professional perspective and deepened my understanding of diverse architectural approaches. I hold a bachelor’s degree in architecture and have a strong passion for exploring various fields within the discipline, particularly sustainable design, interdisciplinary methods, and the fusion of architecture with art.
Throughout my studies, I have actively engaged in both practical and organizational roles. Notably, I contributed as a team member to the ‘Dani arhitekture’ (Days of Architecture) festival in Sarajevo, where I honed my skills in teamwork, event coordination, and community engagement. I believe architecture transcends mere building design - it is a means of connecting people and spaces through creativity and environmental responsibility.
My core interest lies in how architecture can address contemporary sustainability challenges through innovative, interdisciplinary solutions that integrate artistic expression, technology, and ecology. I aspire to work on projects that balance functionality, aesthetic appeal, and ecological sensitivity, creating spaces that are both inspiring and responsible.
This combination of academic knowledge, international exposure, and hands-on experience has equipped me to contribute meaningfully to the architectural field. I am driven by the ambition to develop sustainable, creative, and impactful architectural solutions that meet the evolving needs of communities and the environment.
For Every Woman is a spatial installation exploring ten forms of violence against women: emotional, psychological, physical, economic, sexual, digital, social isolation, gaslighting, intimidation, and withdrawal. Each type is represented by a 3D-printed plate inscribed with words and symbols reflecting emotions women often feel during abuse, such as fear, silence, confusion, and shame.
When broken, these plates reveal post-abuse qualities like strength, resilience, detachment, and compassion. This contrast highlights the complexity of surviving violence—not as a linear recovery, but as a fragmentation and reconstruction of identity.
The plates are connected by hand-braided red wool, referencing traditional Viking-era feminine crafts. The red color evokes struggle, pain, and collective resistance, while the braiding symbolizes connection, cultural memory, and feminine strength. This tension between ancient techniques and digital fabrication (3D printing) reflects the layered nature of the topic: trauma rooted in personal and social history, requiring a contemporary response.
The network invites multiple interpretations: as a web of collective support, a suffocating trap, or an evolving archive of transformation. Its meaning is fluid—the viewer’s position in space changes the interpretation, echoing how violence is experienced and processed uniquely by each individual.
Originally developed as a public art intervention, the installation aims to provoke quiet reflection and conversation. Visitors are encouraged to move around the structure, read the inscriptions, and reflect on their own reactions. In the future, the work could evolve into a participatory format, allowing women to add their own words or materials. It could also adapt to different spatial and cultural contexts, reflecting local forms of violence and resilience.
Through its form and narrative, For Every Woman proposes a collective, spatial language of healing