The current communication between the architect and their addressee (the user of the environment) through architectural works, various creative spatial practices, utopias and manifestos is significantly hampered by the presence of a serious gap in the cultural tradition of architectural art perception. This is especially noticeable today in the situation of a growing variety of personal author’s approaches, social, technological, environmental and, of course, aesthetic turns. However, it will be incorrect to consider this acute problem, the communicative crisis, a ‘disaster’, an unambiguous decline of architecture, or the collapse of the culture of civilization. Some puzzling autonomy of the profession, or even more often, of its individual representatives, the birth of borderline architectural and artistic initiatives, ‘strange’ alternative trends, as well as the individual choice of the ‘spectator’ of this ‘performance’, determine the development of new patterns of thinking within the most contemporary architecture, on its borders and beyond. It would be more accurate to say that today’s civilizational stage is characterized by the coexistence of closed and open systems, unique ‘personal’ styles and complex ‘hybrids’ at the junction of functional, contextual, interactive, and artistic scenarios. The study suggests reflecting on the possibility of orienting oneself in the multidimensional present and looking a little into the future, collecting new thoughts, languages, and forms in a single wandering field, seeing some probable constants that will allow the productive encounter of the different and outline the ways for the emergence of new forms of the environmental consensus and the ways to overcome such frequent alienation of the new architecture.