Big and Small Underwater Faces — 3rd Place. Trips to the Antarctic Peninsula always yield amazing encounters with leopard seals (Hydrurga leptonyx). Boldly approaching me and baring his teeth, this individual was keen to point out that this part of Antarctica was his territory. This picture was shot at dusk, resulting in the rather moody atmosphere.   Credit: Lars von Ritter Zahony (Germany) / World Ocean’s Day Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. The striking eye of a humpback whale named Sweet Girl peers at the camera. Just four days later, she would be dead, hit by a speeding boat and one of the 20,000 whales killed by ship strikes each year. Photographer Rachel Moore’s captivating image (seen below) of Sweet Girl earned top honors at the 2025 United Nations World Oceans Day Photo Competition. Wonder: Sustaining What Sustains Us — WinnerThis photo, taken in Mo’orea, French Polynesia in 2024, captures the eye of a humpback whale named Sweet Girl, just days before her tragic death. Four days after I captured this intimate moment, she was struck and killed by a fast-moving ship. Her death serves as a heartbreaking reminder of the 20,000 whales lost to ship strikes every year. We are using her story to advocate for stronger protections, petitioning for stricter speed laws around Tahiti and Mo’orea during whale season. I hope Sweet Girl’s legacy will spark real change to protect these incredible animals and prevent further senseless loss.Credit: Rachel Moore (USA) / United Nations World Oceans Day www.unworldoceansday.org Now in its twelfth year, the competition coordinated in collaboration between the UN Division for Ocean Affairs and the Law of the Sea, DivePhotoGuide (DPG), Oceanic Global, and  the Intergovernmental Oceanographic Commission of UNESCO. Each year, thousands of underwater photographers submit images that judges award prizes for across four categories: Big and Small Underwater Faces, Underwater Seascapes, Above Water Seascapes, and Wonder: Sustaining What Sustains Us. This year’s winning images include a curious leopard seal, a swarm of jellyfish, and a very grumpy looking Japanese warbonnet. Given our oceans’ perilous state, all competition participants were required to sign a charter of 14 commitments regarding ethics in photography. Underwater Seascapes — Honorable MentionWith only orcas as their natural predators, leopard seals are Antarctica’s most versatile hunters, preying on everything from fish and cephalopods to penguins and other seals. Gentoo penguins are a favored menu item, and leopard seals can be observed patrolling the waters around their colonies. For this shot, I used a split image to capture both worlds: the gentoo penguin colony in the background with the leopard seal on the hunt in the foreground.Credit: Lars von Ritter Zahony (Germany) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes – WinnerA serene lake cradled by arid dunes, where a gentle stream breathes life into the heart of Mother Earth’s creation: Captured from an airplane, this image reveals the powerful contrasts and hidden beauty where land and ocean meet, reminding us that the ocean is the source of all life and that everything in nature is deeply connected. The location is a remote stretch of coastline near Shark Bay, Western Australia.Credit: Leander Nardin (Austria) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes — 3rd PlaceParadise Harbour is one of the most beautiful places on the Antarctic Peninsula. When I visited, the sea was extremely calm, and I was lucky enough to witness a wonderfully clear reflection of the Suárez Glacier (aka Petzval Glacier) in the water. The only problem was the waves created by our speedboat, and the only way to capture the perfect reflection was to lie on the bottom of the boat while it moved towards the glacier.Credit: Andrey Nosik (Russia) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — 3rd Place“La Rapadura” is a natural hidden treasure on the northern coast of Tenerife, in the Spanish territory of the Canary Islands. Only discovered in 1996, it is one of the most astonishing underwater landscapes in the world, consistently ranking among the planet’s best dive sites. These towering columns of basalt are the result of volcanic processes that occurred between 500,000 and a million years ago. The formation was created when a basaltic lava flow reached the ocean, where, upon cooling and solidifying, it contracted, creating natural structures often compared to the pipes of church organs. Located in a region where marine life has been impacted by once common illegal fishing practices, this stunning natural monument has both geological and ecological value, and scientists and underwater photographers are advocating for its protection. (Model: Yolanda Garcia)Credit: Pedro Carrillo (Spain) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — WinnerThis year, I had the incredible opportunity to visit a jellyfish lake during a liveaboard trip around southern Raja Ampat, Indonesia. Being surrounded by millions of jellyfish, which have evolved to lose their stinging ability due to the absence of predators, was one of the most breathtaking experiences I’ve ever had.Credit: Dani Escayola (Spain) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — 2nd PlaceThis shot captures a school of rays resting at a cleaning station in Mauritius, where strong currents once attracted them regularly. Some rays grew accustomed to divers, allowing close encounters like this. Sadly, after the severe bleaching that the reefs here suffered last year, such gatherings have become rare, and I fear I may not witness this again at the same spot.Credit: Gerald Rambert (Mauritius) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — 3rd PlaceShot in Cuba’s Jardines de la Reina—a protected shark sanctuary—this image captures a Caribbean reef shark weaving through a group of silky sharks near the surface. Using a slow shutter and strobes as the shark pivoted sharply, the motion blurred into a wave-like arc across its head, lit by the golden hues of sunset. The abundance and behavior of sharks here is a living symbol of what protected oceans can look like.Credit: Steven Lopez (USA) / United Nations World Oceans Day www.unworldoceansday.org  Above Water Seascapes — 2nd PlaceNorthern gannets (Morus bassanus) soar above the dramatic cliffs of Scotland’s Hermaness National Nature Reserve, their sleek white bodies and black-tipped wings slicing through the Shetland winds. These seabirds, the largest in the North Atlantic, are renowned for their striking plunge-dives, reaching speeds up to 100 kph (60 mph) as they hunt for fish beneath the waves. The cliffs of Hermaness provide ideal nesting sites, with updrafts aiding their take-offs and landings. Each spring, thousands return to this rugged coastline, forming one of the UK’s most significant gannet colonies. It was a major challenge to take photos at the edge of these cliffs at almost 200 meters (650 feet) with the winds up to 30 kph (20 mph).Credit: Nur Tucker (UK/Turkey) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes — Honorable MentionA South Atlantic swell breaks on the Dungeons Reef off the Cape Peninsula, South Africa, shot while photographing a big-wave surf session in October 2017. It’s the crescendoing sounds of these breaking swells that always amazes me.Credit: Ken Findlay (South Africa) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — Honorable MentionHumpback whales in their thousands migrate along the Ningaloo Reef in Western Australia every year on the way to and from their calving grounds. In four seasons of swimming with them on the reef here, this is the only encounter I’ve had like this one. This pair of huge adult whales repeatedly spy-hopped alongside us, seeking to interact with and investigate us, leaving me completely breathless. The female in the foreground was much more confident than the male behind and would constantly make close approaches, whilst the male hung back a little, still interested but shy. After more than 10 years working with wildlife in the water, this was one of the best experiences of my life.Credit: Ollie Clarke (UK) / United Nations World Oceans Day www.unworldoceansday.org Big and Small Underwater Faces — 2nd PlaceOn one of my many blackwater dives in Anilao, in the Philippines, my guide and I spotted something moving erratically at a depth of around 20 meters (65 feet), about 10 to 15 centimeters in size. We quickly realized that it was a rare blanket octopus (Tremoctopus sp.). As we approached, it opened up its beautiful blanket, revealing its multicolored mantle. I managed to take a few shots before it went on its way. I felt truly privileged to have captured this fascinating deep-sea cephalopod. Among its many unique characteristics, this species exhibits some of the most extreme sexual size-dimorphism in nature, with females weighing up to 40,000 times more than males.Credit: Giacomo Marchione (Italy) / United Nations World Oceans Day www.unworldoceansday.org Big and Small Underwater Faces – WinnerThis photo of a Japanese warbonnet (Chirolophis japonicus) was captured in the Sea of Japan, about 50 miles (80 kilometers) southwest of Vladivostok, Russia. I found the ornate fish at a depth of about 30 meters (100 feet), under the stern of a shipwreck. This species does not appear to be afraid of divers—on the contrary, it seems to enjoy the attention—and it even tried to sit on the dome port of my camera.Credit: Andrey Nosik (Russia) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — 2nd PlaceA juvenile pinnate batfish (Platax pinnatus) captured with a slow shutter speed, a snooted light, and deliberate camera panning to create a sense of motion and drama. Juvenile pinnate batfish are known for their striking black bodies outlined in vibrant orange—a coloration they lose within just a few months as they mature. I encountered this restless subject in the tropical waters of Indonesia’s Lembeh Strait. Capturing this image took patience and persistence over two dives, as these active young fish constantly dart for cover in crevices, making the shot particularly challenging.Credit: Luis Arpa (Spain) / United Nations World Oceans Day www.unworldoceansday.org

Jump into Depth Map ML in Silhouette. This node in Silhouette 2025 and above uses AI to analyze 2D images and determines object distances; generating an automated depth map. This tutorial, presented by Ben Brownlee for Boris FX, demonstrates how to leverage depth maps for various tasks, including color correction, lighting effects, and creating mattes. Learn to manipulate these mattes and build custom compound nodes for enhanced workflow efficiency. Download a free trial of Silhouette at borisfx.com : https://borisfx.com/products/silhouette/ // K E Y P O I N T S // ⦁ Automatic Depth Map Generation: Learn how Depth Map ML automatically creates a depth map, distinguishing foreground and background objects. ⦁ Control Effects with Depth Maps: Understand how to use depth map data to control color correction, blurs, and lighting effects for precise adjustments. ⦁ Manipulating Depth Mattes with zMatte: Explore the zMatte node to extract specific depth ranges, allowing for highly localized effects and creative control. ⦁ Keyframing and Tracking for Refinement: Discover how to use keyframes and tracking data with near and far depth points to refine depth map accuracy, especially with moving objects. ⦁ Creating Custom Compound Nodes: Learn to combine Depth Map ML with other nodes like zMatte into custom compound nodes, streamlining your workflow for repeatable effects. Learn more about Silhouette here : https://borisfx.com/products/silhouette/ / D I S C O R D C H A N N E L // https://www.borisfxdiscord.com/ #depthmap #VFX #videoeffects / / C H A P T E R L I S T / / 00:00 Intro 00:40 Introduction to Depth Map ML 01:23 Different Depth Map ML Models 02:23 Different Mapping options 04:55 Using generated depth maps with Depth nodes 05:50 Using Depth Maps as mattes 07:01 Refine depth ranges with the zMatte keyer 10:05 Creating a Compound Node to simplify the workflow

Mount Rundle is a mountain in Banff National Park that overlooks the towns of Banff and Canmore in the Canadian province of Alberta. Geologically, it consists of limestones, dolomitic limestones, dolomites and shales of Paleozoic age. In ascending order, they belong to the Palliser, Exshaw and Banff Formations, topped by the Rundle Group, which was named after the mountain. Mount Rundle could be considered a small mountain range as the mountain extends for more than 12 kilometres (7.5 miles) on the south side of the Trans-Canada Highway eastward from Banff to Canmore, and has seven distinct peaks. The southeasternmost of these peaks is the East End of Rundle, pictured here from the trail to Ha Ling Peak, with Whitemans Pond in the foreground. Photograph credit: The Cosmonaut Recently featured: Bearded vulture London King's Cross railway station Daft Punk Archive More featured pictures

Fog and mist offer photographers an exceptional opportunity to create deeply atmospheric, moody, and mysterious imagery. By embracing these unique weather conditions, you can transform ordinary scenes into captivating visual stories filled with depth, emotion, and intrigue. Here’s how to effectively harness fog and mist to elevate your photography. Understanding the Appeal of Fog and Mist Fog and mist naturally diffuse light, softening contrasts and textures within a scene. This soft diffusion creates a dreamlike ambiance and adds emotional depth to photographs, often evoking feelings of tranquility, solitude, or mystery. By obscuring and revealing elements selectively, fog and mist invite viewers to engage deeply with the visual narrative, filling in unseen details with imagination. Ideal Conditions and Timing The most atmospheric fog and mist usually occur during early mornings or evenings, especially near bodies of water or in valleys and lowlands. Paying close attention to weather forecasts can help you predict ideal conditions. Early preparation and scouting locations ahead of time ensure you’re ready when the perfect atmospheric conditions arise. Composition Techniques for Foggy Scenes Creating impactful foggy compositions involves thoughtful techniques: Layers and Depth: Use the fog’s varying densities to emphasize depth. Layering foreground, midground, and background elements adds visual complexity and interest. Silhouettes and Shapes: Fog reduces detail, emphasizing strong shapes and silhouettes. Compose your images around distinctive shapes, trees, or structures to anchor your photograph. Simplify the Frame: Minimalism is especially effective in foggy conditions. Embrace simplicity by isolating single elements or subjects against misty backdrops for dramatic effect. Lighting and Exposure Considerations Fog significantly impacts exposure and lighting conditions: Soft Light: The diffused, gentle lighting conditions in fog and mist reduce harsh shadows, creating flattering, ethereal images. Exposure Compensation: Fog often tricks camera meters into underexposing scenes. Consider slightly increasing your exposure compensation to accurately capture the brightness and subtle details of foggy conditions. Creative Opportunities with Fog and Mist Fog and mist open diverse creative possibilities: Black-and-White Photography: Foggy conditions lend themselves exceptionally well to monochrome photography, highlighting contrasts, textures, and shapes dramatically. Color Tones and Mood: Color images in foggy conditions can carry gentle pastel tones or cool hues, enhancing the atmospheric and emotional impact of your imagery. Enhancing Foggy Images Through Post-Processing Post-processing can refine foggy scenes: Contrast and Clarity Adjustments: Fine-tune contrast and clarity subtly to maintain the softness and mood without losing important detail. Selective Sharpening: Apply selective sharpening to key elements or subjects, ensuring they stand out within the foggy environment without diminishing the atmospheric quality. Fog and mist provide photographers with unique conditions to craft images rich in mood, narrative, and visual intrigue. By thoughtfully considering composition, timing, lighting, and post-processing, you can harness the power of fog and mist to produce atmospheric photography that deeply resonates with viewers. Embrace these ethereal elements, and transform everyday scenes into extraordinary visual stories. Extended reading: Alpine views: 12 breathtaking mountainscapes to celebrate the chilly season The post Crafting Atmospheric Images with Fog and Mist appeared first on 500px.

Scholars of gender and sexuality have been exploring ‘queer spaces’ for over six decades. While for many years homes and domesticity remained out of focus or at the margins of queer space research, a recent ‘domestic turn’ has brought queer people’s homes to the foreground. Queer Spaces (2022), a recollection of case studies of queer domestic spaces edited by Joshua Mardell and Adam Nathaniel Furman, is just one significant work within the recent shift to explore the intersection of queer identities and domesticity, for example. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival Over the past four years I have documented the homes of LGBTQ+ people and come to understand how they inhabit them through interviews, detailed spatial drawings and the creation of dollhouses. This methodology deliberately subverts traditional architectural model-making conventions, emphasising narrative over spatial clarity, interior qualities over façades, and incorporating elaborate details that standard architectural models typically avoid. While this may feel like a rather unusual pursuit for an architect, it’s also one I feel is necessary and urgent. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival My current research builds upon years of professional practice in London and scrutinises the limitations of standardised design approaches. Through interviews and detailed spatial surveys, I am examining how queer families navigate living spaces designed according to the London Plan’s Housing Design Guide.Advertisement Early findings from my field work show a chasm between the queer daily lives of some of London’s LGBTQ+ families and the rigid homes the standard produces. In cases where spatial flexibility is available within domestic architecture, wonderful, innovative, caring and radical uses of domestic space emerge, enabling queer forms of raising children or coexisting with current and former lovers. These are not just joyful nice-to-haves, but essential for my participants to live their queerness at home, in full. Homes should not just be where queer folk feel safe; they must also be spaces where our queerness flourishes. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The housing emergency in the UK and most of the Western world has urged architects, planners and developers to focus on an increased delivery of ‘units of housing’. Perhaps unsurprisingly, my early findings suggest that this sense of urgency risks under-delivering on quality and space. Housing standards have codified aesthetic, functional, and spatial homogeneity. They reproduce conservative ideals of housing and family at a time when families are growing more and more diverse. All the while, with the expansion of permitted development rights, they are failing to deliver an overall improvement in size and quality of the UK’s housing stock. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The need for an alternative, open-ended and, perhaps, queer toolkit to design homes – one that expands the ethical and aesthetic horizons of housing design – has never been more urgent. I am therefore also working on developing my ‘disobedient dollhouse making’ as a design tool. One that puts future users at the centre, allowing them to fabulate a different horizon for housing design. My aim is to use dollhouses as a ‘serious’ design game that enables participants to explore the true possibilities of housing beyond the ‘straightjacket’ of the standard. Follow Daniel Ovalle Costal’s research at @QueerDomCanon on Instagram 2025-06-03 Fran Williams comment and share

Outlets 8, Conghua | © Wu Siming In the landscape of contemporary Chinese urbanism, few typologies encapsulate the contradictions of late-capitalist development more vividly than the pseudo-European commercial complex. These replicated enclaves, constructed en masse in the early 2000s, were once marketed as symbols of international sophistication. Over time, however, many were abandoned, becoming architectural vestiges of speculative urbanism. Outlets 8 in Conghua, Guangzhou, is one such project that has undergone a radical architectural reinterpretation. Originally completed in 2018 but long dormant, it has been reimagined by E Plus Design in collaboration with URBANUS/LXD Studio. Through a precise, light-touch intervention, the project avoids wholesale demolition and reprograms space through color, rhythm, and landscape strategy. Outlets 8, Conghua Technical Information Architects1-14: E Plus Design Central Plaza Design: URBANUS / LXD Studio Location: Conghua District, Guangzhou, China Gross Area: 80,882 m2 | 870,000 Sq. Ft. Project Years: 2022 – 2023 Photographs: © Wu Siming This approach is like a contemporary remix of classical music. The four blocks correspond to four movements. Without extensive demolition or altering the European-style architectural rhythm, we reinterpreted the emotional tones, chords, and cadenzas. Through a blend of color and modern gestures, the outdated and disproportionate ‘faux-antique’ complex has been reorchestrated into a contemporary architectural symphony. – Li Fu, Chief Architect at E Plus Design Outlets 8, Conghua Photographs Aerial View | © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Chen Liang Liu Shan © Chen Liang Liu Shan © Chen Liang Liu Shan Outlets 8 Context and Typological Challenge Outlets 8 was initially conceived as a 110,000-square-meter faux-European outlet village. Despite its scale and investment, it struggled to resonate with local cultural dynamics and remained idle. The typology itself, rooted in nostalgic mimicry, was already facing obsolescence. The challenge, then, was not only architectural but also conceptual: how to resuscitate a typology that had become both spatially and culturally inert. The design team chose a strategy of minimal physical intervention coupled with maximal perceptual impact. Rather than demolish or drastically reconstruct, they aimed to re-signify the existing structures. This approach reflects a growing trend in urban renewal across China, where sustainability, cost-efficiency, and cultural specificity take precedence over spectacle. Spatial Transformation Through Chromatic Reprogramming After | © Wu Siming Before | Original Facade, © E+ At the intervention’s core is using color as a spatial and psychological agent. The ornament-heavy facades were stripped of their polychromatic excess and repainted in low-saturation hues. This chromatic cleansing revealed the formal rhythms of the architecture beneath. By doing so, the design avoids mimicry and opts for abstraction, reintroducing clarity to the site’s visual language. The design framework is structured as a musical metaphor, with each of the four blocks conceived as a separate movement in a visual symphony. The street-facing facades, now unified through a golden “variation,” establish a new urban frontage that is both legible and symbolically rich. A ribbon-like golden band traces across the main elevations, creating continuity and contrast between old and new volumes. In contrast, the sports block adopts a cooler, blue-toned palette, offering a different spatial and functional rhythm. New architectural insertions are rendered in transparent materials, signaling temporal and programmatic distinctions. At the center, the elliptical plaza becomes a spatial crescendo, defined by a sculptural intervention inspired by Roman aqueducts. This feature functions as a landmark and a temporal break, juxtaposing historical references with performative landscape elements. Rewriting Landscape as Urban Ecology After | © Wu Siming Before | Original Facade, © E+ Water, derived from the nearby Liuxi River, serves as the thematic and material backbone of the landscape design. Its integration is not symbolic but functional. Water flows through constructed channels, interactive fountains, and sculptural cascades that encourage observation and participation. These elements create a multisensory environment that enhances the spatial experience while reinforcing ecological awareness. The planting strategy emphasizes native species capable of withstanding Guangzhou’s subtropical climate. The design maximizes greenery wherever regulatory conditions allow, particularly along the main entrance, central corridors, and arcaded walkways. The result is a layered landscape that balances visual density with ecological resilience. Integrating landscape and architecture as a singular design operation, the project shifts away from ornamental greening toward environmental synthesis. This approach foregrounds interaction and immersion, aligning with broader shifts in landscape architecture toward performative and participatory ecologies. Programmatic Rebirth and Urban Implications After | © Wu Siming Before | Original Facade, © E+ Beyond formal and material considerations, the project redefines the programmatic potential of large-scale retail environments. Positioned as a “micro-vacation” destination, Outlets 8 is a hybrid typology. It combines retail, leisure, and outdoor experience within a cohesive spatial narrative. This reprogramming responds to changing patterns of consumption and leisure in Chinese cities, particularly among younger demographics seeking experiential value over transactional efficiency. Statistical metrics underscore the project’s social impact. In its first nine days, the outlet attracted over half a million visitors and became a trending location across multiple digital platforms. While not the focus of architectural critique, these figures reflect a successful alignment between spatial renewal and public resonance. More importantly, the project offers a replicable model for dealing with the vast inventory of misaligned commercial developments across China. The intervention avoids nostalgia and cynicism by foregrounding perceptual clarity, ecological integration, and cultural recontextualization. Instead, it offers a clear path forward for reimagining the built remnants of a prior urban paradigm. Outlets 8, Conghua Plans Elevations | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Sections | © E Plus Design Outlets 8, Conghua Image Gallery About E Plus Design E Plus Design is a multidisciplinary architecture studio based in Shenzhen, China, known for its innovative approaches to urban renewal, adaptive reuse, and large-scale public space transformations. The firm emphasizes minimal intervention strategies, spatial clarity, and contextual sensitivity, often working at the intersection of architecture, landscape, and urban design to create integrated environments that are both socially responsive and experientially rich. Credits and Additional Notes Chief Design Consultant: Liu Xiaodu Master Plan, Architecture, and Landscape Schemes: E Plus Design Lead Architects: Li Fu, Coco Zhou Project Managers (Architecture): Guo Sibo, Huang Haifeng Architectural Design Team: Wang Junli, Zhang Yan, Cai Yidie, Zhu Meng, Lin Zhaomei, Li Geng, Stephane Anil Mamode, Liu Shan, Zhou Yubo Central Plaza Design: URBANUS / LXD Studio Architect of Central Plaza: Liu Xiaodu Project Manager: Li An’hong Facade Design: Song Baolin, Li Minggang Lighting Design (Concept): Fang Yuhui Lighting Consultant: Han Du Associates Client: Guangzhou Outlets 8 Commercial Management Co., Ltd. Client Design Management Team: Yin Mingyue, Zhao Xiong Landscape Area: 29,100 m² Chief Landscape Architect: Gao Yan Project Manager (Landscape): Zhang Yufeng Landscape Design Team: Yu Xiaolei, Li Zhaozhan, Liu Chenghua Landscape Construction Drawings: E Plus Design Project Manager: Wang Bin Design Team: Wang Bin (Landscape Architecture). Huang Jinxiong (Greening Design). Li Gen (Water & Electricity Design) Structural Design Team: Wang Kaiming, Yang Helin, Wu Xingwei, Zhuang Dengfa Electrical Design Team: Sun Wei, Yang Ying Interior Design Concept Design: Shenzhen Juanshi Design Co., Ltd. Chief Interior Designer: Feng Feifan Project Manager: Liu Hongwei Design Team: Niu Jingxian, Shi Meitao Construction Drawings: Shenzhen Shiye Design Co., Ltd. Project Manager: Shen Kaizhen Design Team: Yao Yijian, Yang Hao, Liu Chen Wayfinding Design Studio: Hexi Brand Design Co., Ltd. Curtain Wall Design Firm: Positive Attitude Group (PAG)

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A recording of Blackmagic Design’s livestream of its announcements for NAB 2025. You can see the new features in Da Vinci Resolve 20.0 at 2:13:20 in the video. Originally posted on 6 April 2025 for the beta, and updated for the stable release. Blackmagic Design has updated DaVinci Resolve, its free colour grading, editing and post-production software, and DaVinci Resolve Studio, its $295 commercial edition. DaVinci Resolve Studio 20.0 is a major release, adding over 100 tools, including a set of new AI-powered features for video editing and audio production, and is free to all users. Below, we’ve rounded up the key features for colorists and effects artists, including a new Chroma Warp tool, a new deep compositing toolset, and full support for multi-layer EXRs. The new Chroma Warp tool makes it possible to create looks with intuitive gesture controls. Color page: New Chroma Warp, plus updates to the Resolve FX Warper and Magic Mask For grading, the Color page‘s Color Warper gets a new Chroma Warp tool.It is designed to create looks intuitively, with users selecting a color in the viewer, and dragging to adjust its hue and saturation simultaneously. Among the existing tools, the Resolve FX Warper effect gets a new Curves Warp mode, which creates a custom polygon with spline points for finer control when warping images. Magic Mask, DaVinci Resolve’s AI-based feature for generating mattes, has been updated, and now operates in a single mode for both people and objects. Workflow is also now more precise, with users now placing points to make selections, then using the paint tools to include or exclude surrounding regions of the image. Another key AI-based feature, the Resolve FX Depth Map effect, which automatically generates depth mattes, has been updated to improve speed and accuracy. For color management across a pipeline, the software has been updated to ACES 2.0, and OpenColorIO is supported as Resolve FX. Effects artists get deep compositing support in the integrated Fusion compositing toolset. Fusion: new deep compositing toolset For compositing and effects work, the Fusion page gets support for deep compositing.Deep compositing, long supported in more VFX-focused apps like Nuke, makes use of depth data encoded in image formats like OpenEXR to control object visibility. It simplifies the process of generating and managing holdouts, and generates fewer visual artifacts, particularly when working with motion blur or environment fog. Deep images can now be viewed in the Fusion viewer or the 3D view, and there is a new set of nodes to merge, transform, resize, crop, recolor and generate holdouts. It is also possible to render deep images from the 3D environment, and export them as deep EXRs via the Fusion saver node. Fusion: new vector warping toolset, plus support for 180 VR and multi-layer workflows Other new features in the Fusion page include a new optical-flow-based vector warping toolset, for image patching and cleanup, and for effects like digital makeup.There is also a new 360° Dome Light for environment lighting, and support for 180 VR, with a number of key tools updated to support 180° workflows. Pipeline improvements include full multi-layer workflows, with all of Fusion’s nodes now able to access each layer within multi-layer EXR or PSD files. Fusion also now natively supports Cryptomatte ID matte data in EXR files. You can read about the new features on the Fusion Page in our story on Fusion Studio 20.0, the latest version of Blackmagic Design’s standalone compositing app, in which they also feature. IntelliScript automatically generates an edit timeline matching a user-provided script. Other toolsets: lots of new AI features for video editing and audio production DaVinci Resolve Studio 20.0 also features a lot of new AI features powered by the software’s Neural Engine, although primarily in the video editing and audio production toolsets.The Cut and Edit pages get new AI tools for automatically creating edit timelines matching a user-provided script; generating animated subtitles; editing or extending music to match clip length; and matching tone, level and reverberance for dialogue. There are also new tools for recording new voiceovers during editing to match an edit. Workflow improvements include a dedicated curve view for keyframe editing; plus a new MultiText tool and updates to the Text+ tool for better control of the layout of on-screen text. For audio post work, the Fairlight page gets new AI features for removing silences from raw footage, and automatically balancing an audio mix. We don’t cover video or audio editing on CG Channel, but you can find a complete list of changes via the links at the foot of the story. Codec and format support Other key changes include native support for ProRes encoding on Windows and Linux systems as well as macOS.MV-HEVC encoding is now supported on systems with NVIDIA GPUs, and H.265 4:2:2 encoding and decoding are GPU-accelerated on NVIDIA’s new Blackwell GPUs. Again, you can find a full list of changes to codec and platform support via the links at the foot of the story. Upcoming features include generative AI-based background extension. Future updates: new toolsets for immersive video and AI background generation Blackmagic Design also announced two upcoming features not present in the initial release.Artists creating mixed reality content will get a new toolset for ingesting, editing and delivering immersive video for Apple’s Vision Pro headset. There will also be a new generative AI feature, Resolve FX AI Set Extender, available via Blackmagic Cloud. More details will be announced later this year, but Blackmagic says that it will enable users to generate new backgrounds for shots by entering simple text prompts. The video above shows a range of use cases, including extending or adding objects to existing footage, and generating a complete new background behind a foreground object. Price, system requirements and release date DaVinci Resolve 20.0 and DaVinci Resolve Studio 20.0 are for Windows 10+, Rocky Linux 8.6, and macOS 14.0+. The updates are free to existing users.New perpetual licenses of the base edition are also free. The Studio edition, which adds AI features, stereoscopic 3D tools, and collaboration features, costs $295, following a temporary increase in the US following the introduction of new tariffs. Read a full list of new features in DaVinci Resolve 20.0 and DaVinci Resolve Studio 20.0 Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.

Pope-Leighey House | © Peter Thomas via Unsplash Constructed in 1940, the Pope-Leighey House represents Frank Lloyd Wright’s Usonian vision, his architectural response to the social, economic, and aesthetic conditions of mid-20th-century America. Designed for middle-class clients, the Usonian houses were intended to democratize quality design, providing spatial dignity at an affordable cost. In stark contrast to the mass-produced suburban housing of the post-Depression era, Wright sought to design individualized homes rooted in site, economy, and human scale. Pope-Leighey House Technical Information Architects1-6: Frank Lloyd Wright Original Location: Falls Church, Virginia, USA Current Location: Woodlawn Plantation, Alexandria, Virginia, USA Gross Area: 111.5 m2 | 1,200 Sq. Ft. Project Years: 1939 – 1940 Relocation: 1964 (due to the construction of Interstate 66) Photographs: © Photographer The house of moderate cost is not only America’s major architectural problem but the problem most difficult for her major architects. I would rather solve it with satisfaction to myself and Usonia than anything I can think of. – Frank Lloyd Wright 7 Pope-Leighey House Photographs © Lincoln Barbour © Peter Thomas via Unsplash © Peter Thomas via Unsplash © Lincoln Barbour © Lincoln Barbour © Peter Thomas via Unsplash © Peter Thomas via Unsplash © Peter Thomas via Unsplash Contextual Framework and Commissioning The house, commissioned by journalist Loren Pope, was initially situated in Falls Church, Virginia, on a wooded lot chosen to amplify Wright’s principles of organic architecture. Working within a modest budget, Pope approached Wright after reading his critique of conventional American housing. Wright accepted the commission and delivered a design reflecting his social idealism and formal ingenuity. In 1964, the house was relocated to the grounds of the Woodlawn Plantation in Alexandria, Virginia, due to the construction of Interstate 66. While disrupting the original site specificity, this preservation affirms the cultural value placed on the work and raises enduring questions about the transposability of architecture designed for a particular place. Design Principles and Architectural Language The Pope-Leighey House distills the essential characteristics of Wright’s Usonian ideology. Modest in scale, the 1,200-square-foot house is arranged in an L-shaped plan, responding to programmatic needs and solar orientation. The linearity of the bedroom wing intersects perpendicularly with the open-plan living space, forming a sheltered outdoor terrace that extends the perceived interior volume into the landscape. Wright’s orchestration of spatial experience is central to the house’s architectural impact. The low-ceilinged entrance compresses space, setting up a dynamic release into the double-height living area, an architectural maneuver reminiscent of his earlier Prairie houses. Here, horizontality is emphasized in elevation and experience, reinforced by continuous bands of clerestory windows and built-in furnishings that draw the eye laterally across space. Materially, the house embodies a deliberate economy. Red tidewater cypress, brick, and concrete are left exposed, articulating their structural and tectonic roles without ornament. The poured concrete floor contains radiant heating, a functional and experiential feature that foregrounds the integration of structure, comfort, and environmental control. Window mullions extend into perforated wooden panels, demonstrating Wright’s inclination to merge architecture and craft, blurring the line between enclosure and furnishing. Structural Rationality and Construction Methodology A defining feature of the Usonian series, particularly the Pope-Leighey House, is the modular planning system. Based on a two-foot grid, the plan promotes construction efficiency while enabling spatial flexibility. This systemic logic underpins the entire design, from wall placements to window dimensions, allowing the house to feel simultaneously rigorous and organic. Construction strategies were purposefully stripped of excess. The flat roof, cantilevered overhangs, and minimal interior partitions reflect an architecture of subtraction. Without a basement or attic, the house resists hierarchy in its vertical organization. Walls are built with simple sandwich panel techniques, and furniture is integrated into the architecture, reducing material use and creating visual unity. Despite the constraints, the house achieves a high level of tectonic expression. The integration of structure and detail is particularly evident in the living room’s perforated wood screens, which serve as decorative elements, light diffusers, and spatial dividers. These craft elements reinforce the Gesamtkunstwerk ambition in Wright’s residential works: a house as a total, synthesized environment. Legacy and Architectural Significance Today, the Pope-Leighey House is a critical touchstone in Wright’s late-career trajectory. It encapsulates a radical yet modest vision, architecture not as monumentality but as a refined environment for everyday life. Preserved by the National Trust for Historic Preservation, the house continues to serve as a pedagogical model, offering insights into material stewardship, compact living, and formal economy. In architectural discourse, Wright’s larger commissions often overshadow the Usonian homes. Yet the Pope-Leighey House demands recognition for what it accomplishes within limitations. It is a project that questions conventional paradigms of domestic space and asserts that thoughtful design is not a luxury reserved for the elite but a right that can and should be extended to all. The house’s quiet radicalism remains relevant in today’s discussions of affordable housing, sustainable design, and spatial minimalism. Its influence is evident in contemporary explorations of prefab architecture, passive environmental systems, and spatial efficiency, fields that continue to grapple with the same questions Wright addressed eight decades ago. Pope-Leighey House Plans Floor Plan | © Frank Lloyd Wright Section | © Frank Lloyd Wright East Elevation | © Frank Lloyd Wright North Elevation | © Frank Lloyd Wright West Elevation | © Frank Lloyd Wright Pope-Leighey House Image Gallery About Frank Lloyd Wright Frank Lloyd Wright (1867–1959) was an American architect widely regarded as one of the most influential figures in modern architecture. Known for developing the philosophy of organic architecture, he sought harmony between human habitation and the natural world through forms, materials, and spatial compositions that responded to context. His prolific career includes iconic works such as Fallingwater, the Guggenheim Museum, and the Usonian houses, redefined residential architecture in the 20th century. Credits and Additional Notes Original Client: Loren Pope Architectural Style: Usonian Structure: Wood frame on a concrete slab with radiant heating Materials: Tidewater cypress, brick, concrete, glass Design Team: Frank Lloyd Wright and Taliesin Fellowship apprentices Preservation: Owned and maintained by the National Trust for Historic Preservation