3D Artist Mbee showed this creative setup.

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 Through a blend of color and modern gestures, the outdated and disproportionate ‘faux-antique’ complex has been reorchestrated into a contemporary architectural symphony.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)

In April, Paul Graham, the founder of the tech startup accelerator Y Combinator, sent a tweet in response to former YC president and current OpenAI CEO Sam Altman. Altman had just bid a public goodbye to GPT-4 on X, and Graham had a follow-up question.  “If you had [GPT-4’s model weights] etched on a piece of metal in the most compressed form,” Graham wrote, referring to the values that determine the model’s behavior, “how big would the piece of metal have to be? This is a mostly serious question. These models are history, and by default digital data evaporates.”  There is no question that OpenAI pulled off something historic with its release of ChatGPT 3.5 in 2022. It set in motion an AI arms race that has already changed the world in a number of ways and seems poised to have an even greater long-term effect than the short-term disruptions to things like education and employment that we are already beginning to see. How that turns out for humanity is something we are still reckoning with and may be for quite some time. But a pair of recent books both attempt to get their arms around it with accounts of what two leading technology journalists saw at the OpenAI revolution.  In Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI, Karen Hao tells the story of the company’s rise to power and its far-reaching impact all over the world. Meanwhile, The Optimist: Sam Altman, OpenAI, and the Race to Invent the Future, by the Wall Street Journal’s Keach Hagey, homes in more on Altman’s personal life, from his childhood through the present day, in order to tell the story of OpenAI. Both paint complex pictures and show Altman in particular as a brilliantly effective yet deeply flawed creature of Silicon Valley—someone capable of always getting what he wants, but often by manipulating others.  Hao, who was formerly a reporter with MIT Technology Review, began reporting on OpenAI while at this publication and remains an occasional contributor. One chapter of her book grew directly out of that reporting. And in fact, as Hao says in the acknowledgments of Empire of AI, some of her reporting for MIT Technology Review, a series on AI colonialism, “laid the groundwork for the thesis and, ultimately, the title of this book.” So you can take this as a kind of disclaimer that we are predisposed to look favorably on Hao’s work.  With that said, Empire of AI is a powerful work, bristling not only with great reporting but also with big ideas. This comes across in service to two main themes.  The first is simple: It is the story of ambition overriding ethics. The history of OpenAI as Hao tells it (and as Hagey does too) is very much a tale of a company that was founded on the idealistic desire to create a safety-focused artificial general intelligence but instead became more interested in winning. This is a story we’ve seen many times before in Big Tech. See Theranos, which was going to make diagnostics easier, or Uber, which was founded to break the cartel of “Big Taxi.” But the closest analogue might be Google, which went from “Don’t be evil” to (at least in the eyes of the courts) illegal monopolist. For that matter, consider how Google went from holding off on releasing its language model as a consumer product out of an abundance of caution to rushing a chatbot out the door to catch up with and beat OpenAI. In Silicon Valley, no matter what one’s original intent, it always comes back to winning.   The second theme is more complex and forms the book’s thesis about what Hao calls AI colonialism. The idea is that the large AI companies act like traditional empires, siphoning wealth from the bottom rungs of society in the forms of labor, creative works, raw materials, and the like to fuel their ambition and enrich those at the top of the ladder. “I’ve found only one metaphor that encapsulates the nature of what these AI power players are: empires,” she writes. “During the long era of European colonialism, empires seized and extracted resources that were not their own and exploited the labor of the people they subjugated to mine, cultivate, and refine those resources for the empires’ enrichment.” She goes on to chronicle her own growing disillusionment with the industry. “With increasing clarity,” she writes, “I realized that the very revolution promising to bring a better future was instead, for people on the margins of society, reviving the darkest remnants of the past.”  To document this, Hao steps away from her desk and goes out into the world to see the effects of this empire as it sprawls across the planet. She travels to Colombia to meet with data labelers tasked with teaching AI what various images show, one of whom she describes sprinting back to her apartment for the chance to make a few dollars. She documents how workers in Kenya who performed data-labeling content moderation for OpenAI came away traumatized by seeing so much disturbing material. In Chile she documents how the industry extracts precious resources—water, power, copper, lithium—to build out data centers.  She lands on the ways people are pushing back against the empire of AI across the world. Hao draws lessons from New Zealand, where Maori people are attempting to save their language using a small language model of their own making. Trained on volunteers’ voice recordings and running on just two graphics processing units, or GPUs, rather than the thousands employed by the likes of OpenAI, it’s meant to benefit the community, not exploit it.  Hao writes that she is not against AI. Rather: “What I reject is the dangerous notion that broad benefit from AI can only be derived from—indeed will ever emerge from—a vision of the technology that requires the complete capitulation of our privacy, our agency, and our worth, including the value of our labor and art, toward an ultimately imperial centralization project … [The New Zealand model] shows us another way. It imagines how AI could be exactly the opposite. Models can be small and task-specific, their training data contained and knowable, ridding the incentives for widespread exploitative and psychologically harmful labor practices and the all-consuming extractivism of producing and running massive supercomputers.”  Hagey’s book is more squarely focused on Altman’s ambition, which she traces back to his childhood. Yet interestingly, she also  zeroes in on the OpenAI CEO’s attempt to create an empire. Indeed, “Altman’s departure from YC had not slowed his civilization-building ambitions,” Hagey writes. She goes on to chronicle how Altman, who had previously mulled a run for governor of California, set up experiments with income distribution via Tools for Humanity, the parent company of Worldcoin. She quotes Altman saying of it, “I thought it would be interesting to see … just how far technology could accomplish some of the goals that used to be done by nation-states.”  Overall, The Optimist is the more straightforward business biography of the two. Hagey has packed it full with scoops and insights and behind-the-scenes intrigue. It is immensely readable as a result, especially in the second half, when OpenAI really takes over the story. Hagey also seems to have been given far more access to Altman and his inner circles, personal and professional, than Hao did, and that allows for a fuller telling of the CEO’s story in places. For example, both writers cover the tragic story of Altman’s sister Annie, her estrangement from the family, and her accusations in particular about suffering sexual abuse at the hands of Sam (something he and the rest of the Altman family vehemently deny). Hagey’s telling provides a more nuanced picture of the situation, with more insight into family dynamics.  Hagey concludes by describing Altman’s reckoning with his role in the long arc of human history and what it will mean to create a “superintelligence.” His place in that sweep is something that clearly has consumed the CEO’s thoughts. When Paul Graham asked about preserving GPT-4, for example, Altman had a response at the ready. He replied that the company had already considered this, and that the sheet of metal would need to be 100 meters square.

to a T – what a strange thing to happen (Annapurna Interactive) Having your arms stuck in a permeant T-pose leads to a wonderfully surreal narrative adventure, in this new indie treat from Katamari creator Keita Takahashi. Keita Takahashi seems to be a very nice man. We met him back in 2018, and liked him immensely, but we’re genuinely surprise he’s still working in the games industry. He rose to fame with the first two Katamari Damacy games but after leaving Bandai Namco his assertion that he wanted to leave gaming behind and design playgrounds for children seemed like a much more obvious career path, for someone that absolutely doesn’t want to be stuck making sequels or generic action games. That’s certainly not been his fate and while titles like Noby Noby Boy and Wattam were wonderfully weird and inventive they weren’t the breakout hits that his bank balance probably needed. His latest refusal to toe the line probably isn’t destined to make him a billionaire either, but we’re sure that was never the point of to a T. Instead, this is just a relentlessly sweet and charming game about the evils of bullying and the benefits of being nice to people. It’s frequently surreal and ridiculous, but also capable of being serious, and somewhat dark, when it feels the need. Which given all the signing giraffes is quite some accomplishment. The game casts you as a young schoolkid whose arms are permanently stuck in a T-pose, with both stretched out 90° from his torso. If you’re waiting for an explanation as to why then we’re afraid we can’t tell you, because your character (who you can customise and name as you see fit, along with his dog) doesn’t know either. You find out eventually and the answer is… nothing you would expect. This has all been going on for a while before the game starts, as you’re by now well used to sidling through doors and getting your dog to help you dress. You’re also regularly bullied at school, which makes it obvious that being stuck like this is just a metaphor for any difference or peculiarity in real-life. Although the specific situations in to a T are fantastical, including the fact that the Japanese village you live in is also populated by anthropomorphic animals (most notably a cadre of food-obsessed giraffes), its take on bullying is surprisingly nuanced and well written. There’re also some fun songs that are repeated just enough to become unavoidable earworms. The problem is that as well meaning as all this is, there’s no core gameplay element to make it a compelling video game. You can wander around talking to people, and a lot of what they say can be interesting and/or charmingly silly, but that’s all you’re doing. The game describes itself as a ‘narrative adventure’ and that’s very accurate, but what results is the sort of barely interactive experience that makes a Telltale game seem like Doom by comparison. There are some short little mini-games, like cleaning your teeth and eating breakfast, but the only goal beyond just triggering story sequences is collecting coins that you can spend on new outfits. This is gamified quite a bit when you realise your arms give you the ability to glide short distances, but it’s still very basic stuff. One chapter also lets you play as your dog, trying to solve an array of simple puzzles and engaging in very basic platforming, but while this is more interactive than the normal chapters it’s still not really much fun in its own right. More Trending Everything is all very charming – the cartoonish visuals are reminiscent of a slightly more realistic looking Wattam – but none of it really amounts to very much. The overall message is about getting on with people no matter their differences, but while that doesn’t necessarily come across as trite it’s also not really the sort of thing you need a £15 video game, with zero replayability, to tell you about. It also doesn’t help that the game can be quite frustrating to play through, making it hard to know what you’re supposed to do next, or where you’re meant to be going. The lack of camera controls means it’s hard to act on that information even if you do know what destination you’re aiming for, either because the screen is too zoomed in, something’s blocking your view, or you keep getting confused because the perspective changes. As with Wattam, we don’t feel entirely comfortable criticising the game for its failings. We’ll take a game trying to do something new and interesting over a workmanlike sequel any day of the week – whether it succeeds or not – but there’s so little to the experience it’s hard to imagine this fitting anyone to a T. to a T review summary In Short: Charming, silly, and occasionally profound but Keita Takahashi’s latest lacks the gameplay hook of Katamari Damacy, even if it is surprisingly well written. Pros: Wonderfully and unashamedly bizarre, from the premise on down. A great script, that touches on some dark subjects, and charming visuals and music. Cons: There’s very little gameplay involved and what there is, is either very simple or awkward to control. Barely five hours long, with no replayability. Score: 6/10 Formats: PlayStation 5 (reviewed), Xbox Series X/S, and PCPrice: £15.49Publisher: Annapurna InteractiveDeveloper: uvulaRelease Date: 28th May 2025Age Rating: 7 Who knew giraffes were so good at making sandwiches (Annapurna Interactive) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

The Independents marks Colony’s 10th anniversary as a platform where founder Jean Lin’s personal vision and marketplace viability find rare equilibrium. The exhibition brings together 24 design studios from Colony’s orbit, each responding to what independence in design practice means to them. The resulting collection serves as both retrospective and manifesto – a declaration that independence in design isn’t merely aesthetic preference but philosophical stance. A paper cord chair with a single walnut along a corner hinge sits in the corner of Lin’s Tribeca gallery space. To the casual observer, it might register simply as a thoughtful detail of material juxtaposition. But Chen Chen & Kai Williams’ Walnut Corner Chair carries cultural memory within its form. The designers drew inspiration from the Chinese tradition of passing walnuts from one generation to the next, objects worn smooth by the hands of ancestors. This object-as-inheritance becomes a fitting metaphor for what Colony has cultivated over its decade of existence. “I’m very proud of the community of independent designers that we have built at Colony over the past decade,” says Colony founder Lin. “The Independents exhibition encapsulates my very own ‘why.’ My belief in the independent spirit is limitless, and so is my awe.” The exhibition reveals how Colony’s cooperative model has evolved beyond representation to becoming an incubator. Studios emerging from the gallery’s Designers’ Residency program – including Ember Studio, Thomas Yang Studio, and the freshly minted Studio BC Joshua from the 2025 class – demonstrate how Colony functions as both launch pad and ongoing support system. Materiality serves as a throughline connecting past and present. Current Colony designers like Hiroko Takeda, Moving Mountains, and SSS Atelier present new work that extends their material investigations. Takeda’s textiles in particular showcase how technical mastery creates spaces for expression – the constraints of the loom enabling greater creative freedom. For more information on The Independents, visit Colony at goodcolony.com. Photography by Brooke Holm.

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

05/27 — 2025 by abduzeedo Explore Carlos el Rojo's "Visual Games" — a masterclass in illustration, wit, and conceptual design. Discover his unique approach to visual storytelling. Hey, design enthusiasts! Today, let's dive into the captivating world of Carlos el Rojo, an illustrator whose work truly embodies the spirit of playful yet profound visual communication. His series, aptly titled "Visual Games," offers a fresh perspective on how ideas can take shape with minimal fuss but maximum impact. Carlos el Rojo, a celebrated illustrator, approaches his creations as "small visual ideas, quick to execute, but with a twist". These aren't your typical commissioned pieces. Instead, they are a testament to his dedication to "training the eye and saying something meaningful with as little as possible". This philosophy resonates deeply with anyone passionate about concise and powerful illustration. The Spark of Inspiration The journey into "Visual Games" began for Carlos after a transformative workshop with Javier Jaén. This experience, as he describes, "helped me unlock something". It fostered a habit of embracing ideas without overthinking, allowing for a fluid, organic creative process. This approach is something many designers can relate to—the freedom to just go with it when inspiration strikes. His work often carries layers of meaning. Sometimes it is ironic, sometimes poetic, and occasionally, it might even be a little uncomfortable. Yet, each piece shares a common thread: "they're made with curiosity and without pretense". This genuine curiosity is what makes his illustration so compelling. Each "game" is a lesson in visual identity and concise storytelling. They are not just pretty pictures; they are small puzzles, contradictions, or metaphors that challenge the viewer to think beyond the obvious. This approach to illustration is a masterclass in making every element count. The Power of Play Carlos el Rojo's "Visual Games" serve as a potent reminder that design, at its core, is about problem-solving and communication. By embracing curiosity and letting ideas flow, he creates work that is both engaging and thought-provoking. His illustrations are a testament to the power of a simple idea executed with precision and a touch of genius. For more inspiration and to explore his full portfolio, be sure to visit Carlos el Rojo's official website: carloselrojo.com and his Instagram. Art and illustration artifacts Tags art illustration

On Designing National Pavilions: Power and Identity at Universal ExhibitionsSave this picture!Czech Pavilion Expo 2025 Osaka / Apropos Architects Image © boysplayniceWhat can a pavilion’s architecture reveal about its country? At major World Expos, national pavilions are designed to answer this question, transforming into spaces laden with symbolism. Though temporary, these structures are rich in meaning, functioning as architectural expressions of political identity. Their forms and materials encapsulate national ambitions. Expo Osaka 2025, the latest chapter in this ongoing narrative, showcases how nations increasingly use built space to construct global images of themselves—sustainable, technological, culturally distinct, and geopolitically relevant. Save this picture!Over the decades, these pavilions have evolved into meticulously curated narratives where architecture, politics, and culture intersect to shape national identity. At Osaka 2025, this symbolic and diplomatic function becomes even more pronounced. Pavilions communicate not only who a nation is, but who it aspires to be. The environmental agenda, for example, has become a compelling vector of soft power. Japan’s pavilion exemplifies this shift, employing local wood, parametric design, and natural ventilation not just for function, but as metaphors of circularity and harmony with nature.Save this picture!Meanwhile, countries like Saudi Arabia and the United Arab Emirates are embracing immersive technologies—augmented reality, responsive facades, and AI—to reframe their narratives. No longer defined solely by oil economies, they seek to position themselves as innovation-driven futurescapes. In this context, national identity is staged like a multisensory installation. Materials, sounds, aromas, lighting, and spatial choreography become tools for storytelling—none of them neutral, all of them charged with intent. Related Article Are World's Fairs a Thing of the Past? The Role that Architecture Played on One of History's Biggest Stages Architecture as a Political StatementPavilions transcend cultural or technological display to become instruments of political messaging. Architectural choices convey nuanced—or at times overt—signals about values, ambitions, and worldviews. Denmark’s Expo 2020 Dubai pavilion, with open ramps and fluid circulation, subtly suggests democratic transparency and inclusion, while Russia’s monumental spiral structure evokes nationalism and technological command. Here, architecture becomes a codified discourse: every curve, void, and surface reads like a political sign.Save this picture!This language continues at Osaka 2025. Israel’s pavilion, inspired by the ecological resilience of deserts, presents a narrative of innovation and perseverance amid adversity—an architectural response to both climate challenges and regional geopolitics. Bahrain’s contribution, by Lina Ghotmeh Architecture, focuses on the adaptability of maritime cultures. South Korea’s high-tech, futuristic pavilion reinforces its position as a rising digital powerhouse.In some instances, however, absence speaks just as loudly. In previous editions, countries like North Korea and Syria have boycotted the Expo as a form of political protest. These silent gestures are part of the same strategic vocabulary, where presence, form, and even withdrawal shape the geopolitical stage set by architecture.Save this picture!Sustainability on DisplayAmid the global climate crisis, national pavilions have also become key arenas for environmental diplomacy. Sustainability—once a peripheral concern—is now central to the architectural narrative of Expos. It’s no longer only about meeting green standards, but about crafting a spatial language that embodies ecological responsibility. This shift also challenges the very notion of ephemerality: where temporariness once defined these structures, reuse, intelligent disassembly, and material reintegration now drive their conception.This ecological turn is particularly evident at Expo Osaka 2025. With the theme “Designing Future Society for Our Lives,” the event encourages models of regenerative, cooperative, and resilient living. Sweden’s and Germany’s pavilions are designed for a second life, to be repurposed as schools or community centers. The U.S. pavilion, designed by Trahan Architects, incorporates steel, fabric, and HVAC components repurposed from Tokyo 2020 Olympics structures—materials slated for further reuse across Japan. In this framework, the Expo becomes a laboratory of environmental geopolitics, where sustainability itself is a form of soft power.Save this picture!Technological Spectacle as a National StrategyIn contemporary Universal Exhibitions, technology is no longer displayed as an end in itself but has become a narrative and experiential medium. Immersive installations, sensory interfaces, and AI-driven storytelling transform pavilions into interactive ecosystems, where visitors are both spectators and agents. This shift signals a significant change: it is no longer just about showcasing innovation, but about embedding technology into the dramaturgy of space. Architecture, in this context, ceases to be a static backdrop and merges with experience design, dissolving the boundaries between the built and the digital. Moreover, the way each country orchestrates these elements reveals its ability to envision desirable futures—and to position itself as a protagonist in the global technological transformation.Save this picture!At Expo Osaka 2025, this race for technological affirmation takes clear shape in pavilions such as that of the United Arab Emirates, which offers an interactive journey through environments responsive to human presence, narrative artificial intelligence, and real-time sensors that react to visitors’ actions—demonstrating a sophisticated technical mastery with implications across multiple spheres. In a similar vein, the Uzbekistan Pavilion stands out with an exhibition focused on empowerment, highlighting the country’s openness to innovation and its commitment to preparing for the future.Yet this immersion presents a growing tension: how to balance technological spectacle with architectural integrity. In some cases, architecture risks being overshadowed by its digital overlay, losing spatial coherence. The most compelling pavilions are those that fuse form, function, and innovation into a seamless whole, where technology becomes not an add-on, but an intrinsic architectural language.Save this picture!Intercultural Collaborations: The True LegacyWhile Universal Exhibitions are organized around national representation, they have also emerged as vital platforms for cultural exchange. Increasingly, national pavilions are designed by multicultural teams, resulting in more nuanced, inclusive, and inventive expressions of identity, not as a fixed essence, but as something fluid and co-constructed.Save this picture!At Osaka 2025, this collaborative ethos is exemplified by pavilions such as Switzerland’s, designed by an international team, and Indonesia’s, which brings together local architects and foreign consultants. These collaborations offer more than design efficiency—they signal gestures of quiet diplomacy. In a climate of resurgent nationalism, such exchanges underscore that innovation thrives through openness and dialogue. Each pavilion becomes a space of mutual learning, expanding the very meaning of global belonging.Save this picture!Ultimately, the lasting value of Expos may not lie in reinforcing national brands, but in fostering encounters—shared spaces where ideas, technologies, and cultures converge to respond to urgent global challenges. As architect Manuel Herz, designer of the Swiss Pavilion, puts it: “In a moment of global tension, every possibility for us to physically meet in a shared space and celebrate something that can still be described as a cosmopolitan spirit needs to be valued and utilized.” Amid so many crises, pavilions remind us that architecture is more than shelter or style—it is a vessel for connection, a space for learning, and a rehearsal for futures we must build together.We invite you to check out ArchDaily's comprehensive coverage of the Expo Osaka 2025. Image gallerySee allShow less About this authorCamilla GhisleniAuthor••• Cite: Ghisleni, Camilla. "On Designing National Pavilions: Power and Identity at Universal Exhibitions" [Projetando Pavilhões Nacionais: Poder e Identidade nas Exposições Universais] 30 May 2025. ArchDaily. (Trans. Simões, Diogo) Accessed . <https://www.archdaily.com/1030539/on-designing-national-pavilions-power-and-identity-at-universal-exhibitions&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Just a week after its launch, Mud has already left a paw print on the pet care industry. The brand's debut product, The Everyday Wash for Dirty Dogs, is more than a niche grooming product: it's a manifesto. Developed over 18 months and recently awarded at D&AD 2025, the brand aims to challenge a culture of canine coddling. According to co-founders Angelina Pischikova and Karina Zhukovskaya, too often, dogs are treated as ornaments rather than animals. "Dogs don't want to smell like a candle shop," says Angelina. "They have 300 million scent receptors. Most washes are hell for them." Instead, The Everyday Wash is made with oat, aloe, panthenol and bioenzyme odour-fighting tech. It smells like... nothing – but that's on purpose. Not only is it pH-balanced, 100% dog-safe, plant-based and purposefully unscented, but the bottle even swaps out a standard pump for a fully recyclable, squishy nozzle, keeping both form and function canine-conscious. For Angelina and Karina, Mud™ isn't just a clean product; it's a clean break. "We exist to honour the wild in every dog," says Karina. "We think it's time to shift cultural convention away from treating pets as lifestyle accessories and toward recognising them as instinct-driven animals with emotional depth and needs of their own." While the launch range is intentionally minimal, more products are in the works – all guided by a philosophy rooted in respect rather than control. It's this perspective that sets Mud™ apart in a market saturated with pastel palettes, pun-based names and synthetic fragrances. "There is no other brand that does what we do in the category," says Angelina. And she's not just talking about the ethos. Mud™'s design system is just as provocative as its product. The brand's identity, developed in-house, is reactive by nature, including online; the logo expands or contracts based on local weather data. On the packaging, it vanishes and reappears thanks to thermal ink technology. "It's a metaphor for the mess, the rinse, and the return to it," says Karina. "The logo reacts to the weather – expanding with rain, contracting in the dry – just like the mud under their paws." This responsiveness extends to the user experience. The thermal ink on the bottle invites physical interaction, while the weather-reactive digital elements offer a subtle, sensory delight that encourages engagement, play, and even shareability. It's branding as conversation, not a billboard. Mud is also produced in small batches in the UK. Bottles are 100% recyclable and printed directly with eco-compliant inks, eliminating the need for wasteful labels and adhesives. It's a product that feels good and does good, all without shouting about it. For the founders, sustainability is inextricably linked to ethics. "Most dog shampoos are just human ones in disguise," says Karina. "We don't put anything in the bottle that doesn't serve your dog. Nothing that messes with their fur, their senses, or the earth beneath their paws." [2ximage] What Mud™ is ultimately selling isn't just pet care – it's perspective and a rewilding of the pet industry. They're reasserting that animals are not accessories, and if the early traction is any indication, it's a message that resonates well beyond the dog-owning demographic. "We already had people say, 'I don't even have a dog, but your brand and the info on the website changed how I think about them,'" says Angelina. "That's an amazing response." With more products in development, Mud is only just getting started, but its early moves suggest a brand with bite. Clearly, it's not afraid to get dirty, ask difficult questions, and bring a bit of instinct back into a sanitised world.

05/28 — 2025 by abduzeedo Explore Italia Grace, a graphic novel by Keva Epale. Discover its unique illustration, branding, and character-driven story. Ever wonder how a creative project truly finds its voice? Sometimes, the initial spark leads to an entirely new direction. That's the journey of "Italia Grace," an upcoming graphic novel by Keva Epale. It's a fascinating example of how illustration, branding, and storytelling evolve. The Genesis of a Vision "Italia Grace" began as a food project. Yet, as Keva Epale started developing her first character, Fabiola, the concept expanded. Fabiola's essence demanded a richer narrative, a world of her own. This shift highlights the organic nature of creative development. It shows how characters can truly drive a project's scope. Initially, the focus leaned towards wine for an Italian theme. However, Epale, as the author and illustrator, realized this didn't align with her personal non-drinking lifestyle. The narrative needed authenticity. This led to a pivotal change: the star became hibiscus. This vibrant flower, with its natural healing properties, resonated deeply with Epale's daily life. Her personal connection to hibiscus infusions, prepared by her mother, brought a genuine touch to the story. This personal anecdote, woven into the narrative, makes the project feel incredibly human. Crafting a World Through Illustration The graphic novel centers on Fabiola's journey. She's building a world around a restaurant, a unique recipe, and a strong value proposition. This world is populated by a rich cast of characters. We meet Pearl, the best friend; Reeny, the iconic bird; Raphaël, the architect; and Sofia, "La Milanaise," a journalist and ceramic artist. Even Jinny, a violinist turned wine journalist, joins the growing support team. Each character, through Epale's illustrations, becomes a centerpiece, enjoying the food and delicacies from "Italia Grace.". The illustrations themselves are a masterclass in visual storytelling. Consider the vibrant image showcasing Fabiola with hibiscus drinks, alongside keywords like "hibiscus plays audacity." This visual instantly conveys the project's playful and bold spirit. The graphic elements, like the arrows pointing to "Paris, Milan, Dakar & More," hint at Fabiola's global journey. Branding Beyond the Obvious The branding for "Italia Grace" is subtle yet effective. The shift from wine to hibiscus is a key branding decision. It positions the project around health and natural beauty, moving away from a more common theme. This choice reflects a unique value proposition. The graphic explicitly stating "This is not Wine," reinforces this branding message. It's a clear, concise statement that sets the tone. The visual representation of the "Venue" offers a glimpse into Fabiola's restaurant. The simplistic, almost isometric illustration, with "Italia Grace" emblazoned on top, gives a clear sense of place. It's a clean, inviting design that sparks curiosity. Fabiola's Journey: A Visual Narrative The "Fabiola in 6 Objects" illustration is a clever way to introduce her character through visual metaphors. Objects like a "menu TOOLKIT," a mirror ("le passage"), and a suitcase ("La Valise") offer insights into her aspirations and journey. This visual toolkit helps readers connect with Fabiola on a deeper level. The "La Valise" illustration further emphasizes her travels, adorned with stickers from Lisbon and Los Angeles, signifying "THE DEPARTURE." "Italia Grace" is more than just a graphic novel; it's a "build-in-public experiment". Keva Epale shares the story's evolution, context, and ideas through each post. This transparency offers a unique look into the creative process. It's a testament to passion and dedication. A Journey Worth Following Keva Epale's "Italia Grace" is a compelling example of how a designer's personal experiences and evolving vision can shape a truly unique project. The vibrant illustrations and thoughtful branding create an engaging narrative. It's a reminder that the most impactful design often comes from a place of authenticity. Explore more of Keva Epale's inspiring work and the ongoing journey of "Italia Grace" on her Instagram: https://www.instagram.com/kevaepale/ Illustration artifacts Tags illustration