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Barbara Betlejewska is a PR consultant and manager with extensive experience in architecture and real estate, currently involved with World Visualization Festival, a global event bringing together CGI and digital storytelling professionals for 3 days of presentations, workshops, and networking in Warsaw, Poland, this October. Over the last twenty years, visualization and 3D rendering have evolved from supporting tools to become central pillars of architectural storytelling, design development, and marketing across various industries. As digital technologies have advanced, the landscape of creative work has changed dramatically. Artists can now collaborate with clients worldwide without leaving their homes, and their careers can flourish without ever setting foot in a traditional studio. In this hyper-connected world, where access to knowledge, clients, and inspiration is just a click away, do we still need to gather in person? Do conferences, festivals and meetups in the CGI and architectural visualization world still carry weight? The People Behind the Pixels Professionals from the visualization industry exchanging ideas at WVF 2024. For a growing number of professionals — especially those in creative and tech-driven fields — remote work has become the norm. The shift to digital workflows, accelerated by the pandemic, has brought freedom and flexibility that many are reluctant to give up. It’s easier than ever to work for clients in distant cities or countries, to build a freelance career from a laptop, or to pursue the lifestyle of a digital nomad. On the surface, it is a broadening of horizons. But for many, the freedom of remote work comes with a cost: isolation. For visualization artists, the reality often means spending long hours alone, rarely interacting face-to-face with peers or collaborators. And while there are undeniable advantages to independent work, the lack of human connection can lead to creative stagnation, professional burnout, and a sense of detachment from the industry as a whole. Despite being a highly technical and often solitary craft, visualization and CGI thrive on the exchange of ideas, feedback and inspiration. The tools and techniques evolve rapidly, and staying relevant usually means learning not just from tutorials but from honest conversations with others who understand the nuances of the field. A Community in the Making Professionals from the visualization industry exchanging ideas at WVF 2024. That need for connection is what pushed Michał Nowak, a Polish visualizer and founder of Nowak Studio, to organize Poland’s first-ever architectural visualization meetup in 2017. With no background in event planning, he wasn’t sure where to begin, but he knew something was missing. The Polish Arch Viz scene lacked a shared space for meetings, discussions, and idea exchange. Michał wanted more than screen time; he wanted honest conversations, spontaneous collaboration and a chance to grow alongside others in the field. What began as a modest gathering quickly grew into something much bigger. That original meetup evolved into what is now the World Visualization Festival (WVF), an international event that welcomes artists from across Europe and beyond. “I didn’t expect our small gathering to grow into a global festival,” Michał says. “But I knew I wanted a connection. I believed that through sharing ideas and experiences, we could all grow professionally, creatively, and personally. And that we’d enjoy the journey more.” The response was overwhelming. Each year, more artists from across Poland and Europe join the event in Wrocław, located in south-western Poland. Michał also traveled to other festivals in countries like Portugal and Austria, where he observed the same thing: a spirit of openness, generosity, and shared curiosity. No matter the country or the maturity of the market, the needs were the same — people wanted to connect, learn and grow. And beyond the professional side, there was something else: joy. These events were simply fun. They were energizing. They gave people a reason to step away from their desks and remember why they love what they do. The Professional Benefits Hands-on learning at the AI-driven visualization workshop in Warsaw, October 2024. The professional benefits of attending industry events are well documented. These gatherings provide access to mentorship, collaboration and knowledge that can be challenging to find online. Festivals and industry meetups serve as platforms for emerging trends, new tools and fresh workflows — often before they hit the mainstream. They’re places where ideas collide, assumptions are challenged and growth happens. The range of topics covered at such events is broad, encompassing everything from portfolio reviews and in-depth discussions of particular rendering engines to discussions about pricing your work and building a sustainable business. At the 2024 edition of the World Visualization Festival, panels focused on scaling creative businesses and navigating industry rates drew some of the biggest crowds, proving that artists are hungry for both artistic and entrepreneurial insights. Being part of a creative community also shapes professional identity. It’s not just about finding clients — it’s about finding your place. In a field as fast-moving and competitive as Arch Viz, connection and conversation aren’t luxuries. They’re tools for survival. There’s also the matter of building your social capital. Online interactions can only go so far. Meeting someone in person builds relationships that stick. The coffee-break conversations, the spontaneous feedback — these are the moments that cement a community and have the power to spark future projects or long-lasting partnerships. This usually doesn’t happen in Zoom calls. And let’s not forget the symbolic power of events like industry awards, such as the Architizer’s Vision Awards or CGArchitect’s 3D Awards. These aren’t just celebrations of talent; they’re affirmations of the craft itself. They contribute to the growth and cohesion of the industry while helping to establish and promote best practices. These events clearly define the role and significance of CGI and visualization as a distinct profession, positioned at the intersection of architecture, marketing, and sales. They advocate for the field to be recognized on its own terms, not merely as a support service, but as an independent discipline. For its creators, they bring visibility, credit, and recognition — elements that inspire growth and fuel motivation to keep pushing the craft forward. Occasions like these remind us that what we do has actual value, impact and meaning. The Energy We Take Home The WVF 2024 afterparty provided a vibrant space for networking and celebration in Warsaw. Many artists describe the post-event glow: a renewed sense of purpose, a fresh jolt of energy, an eagerness to get back to work. Sometimes, new projects emerge, new clients appear, or long-dormant ideas finally gain momentum. These events aren’t just about learning — they’re about recharging. One of the most potent moments of last year’s WVF was a series of talks focused on mental health and creative well-being. Co-organized by Michał Nowak and the Polish Arch Viz studio ELEMENT, the festival addressed the emotional realities of the profession, including burnout, self-doubt, and the pressure to constantly produce. These conversations resonated deeply because they were real. Seeing that others face the same struggles — and come through them — is profoundly reassuring. Listening to someone share a business strategy that worked, or a failure they learned from, turns competition into camaraderie. Vulnerability becomes strength. Shared experiences become the foundation of resilience. Make a Statement. Show up! Top industry leaders shared insights during presentations at WVF 2024 In an era when nearly everything can be done online, showing up in person is a powerful statement. It says: I want more than just efficiency. I want connection, creativity and conversation. As the CGI and visualization industries continue to evolve, the need for human connection hasn’t disappeared — it’s grown stronger. Conferences, festivals and meetups, such as World Viz Fest, remain vital spaces for knowledge sharing, innovation and community building. They give us a chance to reset, reconnect and remember that we are part of something bigger than our screens. So, yes, despite the tools, the bandwidth, and the ever-faster workflows, we still need to meet in person. Not out of nostalgia, but out of necessity. Because, no matter how far technology takes us, creativity remains a human endeavor. Architizer’s Vision Awards are back! The global awards program honors the world’s best architectural concepts, ideas and imagery. Start your entry ahead of the Final Entry Deadline on July 11th.  The post Building an Architectural Visualization Community: The Case for Physical Gatherings appeared first on Journal.

When Leta Sobierajski enrolled in college, she already knew what she was meant to do, and she didn’t settle for anything less. “When I went to school for graphic design, I really didn’t have a backup plan – it was this, or nothing,” she says. “My work is a constantly evolving practice, and from the beginning, I have always convinced myself that if I put in the time and experimentation, I would grow and evolve.” After graduation, Sobierajski took on a range of projects, which included animation, print, and branding elements. She collaborated with corporate clients, but realized that she wouldn’t feel comfortable following anyone else’s rules in a 9-to-5 environment. Leta Sobierajski (standing) and Wade Jeffree (on ladder) \\\ Photo: Matt Dutile Sobierajski eventually decided to team up with fellow artist and kindred spirit Wade Jeffree. In 2016 they launched their Brooklyn-based studio, Wade and Leta. The duo, who share a taste for quirky aesthetics, produces sculpture, installations, or anything else they can dream up. Never static in thinking or method, they are constantly searching for another medium to try that will complement their shared vision of the moment. The pair is currently interested in permanency, and they want to utilize more metal, a strong material that will stand the test of time. Small architectural pieces are also on tap, and on a grander scale, they’d like to focus on a park or communal area that everyone can enjoy. With so many ideas swirling around, Sobierajski will record a concept in at least three different ways so that she’s sure to unearth it at a later date. “In some ways, I like to think I’m impeccably organized, as I have countless spreadsheets tracking our work, our lives, and our well-being,” she explains. “The reality is that I am great at over-complicating situations with my intensified list-making and note-taking. The only thing to do is to trust the process.” Today, Leta Sobierajski joins us for Friday Five! Photo: Melitta Baumeister and Michał Plata 1. Melitta Baumeister and Michał Plata The work of Melitta Baumeister and Michał Plata has been a constant inspiration to me for their innovative, artful, and architectural silhouettes. By a practice of draping and arduous pattern-making, the garments that they develop season after season feel like they could be designed for existence in another universe. I’m a person who likes to dress up for anything when I’m not in the studio, and every time I opt to wear one of their looks, I feel like I can take on the world. The best part about their pieces is that they’re extremely functional, so whether I need to hop on a bicycle or show up at an opening, I’m still able to make a statement – these garments even have the ability to strike up conversations on their own. Photo: Wade and Leta 2. Pandas! I was recently in Chengdu to launch a new project and we took half the day to visit the Chengdu Research Base of Giant Pandas and I am a new panda convert. Yes, they’re docile and cute, but their lifestyles are utterly chill and deeply enviable for us adults with responsibilities. Giant pandas primarily eat bamboo and can consume 20-40 kilograms per day. When they’re not doing that, they’re sleeping. When we visited, many could be seen reclining on their backs, feasting on some of the finest bamboo they could select within arm’s reach. While not necessarily playful in appearance, they do seem quite cheeky in their agendas and will do as little as they can to make the most of their meals. It felt like I was watching a mirrored image of myself on a Sunday afternoon while trying to make the most of my last hours of the weekend. Photo: Courtesy of Aoiro 3. Aoiro I’m not really a candle person (I forget to light it, and then I forget it’s lit, and then I panic when it’s been lit for too long) but I love the luxurious subtlety of a fragrant space. It’s an intangible feeling that really can only be experienced in the present. Some of the best people to create these fragrances, in my opinion, are Shizuko and Manuel, the masterminds behind Aoiro, a Japanese and Austrian duo who have developed a keen sense for embodying the fragrances of some of the most intriguing and captivating olfactory atmospheres – earthy forest floors with crackling pine needles, blue cypress tickling the moon in an indigo sky, and rainfall on a spirited Japanese island. Despite living in an urban city, Aoiro’s olfactory design is capable of transporting me to the deepest forests of misty Yakushima island. Photo: Wade and Leta 4. Takuro Kuwata A few months ago, I saw the work of Japanese ceramicist Takuro Kuwata at an exhibition at Salon94 and have been having trouble getting it out of my head. Kuwata’s work exemplifies someone who has worked with a medium so much to completely use the medium as a medium – if that makes sense. His ability to manipulate clay and glaze and use it to create gravity-defying effects within the kiln are exceptionally mysterious to me and feel like they could only be accomplished with years and years of experimentation with the material. I’m equally impressed seeing how he’s grown his work with scale, juxtaposing it with familiar iconography like the fuzzy peach, but sculpting it from materials like bronze. Photo: Wade and Leta 5. The Site of Reversible Destiny, a park built by artists Arakawa and Gins, in Yoro Japan The park is a testament to their career as writers, architects, and their idea of reversible destiny, which in its most extreme form, eliminates death. For all that are willing to listen, Arakawa and Gins’ Reversible Destiny mentality aims to make our lives a little more youthful by encouraging us to reevaluate our relationship with architecture and our surroundings. The intention of “reversible destiny” is not to prolong death, postpone it, grow older alongside it, but to entirely not acknowledge and surpass it. Wade (my partner) and I have spent the last ten years traveling to as many of their remaining sites as possible to further understand this notion of creating spaces to extend our lives and question how conventional living spaces can become detrimental to our longevity.   Works by Wade and Leta: Photo: Wade and Leta and Matt Alexander Now You See Me is a large-scale installation in the heart of Shoreditch, London, that explores the relationship between positive and negative space through bold color, geometry, and light. Simple, familiar shapes are embedded within monolithic forms, creating a layered visual experience that shifts throughout the day. As sunlight passes through the structures, shadows and silhouettes stretch and connect, forming dynamic compositions on the surrounding concrete. Photo: Wade and Leta and John Wylie Paint Your Own Path is series of five towering sculptures, ranging from 10 to 15 feet tall, invites viewers to explore balance, tension, and perspective through bold color and form. Inspired by the delicate, often precarious act of stacking objects, the sculptures appear as if they might topple – yet each one holds steady, challenging perceptions of stability. Created in partnership with the Corolla Cross, the installation transforms its environment into a pop-colored landscape. Photo: Millenia Walk and Outer Edit, Eurthe Studio Monument to Movement is a 14-meter-tall kinetic sculpture that celebrates the spirit of the holiday season through rhythm, motion, and color. Rising skyward in layered compositions, the work symbolizes collective joy, renewal, and the shared energy of celebrations that span cultures and traditions. Powered by motors and constructed from metal beams and cardboard forms, the sculpture continuously shifts, inviting viewers to reflect on the passage of time and the cycles that connect us all. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Falling Into Place is a vibrant rooftop installation at Ginza Six that explores themes of alignment, adaptability, and perspective. Six colorful structures – each with a void like a missing puzzle piece – serve as spaces for reflection, inviting visitors to consider their place within a greater whole. Rather than focusing on absence, the design transforms emptiness into opportunity, encouraging people to embrace spontaneity and the unfolding nature of life. Playful yet contemplative, the work emphasizes that only through connection and participation can the full picture come into view. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Photo: Wade and Leta Stop, Listen, Look is a 7-meter-tall interactive artwork atop IFS Chengdu that captures the vibrant rhythm of the city through movement, sound, and form. Blending motorized and wind-powered elements with seesaws and sound modulation, it invites people of all ages to engage, play, and reflect. Inspired by Chengdu’s balance of tradition and modernity, the piece incorporates circular motifs from local symbolism alongside bold, geometric forms to create a dialogue between past and present. With light, motion, and community at its core, the work invites visitors to connect with the city – and each other – through shared interaction. The Cloud is a permanent sculptural kiosk in Burlington, Vermont’s historic City Hall Park, created in collaboration with Brooklyn-based Studio RENZ+OEI. Designed to reinterpret the ephemeral nature of clouds through architecture, it blends art, air, and imagination into a light, fluid structure that defies traditional rigidity. Originally born from a creative exchange between longtime friends and collaborators, the design challenges expectations of permanence by embodying movement and openness. Now home to a local food vendor, The Cloud brings a playful, uplifting presence to the park, inviting reflection and interaction rain or shine..

12 June, 2025 In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed. Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO. Founder David Johnston talks us through some of the decisions that defined his business. In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team… I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency. That really just means giving yourself a name and starting to promote yourself in the world. Accept & Proceed founder David Johnston I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that. But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless. Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people. Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships. A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible. I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this. I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential. The first of Accept & Proceed’s Light Calendars Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead. I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director. This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints. They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there. When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time. In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation. Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on? All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem? Accept & Proceed’s work for the NASA Jet Propulsion Laboratory I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility. We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better. In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning. We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience. It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves. It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair. So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world. And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.” Accept & Proceed’s work for Second Sea We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole. And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation. The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.” But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work. I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future. In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life. I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.” The first year there were five of us – this year there were 300 people for the spring equinox in March. I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else? One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings. Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me. There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio. These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us. Design disciplines in this article Brands in this article What to read next Features Turning Points: Cultural branding agency EDIT Brand Identity 20 Nov, 2024