La Collina Ōmi-Hachiman by Terunobu Fujimori and Michele De Lucchi is a transcendent architectural project that merges Japan’s natural landscape with deep cultural heritage.

Nestled within the idyllic town of Omihachiman, La Collina is both a physical and symbolic gathering space where architecture, nature, and community coexist in harmonious dialogue. This flagship store for Taneya Group reflects a philosophy that transcends mere commerce, instead cultivating a sense of place that honors both the historical and ecological significance of the region.

The architectural narrative of La Collina is shaped by Fujimori’s organic sensibilities and De Lucchi’s cultural vision. The centerpiece, a green-roofed structure that melds into the surrounding mountains, evokes Japan’s Satoyama landscapes and rice terraces, a nod to the human-environment relationship that the project seeks to honor. The sprawling 115,000-square-meter complex houses a variety of spaces, including shops, a café, a candy farm, and a headquarters, all unified by the theme of communal flourishing. La Collina is visually and conceptually rooted in the idea of ants—a metaphor for social cooperation and environmental resilience—incorporating natural materials like bamboo charcoal and copper in its design.

Fujimori’s dedication to integrating nature into the architecture is evident in not only the design but also in its functional connection to the landscape. The rice fields surrounding La Collina, which the architects and local agricultural departments jointly cultivate, are more than just scenic—they are part of an ecological restoration effort, providing habitats for fireflies and offering visitors a sensory experience that transcends the architectural form. The space reflects a philosophy where architecture, agriculture, and human life are intertwined, creating an enduring connection between past and future.

Photo: Yu Heng
Text: Hitoshi Arato

→ thisispaper.com/mag/la-collina-omi-hachiman-terunobu-fujimori

Church of Seed by O Studio Architects offers a serene blend of Western spirituality and local culture, its organic design harmonizing with the Taoist landscape of Luofu Mountain in Huizhou, China.

Located in Huizhou, China—a region renowned for its Taoist and Buddhist temples—the project is striking for its introduction of a subtle Western religious presence within this spiritually rich landscape. Designed to serve as both a Christian worship space and a community hub for local villagers, the church balances spiritual symbolism with practical sensitivity. This duality is expressed through its architectural language, where the building's form is inspired by the metaphor of a seed—a biblical reference—without veering into literal representation.

The building's curvilinear form, mimicking the outline of a seed, guides visitors through three distinct entry points. Each entry corresponds to different orientations, interacting thoughtfully with the surrounding natural light. The southeast-facing entrance, marked by a cross-shaped opening, welcomes the morning light, bathing the interior in warmth, while the west-facing solid wall shields the space from the harsher afternoon sun. This choreographed play of light and shadow becomes an essential part of the church’s atmosphere, evoking a quiet yet profound reflection of the natural rhythms surrounding it.

Materiality plays a pivotal role in grounding the church within its environment. Constructed from in-situ concrete, using bamboo formworks, the textured surface subtly echoes the natural surroundings, blending into the lush greenery of Luofu Mountain. The concrete’s surface, softened by the bamboo imprints, evokes a sense of handmade craftsmanship, resonating with the simple, unadorned quality of village life. Local artisans contributed handmade bamboo furniture, further rooting the building in the community it serves, both physically and culturally.

What makes the Church of Seed truly remarkable is its refusal to overstate its form. It does not present itself as a sculptural object, but rather as a meditative space that engages deeply with its surroundings. The roof terrace, with its stepped design, invites visitors to ascend and take in the panoramic views of the mountain and nearby water, enhancing the relationship between the spiritual and the natural. Here, architecture becomes an experience of space, light, and nature, quietly echoing the community’s traditions while introducing a new layer of spiritual meaning.

Photography: Iwan Baan
Text: @zaxarov

→ thisispaper.com/mag/church-of-seed-o-studio-architects

Brendon Burton’s Epitaph unearths the eerie beauty of America's forgotten spaces, capturing the echoes of past lives in desolate landscapes.

Spanning a decade, this haunting series captures the decayed remnants of abandoned farmhouses, churches, and remote landscapes, all of which bear silent witness to the passage of time. Through his lens, Burton reveals the quiet desolation and hidden histories that linger in these spaces, offering viewers a rare glimpse into a world where reality frays and the past lingers, like a fading memory.

Burton’s work traverses the vast expanses of the northern Great Plains to the mist-shrouded rainforests of the Pacific Northwest, presenting a visual narrative that is as expansive as the American landscape itself. His photographs of weathered grain elevators and derelict homes are more than mere documentation; they are a meditation on impermanence and the invisible threads that connect us to those who came before. The absence of people in these images heightens the sense of abandonment, yet their presence is felt in the very fabric of the buildings and the land—echoes of lives once lived, now imprinted on the landscape.

What sets Epitaph apart is Burton's ability to evoke a deep, almost voyeuristic intimacy with these forgotten places. Each photograph invites the viewer to step into a surreal world that exists just beyond the edge of familiarity, where time seems to stand still and the boundaries between past and present blur. Through this exploration, Burton not only illuminates the unseen histories buried in these locations but also invites us to reflect on the transient nature of our own lives and the marks we leave behind.

Photography: Brendon Burton
Text: @zaxarov

→ thisispaper.com/mag/epitaph-brendon-burton

Anna Bak's Bleak Harvest at Vestjyllands Kunstpavillon in Denmark confronts the anxieties of modern agriculture with a poetic, yet dystopian narrative.

The exhibition unfolds within a fictional agricultural community, weaving together their relentless quest for yield and the haunting aftermath of a failed harvest. Although set in a fabricated world, Bak draws clear parallels to contemporary realities: industrialized farming, the dangers of genetically modified crops, and the planet's overconsumption of resources. Her work becomes an allegory for the slow degradation of our agricultural systems, evoking both personal and collective trauma.

The exhibition feels particularly resonant in the rural context of Videbæk, where the vast fields that surround the Kunstpavillon speak to Denmark's agricultural legacy. Bak, who grew up on a Danish pig farm in the 1990s, taps into her personal history, reflecting on the dramatic decline of full-time farmers in Denmark—from 40,000 in 1985 to a mere 7,500 today. This local context, combined with the timing of the exhibition during the harvest season, intensifies the urgency of her commentary on the state of agriculture. Bak does not offer moral certainties but rather constructs a space where historical reality and fictional horror merge.

Bleak Harvest is a visual metaphor, blending elements of classical horror and mythic folklore to capture the eerie tension between abundance and decay. From bronze sculptures of rotting apples to sensuous, twisted tools made of wood and aluminum, the material choices evoke a surreal collision of nature and industry. The tactile richness of the exhibition—deformed plants, scorched fields, and the unsettling quiet of a ruined harvest—creates a claustrophobic atmosphere. The viewer is left to decipher the narrative, constructing their own understanding of a world where nature's cycles are distorted beyond recognition.

Photography: Jacob Friis-Holm Nielsen
Text: @zaxarov

→ thisispaper.com/mag/bleak-harvest-anna-bak-vestjyllands-kunstpavillon

In the realm of contemporary photography, Grade Solomon emerges as a unique voice, one that skillfully transports viewers into a world where the ordinary is imbued with profound meaning.

His work challenges conventional perceptions, offering a new lens through which to view the mundane—a car draped in weathered plastic, a gap in a fence, or the peeling paint on a forgotten wall. Solomon's ability to transform these seemingly trivial elements into something extraordinary is nothing short of remarkable. Through his lens, road signs, power poles, and suburban rooftops coalesce into a hazy, dreamlike tableau.

There is a deliberate manipulation of light and color, where windows shimmer with an ethereal glow, the ground reflects an almost oily sheen, and walls dissolve into fluid gradients of blues and pinks. His approach to photography is more akin to the art of painting with light, where each image transcends mere documentation to evoke the emotions and memories that shape our perceptions.

His photographs serve as a poignant tribute to a world perpetually in transition, where the remnants of the past give rise to the potential for renewal. Themes of longing, solitude, and the passage of time are intricately woven into his work, creating images that resonate with the echoes of dreams and memories, softened and blurred by the passage of time.

As a Korean-American fine art photographer based in Richmond, Virginia, Solomon delves deep into the malleability of perception. His images, often drawn from the suburban and industrial backdrops of America, reveal a depth that is not immediately apparent. Rather than striving to replicate reality, Solomon seeks to construct his own vision of it. His work is an exploration of the intersection between memory and emotion, where recurring dreams, distant recollections, and profound experiences such as love and loss inform his creative process.

Photography: Grade Solomon
Text: Zuzanna Gasior

→ thisispaper.com/mag/selected-works-grade-solomon

In "Concrete Mirrors," French photographer David de Beyter delves into the iconographic visuals of the Cold War Space Race, weaving together a three-part series that blurs the lines between documentation and artifice.

This project deftly juxtaposes historical authenticity with imaginative reconstruction, creating a narrative that is as much about the past as it is a commentary on the present's infatuation with space exploration myths.

The first chapter of "Concrete Mirrors" presents a selection of utopian architectures from the 1960s, featuring scientific facilities and landscapes that evoke Martian or Lunar terrains. These structures, chosen not for their aesthetic appeal but for their symbolic obsolescence, reflect the era's ambitious yet ultimately unattainable dreams of utopia. De Beyter's meticulous documentation, replete with drawings and objects from the 1970s' visionary architecture, invites viewers to ponder the transient nature of these grandiose visions.

In the second chapter, De Beyter employs 3D modeling to breathe life into unrealized architectural projects, transforming speculative designs into tangible photographic stages. This blend of reality and virtuality creates a hauntingly beautiful narrative, highlighting the divergence between imagined futures and the stark reality of technological limitations. Through this method, De Beyter reconstructs a mythology of space conquest, underscoring the era's relentless pursuit of progress despite its many setbacks.

The final chapter shifts focus to the scientific and photographic documentation of the era, including NASA's photogrammetry and experimental tools. These images, integral to the Space Race's visual culture, helped shape the public's fantastical perceptions of space. By meticulously curating and connecting these historical fragments, De Beyter crafts a romantic exploration of an era defined by both its groundbreaking achievements and its disillusionments.

Photography: David de Beyter
Text: @zaxarov

→ thisispaper.com/mag/concrete-mirrors-david-de-beyter

Cho Gi Seok’s photography blends surrealism with cultural symbolism, crafting vibrant portraits where nature and technology converge, exploring fundamental beauty and the evolving human experience.

In the photography of Cho Gi Seok, a vivid sense of surrealism meets the delicate art of storytelling. Each portrait is a meticulously crafted tableau, where color, light, and intricate props transform the subject into a character that exists between reality and fantasy. The world Cho creates is rich with narrative, echoing his background in graphic design and art direction. His journey from these disciplines to photography is evident in the visually complex and symbolically rich compositions he produces, where each element is deliberate, lending his work a layered, almost cinematic quality.

Recurring motifs within Cho's oeuvre, such as butterflies, flowers, and particularly orchids, speak to a deeper cultural resonance. Orchids, revered in Korean culture for their symbolism of harmony, longevity, and the balance of yin and yang, are used sparingly yet powerfully in Cho’s imagery. They act as conduits of purity and beauty, often juxtaposed with the human form to explore the theme of transformation. This use of flora as a narrative device mirrors the traditional Korean concept of finding beauty in simplicity, which Cho reinterprets through his contemporary lens.

Cho’s exploration of the nude in his recent work further exemplifies his pursuit of “fundamental beauty.” In projects like With Dawon & Emyung, the human body is entwined with natural elements, such as smooth stones, creating a visual dialogue between the animate and inanimate, the living and the eternal. This interplay of forms speaks to the photographer's interest in the essential, the core of aesthetic experience that transcends superficial adornment. Cho’s work with Korean models, in particular, underscores his commitment to expressing a deeply personal and culturally rooted vision, where communication and shared cultural context play a vital role.

As a digital native, Cho's work is also influenced by the omnipresence of technology and the internet. The tension between the natural world and digital innovation is a recurring theme, particularly in his Humanoid series, where he merges organic and technological elements to create otherworldly figures. These works reflect a meditation on contemporary identity, where the boundaries between nature and technology are increasingly blurred. Cho’s photography, in this sense, becomes a mirror to our times, capturing the evolving relationship between the digital and the organic, tradition and innovation, the surreal and the real.

“I like the beauty that comes from the harmony of opposites.” — Cho Gi Seok

Photography: Cho Gi Seok
Text: @zaxarov

→ thisispaper.com/mag/selected-works-cho-gi-seok

Melbourne photographer Abigail Varney's latest and ongoing project, aptly titled "The Build Up," captures the essence of unique climatic phenomenon and its profound impact on the local community.

As the coastal city of Darwin in northern Australia transitions from the dry season to the monsoonal period, a pervasive heat and humidity envelops the metropolis. This shift, known locally as ‘the build up’ or ‘mango madness,’ drives residents indoors, seeking refuge from the oppressive conditions.

Conveying the oppressive heat through photography is no easy task, yet Varney's work succeeds in depicting a palpable stillness, trepidation, and restlessness. The build up affects the community profoundly, with many exhibiting symptoms of seasonal affective disorder and mood swings, despite the festive December season. Varney's images exude a somber ambiance of eternal dusk, with scenes dimly lit as if shrouded by heavy clouds. This darkness mirrors both the environmental shifts due to climate change and the overall pessimistic mood that grips Darwin during this time.

At the core of Varney’s project is a captivating and alarming reflection on the intricate relationship between humans and the environment. The build up signifies the climatic pattern in the Australian top end, where the weather transitions from dry to monsoon. The ambient temperature steadily rises, and oppressive humidity sets in. Dark, threatening clouds roll through, producing only a few tantalizing raindrops, leaving the air thick and heavy. As the year draws to a close, the anticipation of monsoon's arrival brings a mix of celebration and neglect. Mango madness takes hold, with mangos ripening and falling from trees, while people experience emotional instability. Finally, the rains bring a much-needed sense of peace and equilibrium.

Varney’s work masterfully captures the tension and relief inherent in Darwin’s unique climate. Her images depict the natural and built environments as they respond to and reflect the build-up. Native birds perch languidly on roofs, creeks and oceans appear cloudy and restless, and locals celebrate Christmas in sweaty resignation. The psychological push-pull of the weather affects everyone, illustrating a brief submission to nature's versatile bounty.

Abigail Varney, a portrait and documentary photographer based in Melbourne, draws inspiration from her deep curiosity and connection to Australia's land, people, and ecologies.

Photography: Abigail Varney
Text: Zuzanna Gasior

→ thisispaper.com/mag/the-build-up-abigail-varney

In the layered fabric of Milan's architectural chronicles, the MUDEC (Museum of Cultures) designed by David Chipperfield stands as a poised testament to modern ingenuity seamlessly woven into the city's historic lineage.

A transformative endeavor undertaken by David Chipperfield in 2015, the MUDEC gracefully navigates the nuanced challenge of retrofitting dormant industrial skeletons into pulsating hubs of culture. The city's 1999 ambition of metamorphosing the erstwhile Ansaldo factory premises has found its vibrant epilogue in this museum - an institution envisioned to not just house exhibitions, but to also initiate dialogues, curate memories, and foster urban rejuvenation.

The architectural narrative of MUDEC is fascinating in its duality. On the one hand, it resonates with the introspective rhythm of Milan's iconic courtyards; on the other, it makes a deliberate departure, embracing its industrial ancestry. Enclosed within the embrace of historical edifices, the museum's ensemble of square blocks, donned in grey titanium zinc, pays homage to the area's industrial roots. This elemental robustness is juxtaposed with the ethereal shimmer of fritted mirrored glass, crafting a compelling visage of modernity paying respects to its storied precursor.

But it's in the heart of this architectural symphony that Chipperfield orchestrates his pièce de résistance – the central hall. An oasis of light and form, its fluidic design provides a luminous counterpoint to the regimented exterior. It's here that visitors find their compass, with galleries unfolding in a harmonious continuum around this luminous epicenter. And while the structural details – from the peristyle columns evoking cloistered archways to the Loos-inspired proportional gallery spaces – showcase Chipperfield's meticulous craftsmanship, it's the holistic experience of the MUDEC that truly captivates. It stands as a reminder that architecture, at its best, is not merely about constructing spaces, but about curating experiences and fostering cultural continuum.

Photo: Luis Urbano
Text: @zaxarov

→ thisispaper.com/mag/mudec-museum-of-cultures-david-chipperfield

The selected photographs by Piczo present a fascinating evolution of the artist's journey from his early days in Osaka, Japan to his current standing in the international photography scene.

Born in Osaka, Japan, Piczo discovered his passion for photography while studying at the Musashino Art School in Tokyo. His journey continued in London, where he further honed his craft at The London College of Communication.

In London, Piczo immersed himself in the world of fashion magazines, contributing to esteemed publications such as Jalouse, i-D, Grind, Tomorrow, Unfolp, and Union. His portraits, marked by a laid-back and effortlessly cool style, quickly garnered attention. Reflecting on this period, Piczo recalls the surreal experience of seeing his work alongside renowned photographers: “A small Japanese photographer is on the same page as great photographers!”

The turning point in Piczo's career came in 2013. Restricted by a student visa that prevented him from working openly as a freelancer, Piczo turned his lens inward, photographing emerging models in the intimate setting of his home. This constraint inadvertently birthed an extensive archive of portraits, capturing around 500 individuals over a decade.

Piczo's work during this period is characterized by a stripped-back style, drawing comparisons to Juergen Teller’s iconic 1990s go-sees. His photographs exude a hazy, ephemeral quality and a diaristic intimacy, born from the mutual inexperience and relaxed atmosphere shared with his subjects. “Both the models and I were inexperienced, and there was no one else around, so I wasn’t nervous,” Piczo recounts. “We were relaxed with one another, and I started to get some good results. This series is a collection of those times I saw someone I thought was beautiful, and how I found them beautiful.”

Piczo’s work, with its blend of diaristic intimacy and a candid approach to portraiture, invites viewers into a shared space of vulnerability and beauty, highlighting the artist's unique ability to find profoundness in the seemingly ordinary.

Photography: Piczo
Text: Hitoshi Arato

→ thisispaper.com/mag/selected-photographs-piczo

Guillaume Simoneau’s series From Fossils to Bowie emerges as an intricate visual essay that deftly navigates the intricate tapestry of humanity's relationship with nature.

Through his lens, Simoneau offers a fragmented yet profound narrative that intertwines the echoes of our ancestors with the nascent dreams of childhood. This juxtaposition captures the temporal spectrum from the deep past to an imagined future, creating a visual dialogue that resonates with the geological and the ephemeral.

Simoneau’s approach to this series can be likened to a contemporary newsfeed or a series of fleeting thoughts, where each image contributes to a broader, albeit disjointed, narrative. The series is as much a reflection on our current geological era as it is a personal archive of moments. By presenting a message from the past as interpreted by a child, Simoneau imbues the work with a sense of innocence and unfiltered perception, allowing viewers to reconnect with a purer, unmediated view of history and its remnants.

The narrative complexity of From Fossils to Bowie is underscored by the artist's thoughtful curation of images that evoke Margaret Atwood’s sentiments in Alias Grace—a story in flux, chaotic and raw, only finding coherence in retrospection. Simoneau’s work mirrors this tumultuous process of storytelling, where the true essence of the narrative crystallizes only after the visual cacophony has settled. It is through this retrospective clarity that Simoneau’s series transcends mere photography, becoming a poignant commentary on the human condition and our ever-evolving relationship with the natural world.

Photography: Guillaume Simoneau
Text: @zaxarov

→ thisispaper.com/mag/from-fossils-bowie-guillaume-simoneau

Female Pentimento's photography project represents a profound exploration of identity, spirituality, and environmental advocacy, all interwoven with a narrative of self-discovery and radical pragmatism.

The Brooklyn-based artist, who opts for anonymity through their evocative moniker, draws inspiration from the concept of pentimento—where previous layers of painting reemerge through the surface—as a metaphor for their own complex identity and artistic journey.

Rooted in the religious symbolism of their Southern Virginia upbringing, Female Pentimento reclaims and transforms these influences into a visual language that transcends traditional boundaries. This reclamation is not merely an act of defiance but a means of introspection and liberation. Their celestial images, created through a blend of photography, post-production, and AI, depict ethereal creatures and otherworldly landscapes, offering viewers a glimpse into an alternative reality where the corporeal and the spiritual coexist.

Light plays a central role in their work, manifesting as beams, orbs, and caustic patterns that create a sense of otherworldliness. This manipulation of light not only enhances the ethereal quality of their images but also serves as a metaphor for the artist's journey towards self-understanding and liberation from societal constraints. The deliberate ambiguity in their visual language blurs the lines between reality and the supernatural, inviting viewers to question their perceptions and explore deeper layers of meaning.

Female Pentimento's approach to their practice is guided by principles of care, independence, and anonymity. By maintaining a day job in design, they afford themselves the freedom to be selective about their artistic collaborations, thereby preserving the integrity of their work. Their choice to shoot primarily on an iPhone underscores a commitment to immediacy and authenticity, allowing the environment to be captured as an extension of their vision.

The artist's intuitive process eschews traditional planning in favor of a more organic, stream-of-consciousness approach. Each piece begins with a photograph from their extensive archive, accumulated from travels across the United States and countries like Costa Rica, Ecuador, and Mexico. These images are then meticulously layered with elements from stock photography and AI, resulting in compositions that range from quickly realized visions to works that evolve over months.

Climate awareness is a recurring theme in Female Pentimento's work. Their images serve as a form of advocacy, highlighting the urgent need for conservation in the face of the climate crisis. Whether presenting idyllic worlds they wish to inhabit or stark, apocalyptic landscapes as warnings, their work carries a message of environmental stewardship that resonates deeply in the Anthropocene era.

Photography: Female Pentimento
Text: @zaxarov

→ thisispaper.com/mag/selected-works-female-pentimento

Italian photographer Arianna Lago’s work is a stunning exploration of the beauty in both the strange and the ordinary.

Drawing inspiration from her travels and the world around her, Lago’s compositions are a wonderful amalgamation of the contemporary and the nostalgic, the surreal and the natural. Her approach to art is characterized by an appreciation for imperfection and an embrace of the chaotic and arbitrary.

Growing up in Italy, Lago’s love for photography was sparked by her fascination with old family albums and the poetic nostalgia they imbued. Inspired by the colors and textures of the past, Lago’s compositions are a testament to her exquisite eye for detail and her commitment to the purity and integrity of the medium. Shooting primarily with analog cameras, Lago’s images have a painterly feel that sets them apart from the work of other photographers.

One of the recurring themes in Lago’s work is her fascination with nature. Through her lens, Lago captures the interconnectedness of the natural world, blending humans and natural elements to create a raw and free portrayal of the world around us. Her images are a celebration of the beauty and unpredictability of nature, and an invitation to pause and appreciate the world in all its imperfections.

For Lago, photography is an intimate and deeply personal experience. Her images are not simply a replication of other people’s visions, but a spontaneous and emotional response to the world around her. Fueled by her love of travel and her constant desire to see new things, Lago’s work is a testament to the beauty of surrendering to the moment, of letting go of control and embracing the unexpected.

Arianna Lago’s work is a wonderful tribute to the beauty of imperfection and the power of art to inspire and move us. Her compositions are a testament to the joy of living in the moment and appreciating the world around us, with all its quirks and idiosyncrasies. In an age of mass-produced images and artificial perfection, Lago’s work is a refreshing reminder of the beauty and spontaneity of the real world.

Photographer: Arianna Lago
Text: @zaxarov

→ thisispaper.com/mag/selected-works-arianna-lago

In "Aseptic Field," Lean Lui explores themes of purity and innocence through her photography, set against the backdrop of external influences she portrays as almost 'contagious.'

This dynamic creates a tension that not only shapes but also colors one's inner self, illustrating the profound impact of external environments. "The book is about this metaphorical, protected space where you’re allowed to peer inside, but there’s this constant flow between what’s inside and what’s outside," Lean explains. "It’s filled with emotional layers that the viewer has to navigate."

She describes "Aseptic Field" as a narrative akin to an aware Eve in the Garden of Eden—aware of the forbidden fruits but choosing restraint. The imagery in her book is rich with metaphors, straddling lines between innocence and eroticism, attraction and distance. "It's like observing something intensely seductive from afar—undeniably attractive yet untouchable," she adds.

Discussing the title, Lean notes, "Aseptic Field might sound clinical, but it’s a realm of tumultuous emotions and surging desires." She emphasizes the importance of preserving both honesty and desire within this space, rejecting simple binaries to embrace a more nuanced ambiguity and fluidity.

Lean’s work invites us to reflect on how our personal spaces are shaped and sometimes invaded by the external world, offering a lens through which we can view our own interactions with the spaces we inhabit.

Lean Lui, a Hong kong based fine art and fashion photographer with a Master’s degree from Central Saint Martins, University of the Arts in London, brings a unique perspective to the lens. As a guest lecturer at HKU Space, Lean delves into the nuances of contemporary photography, reflecting her deep engagement with the field. Her latest work, "Aseptic Field," published by Setanta Books, navigates the complex interplay between personal space and the external world.

Photography: Lean Lui
Text: Zuzanna Gasior

→ thisispaper.com/mag/aseptic-field-lean-lui

In the remote east of Hokkaido, Japan, Jun Igarashi Architects has conceived the House of Trough, a minimalist retreat that elegantly merges the principles of seclusion and connectivity.

Designed for a couple seeking refuge from external disturbances, this architectural marvel employs spatial ingenuity to create a dwelling that is both introspective and outwardly engaging.

The House of Trough’s defining characteristic is its square plan, which artfully sandwiches the central living, dining, and kitchen areas between two distinct functional zones. To the north, a service and storage volume provides practical utility, while to the south, a combination of bedrooms and additional storage spaces ensures restful privacy. This layout generates a core living space that is intentionally shielded from external views, yet remains vertically expansive, fostering an airy and open ambiance.

Jun Igarashi’s vision draws a parallel to the traditional Japanese engawa—verandas that symbolically and physically bridge interior and exterior realms. This concept is manifested through the house’s buffer zones, which not only protect the inhabitants from the surrounding environment but also facilitate a meditative interaction with light and shadow. The interplay of light is orchestrated by strategic openings that animate the interior spaces with a dynamic display, while carefully avoiding unwanted views.

The mezzanines, accessed by ladders and stairs, further enrich this dialogue between light, space, and privacy. These elevated platforms serve as lookout points, offering varying perspectives of the house and its surroundings. The south zone, comprising an entrance, staircase, master bedroom, and guest bedroom, is partially sunken, adding layers of depth and intimacy to the spatial experience. Conversely, the north zone accommodates functional areas such as a laundry room, storage spaces, and a study, maintaining a balance between utility and comfort.

Emphasizing simplicity and cost-effectiveness, Igarashi’s choice of materials is both pragmatic and aesthetic. The use of inexpensive painted plywood for furniture and translucent white organdy curtains creates a harmonious, light-filled environment. These curtains, which can be drawn to enclose the main living spaces or left open to integrate peripheral areas, offer flexible transitions between privacy and communal interaction. They frame views of the central courtyard, or "trough," allowing family members and guests to observe the dynamic interactions within the heart of the home.

In House of Trough, Jun Igarashi Architects have crafted a dwelling that transcends conventional boundaries. It is a place where architecture becomes a medium for contemplation, a sanctuary that balances the need for solitude with the desire for connection.

Photography: Seiya Miyamoto
Text: @zaxarov

→ thisispaper.com/mag/house-trough-jun-igarashi-architects

"Human Nature" by Lucas Foglia emerges as a seminal work in contemporary photography, navigating the intricate and oftentimes fraught relationship between humanity and the natural world.

This series stands not only as a visual journey through varied landscapes but as a profound exploration of the dichotomy between human influence and the inherent wildness of nature. Foglia's endeavor over twelve years to document the efforts of individuals across the globe striving towards a harmonious coexistence with nature speaks to a deep-seated need within us all — a need for connection to the wilderness that sustains and defines us, even as we shape it with our presence.

Through his lens, Foglia adeptly captures the essence of this relationship, transitioning smoothly from urban to rural, from cultivated to wild, thereby challenging the traditional notion of nature as a realm separate from human touch. His focus on positive narratives — on the initiatives, people, and scientific efforts that advocate for this symbiotic relationship — is a refreshing perspective in the discourse on environmental conservation. By highlighting the benefits of nature to human health and happiness, as underscored by neuroscience, and the impacts of human activity on the environment, as revealed by climate science, Foglia presents a compelling argument for the necessity of wild spaces in our lives.

The philosophical underpinning of "Human Nature" questions the very definition of wilderness in an age where human influence pervades every corner of the Earth. This narrative is crucial, especially in a time when the concept of nature as untouched by human hands is increasingly obsolete. Foglia's work suggests that the path to conservation is not through the segregation of humanity from nature but through an integrated approach that acknowledges our role within the natural world.

The divergent views among conservationists — whether to preserve wild spaces from human encroachment or to adopt radical measures that reimagine our living spaces to allow nature to reclaim its rights — are reflected in the diverse landscapes Foglia chooses to photograph. From the construction of a rainforest in the midst of urban Singapore to the pristine air of a Hawaiian research station, each image serves as a testament to the possibility of coexistence and the imperative of rethinking our relationship with the natural world.

"Human Nature" thus becomes a visual and ideological manifesto that calls for a renewed understanding of conservation — one that embraces the intertwining of human and natural realms. It is a narrative of hope and resilience, a reminder that despite the daunting challenges facing the environment, there are individuals and communities dedicated to fostering a world where human activity complements rather than conflicts with the natural order.

Photography: Lucas Foglia
Text: @zaxarov

→ thisispaper.com/mag/human-nature-lucas-foglia

The SH House by Hiroshi Nakamura in Tokyo, Japan, represents a profound exploration of spatial innovation and intimate architectural experiences within the constraints of urban living.

Nakamura's architectural narrative began in 2005, shortly after his independent venture into the architectural realm, taking on the challenge of a compact urban site with formidable constraints. His solution, a testament to creative resilience, reimagines the possibilities of light, space, and human interaction within the confines of a small dwelling.

Nakamura's challenge was multifaceted: to introduce sunlight into a densely surrounded site while preserving privacy from the prying eyes of neighboring structures. The ingenious introduction of a light well with a skylight, eschewing traditional windows on the compromised street side, demonstrates a sophisticated understanding of light as both a functional and atmospheric element. This design decision not only resolves the issue of privacy but transforms light into a sculptural element, cascading down to the basement level, invigorating the house's interior with a soft, ethereal glow.

The architectural gesture of rounding out the living room wall to a 59.5% floor area ratio, while adhering to statutory limitations, is a strategic manipulation of spatial perception. This curvilinear form disrupts conventional architectural geometries, inviting an unlimited sense of depth and expansion beyond the physical confines of the space. The gradation in the wall's depth and height encourages a dynamic interaction between the occupants and the architectural form, suggesting a living environment that evolves with use, adapting to the diverse needs of adults and children alike. This approach to design is reflective of Nakamura's philosophy of architecture as an interactive, living entity, capable of nurturing an intimate relationship with its inhabitants.

"The hollow embraces; softy and gently, like a kangaroo’s pouch. It embraces the light from the top and glows in the early morning, in the midst of the day. The reflected light enters each room with varied expressions giving characters to each space. Sitting in it and lying in it, the dwellers hopefully form an affectionate relationship with the hollow, like exchanging bodily conversations. This is the ‘intimacy’ I hope to create between architecture and people.” — Hiroshi Nakamura

The hollow, likened to a kangaroo's pouch, symbolizes a sanctuary of warmth and comfort, embracing the light and the residents in a gentle, protective manner. This architectural embrace is not merely physical but emotional, fostering a bond between the structure and its dwellers. The varied expressions of light within each room imbue the space with character, transforming mundane activities into moments of affectionate exchange with the architecture itself.

Nakamura's SH House stands as a compelling narrative of architectural innovation, challenging conventional notions of space, privacy, and interaction within the urban fabric. It is a celebration of the intimate dialogues between light, form, and human experience, offering a visionary blueprint for living spaces that are not only functional but deeply resonant with the lives they encapsulate. The project underscores the potential of architectural practice to transcend mere construction, achieving a harmonious blend of aesthetic, spatial, and emotional dimensions that enrich the human experience.

Photography: Daici Ano
Text: Hitoshi Arato

→ thisispaper.com/mag/sh-house-hiroshi-nakamura

In 'Space and Steppe,' Baurjan Bismildin, along with his discerning team undertakes an insightful expedition across the vast expanses of the Kazakh Steppe.

This odyssey delves into the intersections of space exploration and the lived experiences of the Kazakh people, weaving a rich tapestry of narratives that spotlight the cultural and socio-economic fabrics of Kazakhstan. The project emerges as a poignant exploration of human connection, resilience, and the indelible marks of history on both the landscape and its inhabitants.

Central to Bismildin's artistic inquiry is the role of Kazakhstan — a crucial nexus in the annals of space exploration, home to the legendary Baikonur Cosmodrome, and the unsung 'welcome mat' for cosmonauts returning to Earth's embrace. 'Space and Steppe' seeks to illuminate the lesser-known narratives of those who have lived in the shadow of these celestial descents, capturing the essence of encounters that range from the monumental to the mundane.

Through the lens of Bismildin and the creative synergy of his team, comprising producer Dennis Keen, videographer Alexander Pflaum, and fixer Yermek Utemissov, the project navigates the emotional and physical geography of the Steppe, from witnessing the awe-inspiring moment of a capsule's landing to engaging with the people whose lives are intricately woven into this cosmic tapestry. The expedition becomes a journey through time, uncovering stories of eyewitnesses, the fate of forgotten monuments, and the creative resilience of those repurposing remnants from the sky.

Kazakhstan's dichotomous identity as both a launchpad and landing site offers a unique vantage point from which to reflect on the broader implications of space travel on human and environmental narratives. "Space and Steppe' adeptly captures the contrast between the global ambitions of space exploration and the local realities of those who inhabit these storied landscapes. It questions the legacy of these missions through the eyes of those who remember the cosmonauts' arrivals as days of communal pride or poignant reminders of their isolation.

Bismildin's commitment to authenticity and the tactile richness of film photography adds a layer of immediacy and intimacy to the project, despite the logistical and environmental challenges posed by the Kazakh winter. Each frame is a deliberate and thoughtful selection, a testament to the ephemeral moments of human and historical significance that the project seeks to immortalize.

Photographer: Baurjan Bismildin
Text: Zuzanna Gasior

→ thisispaper.com/mag/space-and-steppe-baurjan-bismildin

In the heart of Barcelona’s Right Eixample district, the architectural practice Deza Setién has reimagined Casa Ricardo, a 70-square-meter penthouse.

Transforming it from a densely compartmentalized layout into a cohesive and functional living space, showcasing their philosophy of essential minimalism by meticulously balancing functionality and aesthetic clarity.

The project is built around a staggered system that divides the penthouse into three distinct platforms, each serving a unique purpose. This approach eliminates traditional hierarchies within the space, allowing the user to move fluidly through different zones. The transition between these areas is subtly marked by varying floor levels, creating an intuitive flow without the need for enclosed rooms.

The central communal area, situated on the original level of the apartment, serves as a pivotal point. It connects the elevated kitchen and dining area, which aligns with the outdoor terrace to strengthen the indoor-outdoor connection, and the lower private zone designed for intimacy and comfort. This private area employs a compression technique, where the ceiling height is brought down and the floor is covered in a soft textile, enhancing the sense of enclosure and warmth.

A key feature of Casa Ricardo is its innovative use of floating partitions. These structures provide necessary visual privacy while ensuring the entire space benefits from the natural light entering from both facades. The choice of materials emphasizes the horizontal plane, with the floor playing a crucial role in defining the space. This is complemented by the polychromatic tones of the incorporated vegetation, which not only adds a visual appeal but also serves as a natural filter between the private and communal areas.

An interior "lung" of greenery runs parallel to the exterior windows, creating a living backdrop that integrates the natural environment into the home's interior. This green strip acts as a visual and physical barrier, filtering light and air between the living areas and the communal courtyard, reinforcing the apartment's connection to its surroundings.

Casa Ricardo exemplifies Deza Setién’s dedication to minimalist architecture that is both functional and aesthetically engaging. By stripping down the unnecessary and focusing on essential elements, the studio has crafted a living space that feels expansive and harmonious despite its modest size. This project highlights the potential of thoughtful design to transform and elevate everyday living.

Photographer: David Zarzoso
Text: Zuzanna Gasior

→ thisispaper.com/mag/casa-ricardo-deza-setien