onus embeds net-zero island residence into the greek landscape using local materials

ONUS carves net-zero residence into the landscape

 

Onus Architecture Studio completes Horizon House, a net-zero residence carved into the sloped terrain of Syros, Greece. The 230-square-meter home is partially embedded in the earth and built using stone excavated on-site. The project is designed to function off-grid and support the surrounding environment, reflecting a growing move beyond sustainability toward what’s known as regenerative design, an approach that actively helps restore natural systems.

 

Horizon House brings together passive solar design, efficient use of resources, and low-impact building techniques in tune with the unique conditions of island life. It’s designed to be energy self-sufficient and to give back to the land in a region where drought, strong winds, and rising heat are becoming the norm.


all images courtesy of Onus Architecture Studio

 

 

Horizon House follows the contours of the greek terrain

 

Built on a steep hillside overlooking the Aegean Sea, the house follows the contours of the land with a linear layout that stretches along the horizon. South-facing openings allow plenty of sunlight in, while the more enclosed northern side protects residents from prevailing winds. The use of raw concrete, reclaimed wood, and native vegetation situates the structure within its context.

 

Guided by passive design principles, the use of deep-set apertures and operable skylights optimizes natural light and airflow throughout the home. The Athens-based team at Onus Architecture Studio combines the thermal mass of the structure with carefully oriented shading and a vegetated roof to help stabilize interior temperatures year-round without the need for mechanical systems. This performance is enhanced by micro wind turbines that take advantage of the island’s constant winds and a geothermal loop that supplies heating and cooling.


Horizon House is a net-zero residence carved into the sloped terrain of Syros, Greece

 

 

Green and Blue Roof Systems Power On-Site Water Management

 

In this project, Onus Architecture Studio works with local resources and natural systems, bringing human habitation back in sync with nature. Water is managed entirely on-site, with the green roof of Horizon House acting as a catchment system that feeds into a blue roof infrastructure that stores and filters rainwater. Greywater is treated and reused in irrigation. Landscaping with native plants reduces water demand, promotes biodiversity, and improves soil health in the long run, while trees and shrubs are placed to improve the local microclimate and reduce wind exposure.

 

Inside, the house maintains the same principles of restraint and continuity. Natural materials complete the interiors, where living and sleeping areas unfold along the view axis. Courtyards, verandas, and shaded terraces allow the experience of the house to extend beyond its walls.


the 230-square-meter home is partially embedded in the earth


built using stone excavated on-site


Horizon House brings together passive solar design, efficient use of resources, and low-impact building techniques

onus-net-zero-island-residence-greek-landscape-local-materials-designboom-large01

it’s designed to be energy self-sufficient and to give back to the land


reflecting a growing move beyond sustainability toward what’s known as regenerative design


the house follows the contours of the land with a linear layout that stretches along the horizon

onus-net-zero-island-residence-greek-landscape-local-materials-designboom-large02

raw concrete, reclaimed wood, and native vegetation situates the structure within its context


the use of deep-set apertures and operable skylights optimizes natural light


courtyards, verandas, and shaded terraces allow the experience of the house to extend beyond its walls

 

 

project info:

 

name: Horizon House

architects: Onus Architecture Studio | @onus.architecture.studio

location: Syros, Cyclades, Greece

area: 230 square meters

 

lead architect: Margarita Kyanidou

project team: Christina Ntalli, Aikaterini Korka, Anna Andreadi

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JA joubert architecture sculpts undulating lakefront district following sloped terrain in tirana

Lake Views introduces new lakefront district in Tirana

 

Lake Views, a 135,000 sqm masterplan by JA Joubert Architecture, introduces a new lakefront district in Tirana, Albania. Positioned between the city’s central park and the Olympic swimming complex, the project redefines the typical urban block through a sloped, view-oriented massing strategy that integrates residential, commercial, and public programs.

 

The project was the result of a privately organized competition won in 2016. It responds to a conventional program with housing positioned above three floors of services and underground parking, by shifting from a repetitive block typology to a sculpted architectural form that follows the terrain. Each unit is angled to maximize exposure to views of the adjacent lake, the city skyline, and the surrounding mountains. This approach ensures that all residences are outward-facing, eliminating rear-facing units. End units feature full-width terraces with integrated planters, providing shading and enhancing indoor-outdoor continuity. The stepped and folded building volumes are designed to optimize natural light, air circulation, and spatial privacy. The development comprises 100,000 sqm above ground and 35,000 sqm below grade, constructed using reinforced concrete and designed to meet seismic class 8 standards in response to local tectonic activity.


all images by Leonit I Brahimi

 

 

JA Joubert Architecture Uses Modular Structural Grid

 

A modular 3.5-meter structural grid, consistent in both plan and section, guides the building system, enabling variation in unit configuration and facade articulation. At ground level, a network of sunken terraces, green corridors, and pedestrian routes fosters a walkable environment. These public spaces provide residents and visitors with access to calm, shaded areas that serve as social infrastructure while remaining buffered from surrounding traffic.

 

With Lake Views, JA Joubert Architecture Studio aims to contribute to Tirana’s evolving architectural landscape, aligning with national strategies aimed at improving urban quality and resilience through contemporary design. The project reflects a broader shift toward mixed-use, view-optimized housing that supports both private living and civic engagement.


Lake Views introduces a new lakefront district in Tirana


positioned between Tirana’s park and Olympic complex

 

 

lake-views-ja-joubert-architecture-tirana-albania-designboom-1800-2

public space integrated as social infrastructure


a sloped district shaped for optimal lake views

lake-views-ja-joubert-architecture-tirana-albania-designboom-1800-3

a response to Albania’s evolving urban strategy


each unit is oriented toward the skyline and mountains


a folded massing strategy redefines the urban block


terraced volumes follow the natural terrain


full-width balconies with integrated planters provide shade


stepped forms optimize light, privacy, and airflow


outdoor spaces connect with interior living


units vary in size and layout within a unified system


green corridors and sunken terraces activate the ground level

 

project info:

 

name: Lake Views

architects: JA Joubert Architecture | @ja_joubertarchitecture
design team: Marc Joubert, Marianne Miguel, Paul Kroese, Alessandro Guida
location: Tirana, Albania

 

site area: 9 ha

built area: 135,000 sqm (100,000 sqm above grade / 35,000 sqm below grade)

client & contractor: Gener2

photographer: Leonit I Brahimi | @leonitibrahimi

animation: slmnmedia

 

 

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

 

edited by: christina vergopoulou | designboom

The post JA joubert architecture sculpts undulating lakefront district following sloped terrain in tirana appeared first on designboom | architecture & design magazine.

ASPECT studios’ regenerative campus landscape for alibaba stands on multi-story podium

ASPECT Studios designs Alibaba’s regenerative campus landscape

 

Located in Hangzhou, China, the Alibaba Xixi Campus (Park C) is a 26-hectare landscape development designed by ASPECT Studios. Situated entirely atop a multi-story podium, the project integrates a complex natural system into a dense, urban workplace environment, supporting a community of approximately 30,000 people. The landscape design prioritizes ecological function, water management, and user experience, establishing a framework for future campus and urban developments in similar conditions.

 

The park is built over an elevated structural platform, requiring specific design strategies to support planting, water management, and long-term ecological performance. Engineered soil depths, adaptive planting systems, and an integrated stormwater harvesting network form the basis of the site’s environmental infrastructure. These interventions create a resilient landscape capable of supporting diverse vegetation and maintaining hydrological performance under changing conditions. A key design element is the stormwater management system, developed through algorithmic hydrological analysis. Bio-swales and engineered channels function as surface-level infrastructure, guiding water across the site into a central lake. This lake serves multiple roles, as a visual and social centerpiece, an irrigation reservoir, and a tool for managing flood risk. A pavilion structure positioned at the lake edge provides shaded terraces and public seating, linking water infrastructure with programmatic and community functions.


all images by Wang Wenjie

 

 

Human-centered planning enhances accessibility on the Campus

 

Spatial planning across the campus is informed by circulation data, sun path analysis, and user movement patterns. A network of pedestrian paths and open spaces supports a variety of functions, from quiet individual use to larger gatherings. Distributed throughout the campus, a series of lightweight architectural elements, referred to as ‘halo canopies,’ offer visual continuity and microclimatic benefits, including shade and rain protection. The design applies the ‘BioHabiNet’ framework, a methodology developed by ASPECT Studios’ team to integrate biodiversity, hydrology, and public programming. This approach organizes the campus landscape into a series of interlinked ecological zones, responding to the site’s microclimate and promoting habitat creation. The use of native and climate-adapted species further supports biodiversity and reduces the demand for maintenance inputs.

 

The campus landscape is intended to function as a workplace environment that facilitates interaction, rest, and movement. Open spaces are programmed to support flexible usage patterns, allowing employees and visitors to engage with the landscape throughout the day. Human-centered design principles guide the spatial layout, prioritizing accessibility, comfort, and connectivity across the site. Alibaba Xixi Campus (Park C) reflects a broader shift in urban development toward integrated natural systems within complex architectural frameworks. Through its combination of ecological function, infrastructural logic, and spatial programming, the project proposes a replicable model for high-density, podium-based environments seeking long-term resilience and environmental performance.


elevated entirely on a multi-storey podium, the campus landscape redefines urban green space


a network of bioswales and channels directs stormwater into the central lake


‘halo canopies’ provide shade and unify the visual identity of the site


layered spatial zones accommodate both quiet retreat and active gatherings

alibaba-xixi-campus-aspect-studios-hangzhou-china-designboom-1800-2

human-centered planning enhances accessibility and flow across the campus


the 26-hectare site integrates ecological systems into a dense workplace environment


the lake acts as a reservoir, public gathering space, and key stormwater feature


landscape strategy prioritizes long-term resilience and hydrological performance


circulation paths are informed by sun patterns and movement data


landscape spaces are programmed for flexibility throughout the workday

alibaba-xixi-campus-aspect-studios-hangzhou-china-designboom-1800-1

Alibaba Xixi Campus offers a replicable model for nature-integrated design


the campus blends ecological function with architectural performance

 

project info:

 

name: Alibaba Xixi Campus

landscape architect: Aspect Studios | @aspectstudios
design team: Stephen Buckle, Ann Yang, Sam Xu, Haining Feng, Ella Chen, Christina Ma, Kevin Shi, Karen Feng, Cherry Lei, Jay Yang, Lemon Liao, Pigeons Chua, Honghui Zhang, Lauren Fu

location: Hangzhou, China

area: 260000 sqm

photographer: Wang Wenjie

 

 

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post ASPECT studios’ regenerative campus landscape for alibaba stands on multi-story podium appeared first on designboom | architecture & design magazine.

‘Outcasts’ Highlights the Scientific Contributions of Trailblazing Artist and Naturalist Mary Banning

‘Outcasts’ Highlights the Scientific Contributions of Trailblazing Artist and Naturalist Mary Banning

In the 1800s, mycology—the study of fungi—was a relatively new field, emerging around the same time as Enlightenment-era studies in botany and herbal medicine. Science and art converged in works like Elizabeth Blackwell’s A Curious Herbal, along with German naturalist Lorenz Oken’s seven-volume Allgemaine Naturgeschichte, consisting of more than 5,000 pages dedicated to classifying everything from beetles and fish to mushrooms and ferns.

In the late 19th century in Maryland, Mary Elizabeth Banning (1822–1903) emerged as one of America’s first mycologists—and the first woman to describe a new fungus species to science. The self-taught artist and scientist is now the focus of a nature-centered exhibition at New York State Museum, Outcasts: Mary Banning’s World of Mushrooms. The show features 28 original watercolors and detailed records of various mushroom species from the unpublished manuscript of her book, The Fungi of Maryland. In fact, of the 175 species she documented, 23 of them were unknown to science at the time.

an illustration of red mushrooms by Mary Banning
Fistulina hepatica, Fr. (late 1800s), watercolor on paper

Banning’s manuscript is dedicated to Charles H. Peck, whose role as New York State Botanist—and an enthusiastic mycologist—at the NYSM formed the foundation of a 30-year correspondence with Banning. As a woman in an almost entirely male field, who also lacked formal biology degrees, Banning was largely ostracized from professional proceedings at the time, but her work did not go unrecognized. Peck published some of her findings in the Annual Report in 1871, and he kept her manuscript in a drawer at NYSM, where it remained for more than nine decades.

A handful of Banning and Peck’s letters are included in Outcasts, along with some of Peck’s lab equipment, mushroom specimens that Banning collected, and a dozen early 20th-century wax models of fungi from the NYSM Natural History Collection.

Along with Banning’s vibrant illustrations, the exhibition introduces visitors to the mycological universe, including prehistoric specimens like Prototaxites. A fossilized example of the ancient life form was found in Orange County, New York. Around 420 to 370 million years ago, these unique organisms would have towered over the landscape at up to 26 feet high.

Outcasts: Mary Banning’s World of Mushrooms continues through January 4 in Albany. Learn more and plan your visit on the museum’s website.

an illustration of mushrooms by Mary Banning
Lactarius indigo, Schw. (1878), watercolor on paper
an illustration of mushrooms by Mary Banning
Agaricus Americanus, Peck. (1879), watercolor on paper
an installation of small framed photos and a forest landscape in the exhibition 'Outcasts: Mary Banning's World of Mushrooms'
“Interpendencies” feature wall of ‘Outcasts: Mary Banning’s World of Mushrooms’

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A Multifaceted Book and Exhibition, ‘Black Earth Rising’ Contends with Colonialism, Land, and Climate

A Multifaceted Book and Exhibition, ‘Black Earth Rising’ Contends with Colonialism, Land, and Climate

Between 450 B.C.E. and 950 C.E., a particularly fertile soil known by researchers as terra preta, literally “black earth” in Portuguese, was cultivated by Indigenous farmers in the Amazon Basin. The soil was made with broken pottery, compost, bones, manure, and charcoal—which lends its characteristic dark shade—making it rich in nutrients and minerals.

The historic, fecund material becomes a symbolic nexus for the exhibition Black Earth Rising, now on view at Baltimore Museum of Art. Curated by journalist and writer Ekow Eshun, the show illuminates several links between the climate crisis, land, presence, colonization, diasporas, and social and environmental justice.

a mixed-media collage of Black figures wearing historic European gowns and ruffs
Raphaël Barontini, “Au Bal des Grands Fonds” (2022), acrylic, ink, glitter, and silkscreen on canvas 70 7/8 x 118 1/8 inches. Image courtesy of the artist and Mariane Ibrahim, Chicago, Paris, and Mexico City

Accompanying the exhibition is a new anthology published by Thames & Hudson titled Black Earth Rising: Colonialism and Climate Change in Contemporary Art, which highlights works by more than 150 African diasporic, Latin American, and Native American contemporary artists.

The volume explores intersections between slavery and forced migration, the environmental consequences of colonialism, socio-political injustices experienced by urban Black and Brown communities, and the violent occupation of Native lands—all through the lens of learning from Indigenous knowledge systems and a wide range of cultural practices to consider more carefully how we view and interact with the natural world.

Black Earth Rising brings together striking works by some of the art world’s most prominent practitioners, from Cannupa Hanska Luger and Precious Okoyoman to Wangechi Mutu and Firelei Báez, among many others. Hanska Luger’s ongoing project, Future Ancestral Technologies, takes a multimedia approach to science fiction as a vehicle for collective thinking. Luger describes the project as a way to imagine “a post-capitalism, post-colonial future where humans restore their bonds with the earth and each other.”

Carrie Mae Weems’ photograph “A Distant View,” from The Louisiana Project, approaches the history of enslaved women in the South through the perspective of a muse—the artist herself—spectrally inhabiting a seemingly idyllic landscape. Reflecting on the relaxed atmosphere of the image, we’re confronted with the stark reality experienced by Black people who were forced to labor on plantations, these grand houses now symbolic of atrocious violence and inequities.

two Indigenous performers in the desert, wearing futuristic Native American garments
Cannupa Hanska Luger, “We Live, Future Ancestral Technologies Entry Log” (2019). Image courtesy of the artist and Garth Greenan Gallery, New York

Black Earth Rising presents a discourse on climate change that places the voices of people of color at the active center rather than on the passive periphery,” says a statement from the publisher.

Through a wide variety of paintings, photography, sculpture, installation, and interdisciplinary pieces, readers—and visitors to the exhibition—are invited to consider how the continuum of history influences the climate crisis today and how we can proceed toward a future that centers unity and deeper relationships with nature.

The Black Earth Rising exhibition continues through September 21. Find your copy of the anthology on Bookshop, and plan your visit to the show on the Baltimore Museum of Art’s website.

a black-and-white photograph by Carrie Mae Weems of a Black woman in a white dress looking at a plantation house
Carrie Mae Weems, “A Distant View” from ‘The Louisiana Project’ (2003), gelatin silver print, 20 x 20 inches. Image courtesy of the artist and Gladstone Gallery, New York; Fraenkel Gallery, San Francisco; and Galerie Barbara Thumm, Berlin. © Carrie Mae Weems
a digital woven image of a Black figure seated between floral columns in a landscape, with a butterfly above
Akea Brionne, “Home Grown” (2023), digital woven image on jacquard with rhinestones, poly-fil, and thread, 48 x 60 inches. Image courtesy of the artist and Lyles & King, New York
a mixed-media assemblage by Todd Gray
Todd Gray, detail of “Atlantic (Tiepolo)” (2022), four archival pigment prints in artist’s frames and UV laminate, 72 5/8 x 49 1/8 x 5 inches. Image courtesy of Todd Gray and David Lewi
a black-and-white photo documenting an artwork by Zig Jackson, with a sign reading "Entering Zig's Indian Reservation" and a man standing in a Native American feathered chief's war bonnet
Zig Jackson, “Entering Zig’s Indian Reservation: China Basin” (1997), Epson archival pigment print, 19 x 23 inches. Image courtesy of Andrew Smith Gallery, Tucson. © Zig Jackson
a photograph of a figure underwater with the sun shining on their body, head invisible above the water and amid a reflection
Allison Janae Hamilton, “Floridawater II” (2019). Image courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton
a photograph of two young Black boys swimming near an old pier
Melissa Alcena, “NJ + LJ, Jaws Beach” (2021), Hahnemühle FineArt Baryta print, 14 x 11 inches. Image courtesy of TERN Gallery on behalf of the artist
the cover of the book 'Black Earth Rising'
Cover of ‘Black Earth Rising,’ courtesy of Thames & Hudson

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The 16th-Century Artist Who Created the First Compendium of Insect Drawings

The 16th-Century Artist Who Created the First Compendium of Insect Drawings

Nearly a century before the invention of the microscope and even longer before entomology became a field of research, Joris Hoefnagel (1542-1600) devoted himself to studying the natural world. The 16th-century polymath created an enormous multi-volume collection called The Four Elements, which contained more than 300 watercolor renderings, each depicted with exceptional detail.

As Evan Puschak of the YouTube channel Nerdwriter1 (previously) explains, Hoefnagel showed unparalleled talent in his field. Compared to one of his predecessors, Albrecht Dürer, Hoefnagel draws with a painstaking commitment to precision and accuracy, even depicting specimens’ shadows with impeccable fidelity. As Kottke writes, “his paintings were so accurate that if he’d lived 200 years later, you would have called him a naturalist.”

While drawings in three of the books appear to mimic other scientific renderings of the period, Hoefnagel seems to have created his works by studying the insects themselves and sometimes even included parts of their bodies in his compositions. His Fire volume, full of beetles, butterflies, and other arthropods, is thought to be the first of its kind.

Some of Hoefnagel’s works are on view at the National Gallery of Art in Little Beasts: Art, Wonder, and the Natural World, which ventures back to the 16th and 17th centuries to explore how artists and naturalists have historically been aligned. It’s also worth looking at the museum’s interactive archive that lets viewers zoom in on several of Hoefnagel’s drawings.

two beetle illustrations
an illustration of various insects
a grid of biological illustrations

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Challenging Gender Norms, a Bolivian Skateboarding Collective Celebrates Indigenous Style

Challenging Gender Norms, a Bolivian Skateboarding Collective Celebrates Indigenous Style

In Cochabamba, Bolivia, a group of women skateboarders are changing attitudes toward Indigenous traditions one kickflip at a time. Donning customary Quechuan garments like brimmed sombreros and colorful polleras—wide skirts commonly worn by Andean women—the Imillaskate collective combines a contemporary sport with time-honored cholita heritage.

Colossal readers might recognize some of the women of Imillaskate from Celia D. Luna’s marvelous series of photographs, Cholitas Bravas. A new short documentary directed by Rebecca Basaure and Mariano Carranza and produced by NOWNESS highlights the group’s style and dedication to the community. The film traces the stories of members of Imillaskate, the collective’s mission to construct a skatepark, and their visits to local schools that emphasize self-affirmation and empowerment through skateboarding.

Until fairly recently, Quechuan and Aymara women were derogatorily called “cholitas” and were actively ostracized from society. Known for their long braids, bowler hats, and full skirts—a hybridization of styles resulting from Spanish influence during the Inquisition—the style evolved into a look brimming with Indigenous cultural and lineal pride.

Deysī, an Imillaskate co-founder and award-winning skater, describes how surprised her mother was when she first dressed as a cholita. She continues:

Some people in my generation are embarrassed to wear pollera because the pollera highlight your features—your Indigenous features—highlight what we are as Indigenous people, as the daughters of women of polleras. It’s a part of my family legacy. And without family, I’m nobody.

The inspiring documentary also touches on gender inequalities in Bolivian society, as Imillaskate members share how important mutual support has been through major life transitions like motherhood and the loss of loved ones. “We rely on each other, just as others rely on us,” says another co-founder, Ellī. “Because we, as Indigenous people—as Quechuas—we have a collective mindset.”

NOWNESS creates videos that celebrate art, food, travel, fashion, and more. Watch the entire film on YouTube. You might also enjoy Todd Antony’s series Cholitas Escaladoras, chronicling a group of Quechuan and Aymara mountain climbers in Bolivia.

a still from a documentary showing Quechuan women skateboarding
a gif of Quechuan women skateboarding
a still from a documentary showing Quechuan women skateboarding

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Explore Centuries of Art History 15 Minutes at a Time in James Payne’s ‘Great Art Explained’

Explore Centuries of Art History 15 Minutes at a Time in James Payne’s ‘Great Art Explained’

The art world is rife with persistent myths and associations, some of which are based on socio-economic factors that have prevailed for, well, millennia. For instance, wealthy patrons have historically been among the few who benefit in a system that can be exclusive and elitist. Whether we’re talking rich ancient Romans, the Medici family in Renaissance Florence, myriad kings and queens, or today’s major art collectors, the bottom line is most often money. For many, that’s a solid barrier to entry.

Another term that gets tossed around a lot is “gatekeeping.” Galleries, art dealers, museum curators, scholars, publishers, and so on assume roles as tastemakers and assessors, building relationships (or not) that often determine which artworks end up in public institutions, which shows receive attention, or which private collections artists’ pieces are destined to join. Gatekeeping is, by definition, the act of monitoring who “gets in,” reinforcing the notion of exclusivity. In short, it describes a multitude of potential barriers.

So, if the art world has historically always indulged the wealthy or felt like a realm for scholars and intellectuals, how can it be made more accessible? That’s what curator, gallerist, educator, and self-described passionate art lover James Payne is up to with Great Art Explained.

The video series began in May 2020, at the height of the pandemic, with the simple premise that great art can be “explained clearly and concisely in 15 minutes,” he says. Payne’s YouTube channel chronicles seminal artworks throughout the centuries, predominantly focusing on textbook titans of European and American art like Marcel Duchamp, Sandro Botticelli, Georgia O’Keeffe, Jackson Pollock, Johannes Vermeer, Salvador Dalí, and more.

Distilling the stories of iconic pieces into 15-minute explanations, Payne dives into some of the most groundbreaking moments in art history. The most recent video highlights a turning point in American art through the lens of Jackson Pollock’s splatter paintings, including “Number 1, 1950 (Lavender Mist),” which the artist painted on the floor of a Long Island barn in 1950.

Pollock’s methods, lifestyle, and views have long been polarizing, but he is most known for eschewing traditional brushwork—changing the course of art history, really—by pouring, dripping, and flinging paint onto canvas. Not only that, he removed the substrate from the wall and put it on the floor, challenging notions of formality and preciousness. There’s even a discarded cigarette and a few rogue insects permanently stuck to the surface.

a woman looks at an abstract painting by Jackson Pollock
Lee Krasner, “Combat” (1965), oil on canvas, 179 x 410.4 centimeters

“Number 1, 1950 (Lavender Mist)” and similar works made around that time amounted to an artistic breakthrough for Pollock, who has come to exemplify the myth of the lone, troubled, so-called “cowboy painter.” (He was born in Cody, Wyoming, and was known to drink to excess; he died in 1956 in an alcohol-related car crash.) This period of his practice also spurred the Abstract Expressionist movement in New York City and marked a monumental shift in our appreciation of what painting can be.

Payne is interested in these kinds of trailblazing moments, but he emphasizes letting go of “art-speak” to bring us closer to significant works of art through a mini-documentary format. He releases a new video each month, plus an occasional sub-series called Great Art Cities that highlights a variety of destinations in collaboration with travel writer Joanne Shurvell.

“Sometimes the artwork is a springboard for other wider issues I would like to explore, and sometimes, it is a simple exploration of techniques and meaning,” Payne says. “For me, setting the works in context helps us appreciate them more.”

Payne’s work is supported via Patreon, and a Great Art Explained book is slated for release from Thames & Hudson later this year. And for the literary fans among us, he also runs another YouTube channel in a similar vein called Great Books Explained. (via Kottke)

a composite image of five art historical works and artists
a detail of Gustav Klimt's "The Kiss"
Detail of Gustav Klimt, “The Kiss” (1908-09), oil and gold leaf on canvas, 180 x 180 centimeters

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Photos by Charly Broyez and Laurent Kronental Celebrate Architecture Ahead of Its Time

Photos by Charly Broyez and Laurent Kronental Celebrate Architecture Ahead of Its Time

Forty minutes east of Montpellier on France’s Mediterranean coast sits a midcentury complex once disparaged as “architectural pollution” by L’Architecture d’Aujourd’hui. The seminal work of architect Jean Balladur, La Grande Motte — which means “the big mound” — is a modernist development comprising buildings inspired by pyramids and mastabas that rise above the sandy, green expanse of a former farm between the Étang de l’Ór lagoon and the open sea.

Conceived as a resort during the post-war period when Europeans were again embracing holiday travel, La Grande Motte accommodates nearly 38,000 tourists in vacation homes, apartments, and campsites. Today, around 8,000 people live here full-time, and the area welcomes more than 100,000 visitors each summer.

a modernist resort apartment complex in all-white against a sunset

Balladur realized the project during what is known as the Les Trente Glorieuses, or “the glorious thirty,” a period of economic prosperity following the end of World War II. And for him, the resort represented an ideal city in which lodging was relatively affordable and residents could escape socio-economic pressures.

For photographers and collaborators Laurent Kronental and Charly Broyez, who often focus on architecture and urban environments, La Grande Motte presented a unique opportunity to explore an infamous location which, over the years, has grown on its critics. Increasingly seen as a concept well ahead of its time, its unique forms, white facades, sculptural elements, and harmony with nature provided an irresistible focus for a series titled La Cité Oasis—un Rêve Futuriste au bord de la Méditerranée, or, The Oasis City—a Futuristic Dream on the Mediterranean.

Between 2019 and 2023, Kronental and Broyez captured the gleaming towers, arched silhouettes, sculptural elements, and brutalist details in dusky, glowing images that radiate a feeling of summertime. We see the nuanced influences Balladur incorporated from sources like the pre-Columbian pyramids of Teotihuacan, Mexico, or Le Corbusier’s La Cité radieuse in nearby Marseille. Each building is unique, rising from the sand like enormous, inhabitable sculptures.

Negative opinions of La Grande Motte began to shift in the 1990s, as the resort’s thoughtful urban planning and sympathy with the landscape became even more apparent. In 2010, France La Grande Motte was formally designated as a Monument Historique within the 20th Century Heritage category.

a modernist resort apartment complex in all-white against a blue sky

Broyez and Kronental’s images are devoid of people, but umbrellas on balconies, towls hanging to dry, or open windows suggest their presence. Exploring La Grande Motte was “like discovering a parallel world in which we don’t know if we’ve found the remains of an ancient civilization, or entered the future,” Kronental told The New York Times.

Check out both Broyez and Kronental on Instagram, and peruse the entire project, which consists of nearly 70 photos.

a detail of modernist architecture against a blue sky
a modernist resort apartment complex in all-white against a blue sky
a detail of a modernist resort apartment complex in all-white against a blue sky near a broad, flat, green landscape
a detail of modernist architecture with trees in the foreground
a modernist resort apartment complex in all-white against a blue sky with trees and sculptures in the foreground
a detail of modernist architecture against a blue sky with shrubs, with shapes in the form of human facial profiles
a modernist resort apartment complex in all-white against a blue sky

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Get Up Close to Frank Lloyd Wright’s Unrealized Buildings with David Romero’s Digital Models

Get Up Close to Frank Lloyd Wright’s Unrealized Buildings with David Romero’s Digital Models

Among the world’s most influential architects, Frank Lloyd Wright is undoubtedly a titan of the discipline. His designs are instantly recognizable for his unique treatment of space, light, materials, and line, and he’s even responsible for entire architectural movements. The Prairie style, for example, took inspiration from the broad landscapes of the American Midwest. He also coined the term “organic architecture” to describe how experiencing a built environment should manifest as “a ‘thinking’ as well as a ‘feeling’ process.”

The Prairie style was considered the first uniquely American architectural style, later evolving into a philosophy Wright called Usonia that privileged locally available materials, practicality, connection to nature, and a strong visual continuity between the interior and exterior. The iconic Fallingwater in Pennsylvania, for example, is a bit of a hybrid of Prairie and Usonian styles. Later, he incorporated motifs from a variety of sources, like Mayan stone carvings and “textile block” elements. His oeuvre ranges from small-scale, single-story dwellings to gleaming, futuristic complexes.

a digital rendering of a modern, futuristic building originally designed by Frank Lloyd Wright
Hunftingdon Hardford

For architect and 3D designer David Romero, Wright’s work has been a source of inspiration since his earliest explorations within the field. “From the very beginning, I was drawn to his ability to bridge two seemingly opposite worlds: the rational and intellectual side of architecture, and the emotional—almost spiritual—experience of space,” Romero tells Colossal. “To me, that union is the essence of what makes architecture truly powerful—and no one embodies it quite like Wright.”

Of course, the acclaimed architect’s imagination and commissions weren’t restricted to the residential sphere. Wright conceived of the spiraling interior and glowing white facade of the Solomon R. Guggenheim Museum in Manhattan and SC Johnson’s soaring Administration Headquarters in Racine, Wisconsin, among many other seminal commercial and institutional buildings. Throughout his career, Wright designed a whopping 1,114 structures of all kinds — bridges, skyscrapers, banks, churches, car dealerships, social housing, and more — 532 of which came to fruition.

Romero’s ongoing project called Hooked on the Past explores architecture of bygone eras that nevertheless richly influences our built environment today. The Madrid-based designer has created nearly two dozen digital renderings of Wright’s unrealized concepts, from astonishing cliffside homes to an insurance company headquarters to a bank with an apparently too-ahead-of-its-time drive-thru.

Wright conceived of one of his most monumental and awe-inspiring concepts for Chicago: a mile-high skyscraper titled “The Illinois” that initially included 528 stories—later edited to 365—and would have been four times the height of the Empire State Building. The architect shared the idea in his 1957 book, The Testament, asserting that it was technically possible, even with the technology available at that time, to construct a building of that scope and scale.

a digital rendering of a futuristic mile-high skyscraper in Chicago orginally designed by Frank Lloyd Wright
The Illinois

Hooked on the Past emerged from the intersection of two personal passions: the history of architecture and the fascinating world of computer-generated imagery,” Romero says. He continues:

These two fields, though seemingly different, complement each other in powerful ways. On one hand, I’ve always been drawn to the stories, styles, and cultural contexts behind architectural works. On the other, I’ve been deeply interested in the creative and technical potential of digital tools to visualize ideas and environments.

Romero typically initializes his workflow by building a model in AutoCAD, which he then exports to 3ds Max modeling software. Using a plugin called V-Ray, he refines the visual quality of the scene by adding realistic textures, lighting effects, vegetation, and terrain.

“This is the stage where the project truly starts to come alive, moving beyond a technical model to something with atmosphere and emotional resonance,” he says. From there, he finishes with a few post-production tweaks in Photoshop to make the entire image as cohesive as possible.

a detail of a digital rendering of a futuristic mile-high skyscraper in Chicago orginally designed by Frank Lloyd Wright
Detail of The Illinois

“(Wright’s) work speaks not just to the mind, through its structural ingenuity and innovative use of materials, but also to the heart,” Romero says. “There’s a poetic quality in his designs—a deep sensitivity to nature, light, and human experience—that continues to move me, no matter how many times I return to his buildings or drawings.”

Romero collaborates regularly with the Frank Lloyd Wright Foundation, which promotes and preserves the architect’s work and legacy. Romero’s digital recreations have been published annually in the organization’s quarterly magazine, which allows him to explore a wide range of unrealized projects.

“Each year, together with the Foundation’s editorial team, we choose a central theme that serves as a unifying thread for the visualizations featured in that special issue,” he says. “In previous years, we’ve focused on a variety of building types and periods of his career, but this year’s theme is especially intriguing to me: temples.”

Keep an eye on Romero’s website for updates.

a digital rendering of a futuristic white building orginally designed by Frank Lloyd Wright
Gordon Strong Automobile Objective
a digital rendering of a modern church with a glass spire, originally designed by Frank Lloyd Wright
Trinity Chapel
a digital rendering of a modern stone house originally designed by Frank Lloyd Wright
Smith House
a digital rendering of a modern stone house originally designed by Frank Lloyd Wright
Lea House
a digital rendering of a modern glass building originally designed by Frank Lloyd Wright
National Life Insurance
a digital rendering of a modern, linear stone house originally designed by Frank Lloyd Wright
Pauson House
a digital rendering of a school with an enclosed courtyard originally designed by Frank Lloyd Wright
Rosenwald School
a digital rendering of a futuristic white house on a cliff originally designed by Frank Lloyd Wright
Morris House
a digital rendering of a modern stone house originally designed by Frank Lloyd Wright
Smith House

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Get Up Close to Frank Lloyd Wright’s Unrealized Buildings with David Romero’s Digital Models appeared first on Colossal.