You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here Supermassive Games, the studio behind narrative horror games Until Dawn and The Dark Pictures Anthology, have scrapped their in-development Blade Runner game.  Designed to launch on the next-generation PlayStation 6 and Xbox consoles, the sci-fi narrative adventure has been scrapped before most fans knew of its existence.  Until Dawn devs scrap Blade Runner game  In a report by Inside Gaming, it’s said that the studio was working on the single-player narrative adventure for release in 2027. The game’s 10-12 hour “compelling” campaign would have been set in New Zurich in the year 2065 with the player being the city’s sole Blade Runner.  Dubbed Blade Runner: Time to Live, the game was set to be a “character focused, cinematic, action adventure” that attempted to combine “the philosophical themes of Blade Runner with kinetic action-adventure gameplay”. Pre-production on the game is said to have started last year in September 2024 with a plan to start prototyping this month. However, the game was reportedly scrapped by the IP’s rights holder Alcon Entertainment, a company that has been particularly finicky with the franchise.  “Journey from the teeming undercity of New Zurich 2065 to the eerie remnants of the forgotten world beyond,” reads an alleged synopsis for the game. “Under orders to retire Rev, the mysterious and ruthless leader of an underground replicant network, you are betrayed and left for dead in a brutally hostile environment.” Blade Runner: Time to Live was described as a fairly expensive project for the studio. According to the report, the game’s budget was upwards of $45 million for development with an additional $9 million for acting talent, likely involving some B-List celebrities.  While the exciting title may be cancelled, the studio is still working on other games in its narrative adventure formula. Directive 8020 is a brand-new sci-fi horror tale in development by the studio starring No Time To Die’s Lashana Lynch.  Until Dawn Platform(s): PlayStation 3, PlayStation 4 Genre(s): Action, Adventure, Survival Horror 8 VideoGamer Related Topics Blade Runner Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

Are there any other qualities you look for when hiring?I think it’s important for designers to be both creative- and business-minded. That’s the way I always learned: You had to come up with a scheme, shop for the fabric, find the antiques, and do all the paperwork and manage the budget. People will say, ‘Designers are supposed to be creative and that’s a different skill set’—and I understand that a bit—but there is so much project management that goes into design that I really value somebody who can understand both.What boundaries have you learned to set as your business has matured?Details are so important in this business. When I’m working with a vendor rep and their paperwork or correspondence is sloppy, I request to work with somebody else. Because if you’re sloppy in your emails, that could inevitably mean a mistake on the purchase order. One piece of furniture could have four POs attached to it—from fabric to trim to upholster to pillows—so you need someone who is really good at corralling it.Works by Matthew King add pizzazz to the design library at Josh Greene Design. Photo: Weston WellsJoin NowAD PRO members enjoy exclusive benefits. Get a year of unlimited access for $25 $20 per month.ArrowWhere is the oddest place you’ve scored a client?I was volunteering at God's Love We Deliver. I was chopping vegetables next to these two guys, we got talking, and they had just bought a little house in Southampton. I took it on as a freelance project while working at Ralph Lauren, and it ended up being my first-ever published project—Hamptons Cottages & Gardens ran it.What is your most popular avenue for client acquisition these days?We get most of our clients through word of mouth, so getting involved in things outside of the design network has been a great place to grow that personal network. If you have clients who are social and love to entertain, that is very helpful. There are certain clients who become your champions, and that’s always really lovely. But I always say that everything has to be firing on all cylinders. You have to have people referring you, but you also need a strong Instagram and presence in the press. And you have to push yourself and your work to be more exciting and evolve. It all feeds itself.APPLY NOWGrow your business with the AD PRO DirectoryArrow

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Silver Arrow Screen F1 25 locks some F1 movie crossover content behind its iconic edition, but its devs say those who don’t have it “shouldn't feel like the experience is missing” "It's not like there's an existing area of the game that's being lessened if you don't have access to that stuff." Image credit: EA News by Mark Warren Senior Staff Writer Published on April 24, 2025 There’s an F1 movie coming out this year. Brad Pitt’s in it. As you might expect for a video game tie-in, F1 25’s following the real world sport in really embracing our little hobby about cars going round a track getting its Hollywood moment in the sun, but to get the full F1 movie experience in the game, you’ll have to buy its more expensive iconic edition. It’s an interesting move, given that the movie - as with video game adaptations - seems to be viewed as something that could expand F1’s audience, rather than appealing strictly to an established audience of hardcore racing fans. So, I asked the game’s devs what went into this decision with elements of content that includes the ability to use the movie's fictional team APXGP in Driver Career and MyTeam, and some bespoke live-service gameplay scenarios/chapters based on the events of the film. To see this content please enable targeting cookies. “I mean, ultimately, timing on that more than anything,” senior creative director Lee Mather told me, “Timing being the movie comes out [on] June [25], and we can't spoil the movie with our content. So, we're supporting the movie with that, a really cool opportunity, but we wanted players to have access to some of the content when they purchase the game.” “APX GP has a team icon that's available from launch,” continued creative director Gavin Cooper, “But yeah, even within the scenarios we have a prologue that is available to all for all players [across the standard and iconic editions]. So, everybody can have a bit of a taster of the experience. “If you don't have it, it shouldn't feel like the experience is missing here,” Cooper added when I asked him if standard edition players will notice iconic edition movie stuff isn’t there, “MyTeam definitely isn't predicated on you having this content. It's a nice extra way to play that content for sure. The scenarios themselves, they're their own kind of broken off part of the game, and so they have their own area. “So, again, it's not like there's an existing area of the game that's being lessened if you don't have access to that stuff. Obviously, you can see the value of being able to access [it] if you're interested in the movie, [and] you want to be able to relive some of the events from the movie in the game.” “It's great content and it would be a real shame for us not to be able to work with Apple on that opportunity,” Mather added, “because we speak to a different audience to moviegoers.” For more on F1 25, make sure to check out the multi-part preview of it we've had going up over the course of this month - here's the first one on the big overhaul to the MyTeam mode.

Image: Idea FactoryIt really feels like game sales are crawling towards the 5th June Switch 2 release date at the moment, but Famitsu has given us an updated look at the Japanese charts, and despite sluggish numbers all around, there are a couple of newbies this week. The Japanese visual novel OVER REQUIEMZ has walked away with the win in its debut week, selling an impressive 7,286 copies to even out-muscle the powerhouse of Super Mario Party Jamboree. Hello Kitty Island Adventure has also popped up this week, with its new 'Deluxe Edition' physical release shifting 3,838 copies and cementing it in seventh place.Subscribe to Nintendo Life on YouTube809kWatch on YouTube Elsewhere, it's business as usual. Monster Hunter Wilds is the only non-Switch title to land a spot in the top 10, and Xenoblade Chronicles X: Definitive Edition is still hanging on to a chart position after slipping to eighth. For the full breakdown, here's a look at the latest top ten: Position Game Platform Unit Sales (14th - 20th Apr) Total Unit Sales 1 OVER REQUIEMZ Switch 7,286 NEW 2 Super Mario Party Jamboree Switch 6,261 1,271,145 3 Minecraft Switch 5,074 3,862,466 4 Animal Crossing: New Horizons Switch 4,642 8,111,305 5 Monster Hunter Wilds PS5 4,313 797,859 6 Mario Kart 8 Deluxe Switch 4,138 6,307,712 7 Hello Kitty Island Adventures Deluxe Edition Switch 3,838 NEW 8 Xenoblade Chronicles X: Definitive Edition Switch 3,084 104,513 9 Nintendo Switch Sports Switch 2,664 1,575,692 10 Donkey Kong Country Returns HD Switch 2,545 255,880 If you check out the Japanese charts every week, the hardware numbers will come as no surprise. In fact, the order has remained exactly the same as we last saw it. The three Switch SKUs continue to hold a commanding lead with a combined 25,408 sales, while the PS5 units follow behind on a 7,497 total. It'll be interesting to see where the original Switch sits once June rolls around, huh? Here's your look at this week's Japanese hardware chart in full: Position Console Unit Sales (14th - 20th Apr) Total Unit Sales 1 Switch OLED 15,211 8,956,685 2 Switch Lite 7,970 6,532,721 3 PlayStation 5 4,302 5,641,265 4 Switch 2,227 20,091,393 5 PlayStation 5 Pro 2,101 197,416 6 PlayStation 5 Digital Edition 1,094 965,979 7 Xbox Series S 52 333,935 8 Xbox Series X Digital Edition 27 20,176 9 Xbox Series X 22 319,728 10 PlayStation 4 19 7,929,444 < Previous charts Where to buy Switch 2 consoles, accessories & games What do you make of this week's charts? Let us know your thoughts with a comment down below. [source famitsu.com] Related Games See Also Share:0 1 Jim came to Nintendo Life in 2022 and, despite his insistence that The Minish Cap is the best Zelda game and his unwavering love for the Star Wars prequels (yes, really), he has continued to write news and features on the site ever since. Hold on there, you need to login to post a comment... Related Articles We're Getting An Official Pokémon Encyclopedia Written By Animal Behaviourists And Ecologists Pokécology launches in Japan in June Opinion: It's Time To Get Rid Of Fall Damage Free faller Switch 2's Backwards Compatibility List Provides Updates On Two Titles Here's what you can expect

Could future AIs be “conscious,” and experience the world similarly to the way humans do? There’s no strong evidence that they will, but Anthropic isn’t ruling out the possibility. On Thursday, the AI lab announced that it has started a research program to investigate — and prepare to navigate — what it’s calling “model welfare.” As part of the effort, Anthropic says it’ll explore things like how to determine whether the “welfare” of an AI model deserves moral consideration, the potential importance of model “signs of distress,” and possible “low-cost” interventions. There’s major disagreement within the AI community on what human characteristics models “exhibit,” if any, and how we should “treat” them. Many academics believe that AI today can’t approximate consciousness or the human experience, and won’t necessarily be able to in the future. AI as we know it is a statistical prediction engine. It doesn’t really “think” or “feel” as those concepts have traditionally been understood. Trained on countless examples of text, images, and so on, AI learns patterns and sometime useful ways to extrapolate to solve tasks. As Mike Cook, a research fellow at King’s College London specializing in AI, recently told TechCrunch in an interview, a model can’t “oppose” a change in its “values” because models don’t have values. To suggest otherwise is us projecting onto the system. “Anyone anthropomorphizing AI systems to this degree is either playing for attention or seriously misunderstanding their relationship with AI,” Cook said. “Is an AI system optimizing for its goals, or is it ‘acquiring its own values’? It’s a matter of how you describe it, and how flowery the language you want to use regarding it is.” Another researcher, Stephen Casper, a doctoral student at MIT, told TechCrunch that he thinks AI amounts to an “imitator” that “[does] all sorts of confabulation[s]” and says “all sorts of frivolous things.” Yet other scientists insist that AI does have values and other human-like components of moral decision-making. A study out of the Center for AI Safety, an AI research organization, implies that AI has value systems that lead it to prioritize its own well-being over humans in certain scenarios. Anthropic has been laying the groundwork for its model welfare initiative for some time. Last year, the company hired its first dedicated “AI welfare” researcher, Kyle Fish, to develop guidelines for how Anthropic and other companies should approach the issue. (Fish, who’s leading the new model welfare research program, told The New York Times that he thinks there’s a 15% chance Claude or another AI is conscious today.) In a blog post Thursday, Anthropic acknowledged that there’s no scientific consensus on whether current or future AI systems could be conscious or have experiences that warrant ethical consideration. “In light of this, we’re approaching the topic with humility and with as few assumptions as possible,” the company said. “We recognize that we’ll need to regularly revise our ideas as the field develops.

Interviews The Electric State: Espen Nordahl – VFX Supervisor – Storm Studios  By Vincent Frei - 24/04/2025 It all started at Storm Studios for Espen Nordahl, who began his visual effects journey there 20 years ago. After gaining experience at top-tier studios such as Image Engine, MPC, and Weta FX, he returned to Storm in 2013. Since then, he’s contributed to various productions like Invasion, Black Panther: Wakanda Forever, The Last of Us, and Monarch: Legacy of Monsters. How did you and Storm Studios get involved on this show?  We have worked with Matthew Butler on several projects in the past, and he reached out in early pre-production to see if this was a show that would fit our team.  How was the collaboration with the Russo Brothers and VFX Supervisor Matthew Butler? It was great. We were given tons of autonomy and creative freedom to come up with ideas, designs and solutions and present them to Matthew and the brothers, and had a big say in which sequences and shots we worked on.  What are the sequences made by Storm Studios?  We did the prologue sequence, where the history of the robot war is explained. We also did a couple of VR sequences – one in a lake environment, one in a memory of Xs mother and one where Y talks to her brother in an xmas memory, and a handful of one-off shots and shorter sequences with non hero bots.  Each robot in the “robot war” sequence is unique. Can you walk us through your process of  designing and animating these robots to ensure each felt distinct while still fitting within the same universe?  We tried to stay as faithful to the design language in Simon’s book as possible. That meant making the  bots look like they were designed and built in the 90’s – and some times 80’s and 70’s depending on the  bot. So we referenced a lot of old, analogue tech from that time. What worked best was when each bot was designed to do a specific job instead of a human – gardening, delivering mail, collecting trash etc.  In terms of animation, what were the biggest challenges in giving the robots a sense of weight and physicality during the battle sequences, especially given the variety of shapes and sizes? We spent a lot of time studying real robots and machines. One of the key factors to make them look old and clunky was to restrict their range of motion in their design. We tried to stay away from ball joints, and as often as possible using only one axis of rotation at the time.  Another helpful ingredient was to break motion up sequentially. So instead of for instance walking up  to an object and reaching down to pick it up in one fluid, overlapping motion, we’d break it up into sub steps with breaks in between. We found the more we broke up a task into segments and the longer we’d make the pauses between each the more clunky and less human the motion would look.  Were there any specific references or inspirations you drew from for the movement and  personality of the robots, or did you develop original techniques for this particular project? The references we used the most were the Boston Dynamics videos – especially the older ones – as well as videos from robotics classes at several universities. We gravitated towards any reference where the motion felt old or clunky, as we wanted to avoid them looking too modern or fluid.  Mocap was great for blocking in scenes and trying out things, but they almost always came out too “human” and fluid, so once bot selection and layout was approved for a shot, we almost always used keyframe animation to take them to final.  How much creative freedom did you have in terms of designing the robots versus adhering to a  specific vision from the director or other departments?  When we were brought on to the project the were some designs that were already done – either from the book itself, or by production. But most of the bots were designed by us. Every department was encouraged to pitch in with ideas, whether it was blocking out a model, doing some prototype  animation or drawing concept art. We had a ton of fun coming up with hundreds of designs, around 50 of which were made into bots used in shots.  Given the wide range of unique robots in the film, how did you manage the technical aspects of  creating so many different assets, ensuring each had its own functionality and animation, while  maintaining consistency in the sequence?  Honestly, we didn’t use too many clever solutions here. Just plain old building a lot of robots from scratch. We did of course have texture variations to create a wider range of looks and regional variants – and the riggers encouraged modellers to stick to a set of joint designs so the rigs could stay modular.  The VR world in The Electric State plays an important role in the film. How did you approach  the creation of this world, and what were some of the key challenges in making it feel immersive  and integrated into the story?  When we started our VR shots there was already some work done by One Of Us on the buildup of VR  the world when Michelle takes on the VR headset for the first time. We referenced this a ton in all our shots, staying as true to the visual language they had established as possible. The key being to have the artifacts feel as analogue as possible. So staying away from polygons, wireframes, pixels and particles,  but instead using optical artifacts and analogue glitching seen in VHS, betacam, film etc.  The lake world sequence stands out visually. What were the main challenges in creating the  water and surrounding environment, and how did you blend practical effects with digital  elements to create that scene?  The brief for the lake world was that it needed to look photo real, but larger-than-life in design. Luckily we have some incredibly beautiful lakes here in Norway, so we travelled up to two of them – Lovatnet  and Oldevatnet – gathering as much data as possible. Photogrammetry, drone footage, still photography as well as moving footage with the Alexa 35.  All of this was combined in Houdini, Maya and Nuke to create a custom environment from parts of the real location. The actors on set were standing in shallow water for interaction, but in the end it proved  to be more work to integrate reflections of our environment into that than to re create it in Houdini. It did provide amazing reference of how the real ripples behave, and was great timing reference for rotomation.  Can you talk about the collaboration between the VFX team and the live-action crew during the creation of the virtual worlds, especially the lake scene? What was the process like for translating the director’s vision into a fully realized virtual environment?  We were given a ton of freedom on how to execute the lake scene. Since the lakes we wanted to shoot  were here in Norway we were the ones shooting them, saving production the trip (and hike), and  maintaining control over exactly what data to get and how to process it.  The bluescreen plates were of course shot by main unit. As was the Skate’s mom sequence. We received a huge amount of data from all three shoots – LIDAR, prop scans, reference photography and additional plates. It all proved incredibly helpful in creating the glitching effects.  Looking back on the project, what aspects of the visual effects are you most proud of? I would say the scope. We are a small studio, and before Electric State we had never done this many high complexity shots on a single project, and it was amazing to see everyone in the team step up and  deliver across the board. Everyone cared so much about this project, and it really shows.  How long have you worked on this show?  We worked on this show for a little more than two years.  What’s the VFX shots count?  We delivered around 100 final shots for the movie.  What is your next project?  I’m not allowed to talk about our current project unfortunately, but among our recent ones that just premiered is The Last of Us season 2 and Sinners, both of which we did a lot of very challenging and fun work on. A big thanks for your time. © Vincent Frei – The Art of VFX – 2025

At this year’s RAPID + TCT show, polySpectra, an advanced materials company known for its durable Cyclic Olefin Resins (COR), and Tethon 3D, a U.S.-based ceramic additive manufacturing specialist, have jointly launched ThOR 10, a new composite photopolymer resin engineered for industrial 3D printing. The new material combines polySpectra’s thermally stable, impact-resistant COR platform with Tethon’s proprietary ceramic fillers, delivering a resin suited for demanding end-use parts. ThOR 10, named as a portmanteau of “Tethon” and “Olefin Resin”, is the first in a series of composite resins intended to close the gap between prototyping materials and functional, production-grade components. It targets sectors such as aerospace, automotive, electronics, and tooling, offering a potential alternative to traditional glass-filled thermoplastics like nylon, PEEK, and PBT. “Filled polymers are an incredibly important category of engineering materials,” said Raymond Weitekamp, PhD, Founder and CEO of polySpectra. “We’re excited to bring this new level of thermomechanical performance to resin 3D printing.” The composite’s toughness is underpinned by a Notched Izod impact strength of 55 J/m and elongation at break above 20%, while its glass transition temperature (Tg) of 131°C enables durability under sustained heat. Tethon 3D CEO Trent Allen emphasized the significance of combining the company’s ceramic expertise with polySpectra’s base resin platform. “These efforts are necessary to drive additive manufacturing forward and set new standards in impact resistance and thermal stability.” 3D printed ceramic parts. Photo via Tethon 3D. Advanced performance for functional parts ThOR 10 is compatible with both desktop and industrial DLP/LCD 3D printers, and builds upon COR’s reputation as a durable material designed to address the historic brittleness of photopolymer prints. According to the companies, the ceramic reinforcement significantly boosts both impact resistance and stiffness, positioning ThOR 10 for use in production-grade components across sectors such as aerospace, automotive, and electronics. Market availability and technical specifications ThOR 10 is now available in both 385nm and 405nm formulations, with orders open through polySpectra and Tethon 3D. PropertyValueMaterial TypeCeramic-filled Cyclic Olefin Resin (COR)Filler Content10% glass-filled compositeNotched Izod Impact Strength55 J/mElongation at Break>20%Tensile Modulus2.0 GPaGlass Transition Temperature (Tg)131°C (268°F)Chemical ResistanceHigh (inherent to COR chemistry)Compatible Wavelengths385 nm and 405 nmPrinter CompatibilityIndustrial and desktop DLP/LCD 3D printersApplicationsGears, impellers, tooling inserts, electronics enclosures, brackets, mounts, housings, fluidic manifoldsAvailable FrompolySpectra and Tethon 3D For full material details, view the ThOR 10 technical datasheet. Advancements in ceramic AM and photopolymer composites The launch of ThOR 10 reflects a broader industry shift toward composite photopolymers that deliver production-level performance. Ceramic-filled resins have gained traction for their ability to withstand thermal and mechanical stress, expanding the range of feasible applications in additive manufacturing. Tethon 3D, for instance, has been expanding its ceramic AM capabilities, most recently through its acquisition of TA&T, enabling in-house sintering and resin development. At the same time, polySpectra continues to develop COR based materials that offer enhanced toughness and heat resistance for both prototyping and end-use production.What 3D printing trends should you watch out for in 2025? How is the future of 3D printing shaping up? Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us on LinkedIn and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content. Featured image shows 3D printed part made from COR Zero. Photo via polySpectra.

I have some translucent embers, they explode outwards. In UE4’s shader complexity view this would be all green, or at the very least a little red. But now in UE5 when just two particles overlap they go straight into the white. I’m not sure how to make a simpler material than a spheremask and particle color, so right now I’m debating Masking any particle I possibly can even though it will not achieve the look I’d like simply bc it doesnt upset the shadercomplexity. So is the UE5 Shader complexity view accurate? does it become more sensitive with Lumen maybe? Is there a way to cheapen materials that only have a couple nodes thrown in? 1 post - 1 participant Read full topic

© Damir Fabijanić, Miro Martinić, Slaven Branislav Babić The Homeland Memorial by Nenad Fabijanić is not just a commemorative object, but an ambitious intervention in Zagreb’s urban landscape. Positioned strategically from the southern edge of the Main Railway Station to Vukovar Avenue, the project restructures a previously peripheral and industrial landscape into a newly legible civic domain. In doing so, it asserts the site as an extension of the city’s Major Axis—a planning gesture rich with symbolic and infrastructural implications. Homeland Memorial in Zagreb Technical Information Architects1-5: Nenad Fabijanić Location: Zagreb, Croatia Project Years: 2016 – 2020 Photographs: © Damir Fabijanić, © Miro Martinić, © Slaven Branislav Babić “Memento vivere” – think of life. – Nenad Fabijanić Homeland Memorial in Zagreb Photographs © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić Composition, Program, and Spatial Hierarchy Rather than isolating remembrance to a detached park or monument site, Fabijanić reinserts the memory of collective sacrifice into the fabric of everyday urban life. The memorial operates simultaneously as a square and a threshold, offering a continuous and overseeable public space that reorients the city toward civic reflection and connection. This integration marks a deliberate effort to socialise the memorial, making it not a site for occasional ritual but an embedded part of urban routine. The project unfolds as a linear composition, structured along a north-south axis into three principal elements: the Wall of Light, the Altar-Mensa, and the Portal-Pavilion. Each component is calibrated to perform a specific function within the site’s ceremonial and spatial sequence. The Wall of Light anchors the memorial both visually and conceptually, while the Altar-Mensa serves as a focal point for ritualized gestures. The Portal-Pavilion, with its monumental form, frames the experience and connects spatially to the broader urban continuum. This spatial choreography is not limited to solemn protocols. The memorial’s layout and open-ended platforms allow for diverse forms of public gathering, from official ceremonies to informal meetings and even spontaneous occupation. The inclusion of a hovering platform linking the altar and portal introduces both a tectonic tension and a symbolic elevation, reinforcing the sense of progression and transformation across the site. The composition invites movement, halting, and contemplation in equal measure. It is spatially legible but experientially layered, balancing monumentality with a nuanced articulation of human scale and a sense of procession. Materiality and Symbolism Central to the memorial’s meaning is its handling of material and elemental metaphors. The Wall of Light, inspired by the original “Wall of Sorrow,” transforms the red and black bricks of mourning into transparent glass bricks—a gesture of both homage and transcendence. The glass medium, paired with a reflecting water surface, introduces a delicate interplay of light, movement, and temporality. This confluence of glass and water is neither decorative nor incidental. Light, filtered through transparency and reflected in water, connects the past to the present and future, embedding an evolving sense of clarity and reflection within the material fabric. The sky, mirrored on the water’s surface, becomes a living participant in the memorial’s message—ever-changing, ungraspable, and yet intimately tied to the earthly structure. At the southern end, a 43-ton, twisted stone mass, from which an eternal flame emerges, lends the memorial its symbolic weight. The stone’s rotation and upward thrust suggest a dynamic emergence from the earth—a counterpoint to the hovering platform and a physical metaphor for resilience. The bronze spring housing the flame is not merely ornamental; it encapsulates energy, memory, and the life-affirming call to “memento vivere” (think of life). Homeland Memorial in Zagreb Broader Significance Fabijanić’s architectural language often weaves between civic gravitas and refined detail, and the Homeland Memorial is no exception. The Portal-Pavilion evokes the typology of the triumphal arch or historical city gate, yet it avoids pastiche. Its form is simplified, its symbolism reoriented toward future connection rather than past conquest. It acts as a transitional figure—between metropolitan Trnje and the historical Lower Town—making it as much an infrastructural device as a symbolic threshold. This project stands firmly within a tradition of integrating monumental architecture with urbanistic intent, yet it does so with a contemporary ethos. There is no grandiloquence here—only clarity, precision, and a quiet insistence on civic dignity. Fabijanić’s broader practice, spanning architecture, stage design, and exhibition scenography, is evident in the site’s spatial dramaturgy. Each component plays a role in a carefully composed narrative, anchored in history but oriented toward continuity. In this sense, the Homeland Memorial contributes to a critical discourse on how architecture engages memory in the public realm. Rather than dictating a singular interpretation, the memorial provides a framework for collective resonance. Through its scale, material articulation, and urban positioning, it opens space for reflection that is both personal and shared—a testament not only to loss, but to the enduring civic project of remembering together. Homeland Memorial in Zagreb Plans Transparent Brick Wall Detail | © Nenad Fabijanić Architects Homeland Memorial in Zagreb Image Gallery About Nenad Fabijanić Nenad Fabijanić is a renowned Croatian architect and professor born in Zagreb in 1951. A graduate of the Faculty of Architecture in Zagreb, he has built a diverse career spanning architecture, urban design, exhibition scenography, and stage design. Known for his precise and symbolically rich civic projects, Fabijanić has received numerous national and international awards, including the Piranesi Award and the Vladimir Nazor Prize. He served as Head of the Graduation Commission at the Zagreb Faculty of Architecture and is a member of the Croatian Academy of Sciences and Arts. Credits and Additional Notes Project Cooperation: Željko Pavlović Civil Engineering: Berislav Medić Glass Design: Jan Frydrych, Jeronim Tišljar Main Materials: Glass bricks, water surfaces, stone, bronze, yew trees, lawns Key Features: Wall of Light, Altar-Mensa, Portal-Pavilion, Eternal Flame, Hovering Platform, Civic Square