At Copenhagen Contemporary, Kengo Kuma and his team have honed in on the Japanese concept of komorebi, which reflects the unique interplay of light and shadow that occurs when the sun filters through the trees. The monumental, site-specific installation “Earth / Tree” harnesses this fleeting condition through a suspended canopy of wooden slats.

Curved with a central opening, the diaphonous structure floats above a brick platform and a pile of rubble. These two organic materials bridge Nordic and Japanese cultures, which both value craftsmanship and continuity with the landscape.

Kuma—who was recently awarded the bid to design the new National Gallery in London—often focuses on “soft architecture,” a mode of working entwined with the environment and people who engage with the space. “Earth / Tree” translates this concept into the Danish museum, where it’s on view through February 21, 2027.

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Living in a high-rise apartment or a house with a small yard comes with the disadvantage of not having access to garden space. Fortunately, fine wallpaper manufacturer Astek has a way to bring beautiful blooms indoors. The company’s collection of dreamy floral mural designs called Eterna Nouveau reinterprets the Art Nouveau movement of the early 20th century, which historically flourished in Europe and emphasized nature-inspired motifs like flowers and birds.

Eterna Nouveau’s arching, sinuous stems and leaves nod to its namesake style’s characteristic “whiplash” lines. “Aquavita,” for example, features lilies and other water plants and illustrates life both above and below the surface. And “Carnivoria” celebrates more unusual plants, like Venus flytraps. A variety of colorways emphasizes the designs’ bold forms and delicate metallic outlines.

The motifs were first created by hand, then digitized so that they can be sized up or down to fit custom spaces. Printed to order, the colors and shapes can even be customized for special projects. See more on Astek’s Instagram.

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From factories and barrel-roofed buildings to gabled churches and towers, Charles Young’s sprawling yet diminutive city of paper models continues to grow. Known for his miniature constructions and animations that often double as three-dimensional color studies, the sculptor and animator highlights a wide range of architectural styles with an emphasis on color pairings.

Since 2020, Young has been making hundreds of miniature structures inspired by A Dictionary of Color Combinations by Japanese costume designer and painter Sanzo Wada (1883-1967). (There’s even a fun, interactive website based on the book.) So far, Young has completed 258 buildings from the first volume, which focuses on two-color combinations, and there are 90 to go. But he’s created a wide array of examples featuring multiple color combinations, too.

In June, Young will display 120 three-color paper sculptures at Galerie Handwerk in Munich. And in addition to the paper models, he also creates architecturally inspired sculptures from wood and woven cane, some of which are currently on display in Scotland at Kirkcudbright Galleries and MacLaurin Gallery. See more on Young’s Instagram and Tumblr.

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A bold new structure has appeared in Cary Park in Cary, North Carolina: the latest sculptural pavilion by Marc Fornes / THEVERYMANY. The work is titled “L’Ile Folie,” which nods to the architectural tradition of the folly, a landscape feature that was all the rage with wealthy estate owners in the 18th and 19th centuries.

Often nostalgic and resembling ruined miniature castles or bucolic village buildings, follies were generally non-functional and conceived as pure decoration. Fornes, however, reimagines this practice with an eye toward the future rather than the past. The pavilion “gives this tradition a contemporary meaning: memorable, playful, and slightly surreal,” says a statement.

Fornes is known for creating high-tech structures made from thousands of individual facets, blurring the distinction between architecture and sculpture. Situated along a boardwalk and perched over a pond, the gleaming white pavilion invites visitors to pause and appreciate their natural surroundings from a contemporary landmark.

“Constructed from ultra-thin folded aluminum panels, each piece is digitally fabricated and precisely riveted into place,” says a statement. “There is no hidden frame; the skin is the structure. Thousands of perforations filter sunlight into delicate patterns, turning the canopy into an ever-changing atmosphere of shadow and shimmer.”

See more on THEVERYMANY’s Instagram and Vimeo.

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At Windsor Castle, a one-of-a-kind architectural marvel isn’t a structural part of the building itself or even a full-size feature. Here, you’ll find Queen Mary’s Dolls’ House, widely regarded as the largest and most famous in the world. Designed by architect Sir Edwin Lutyens, the house was built between 1921 and 1924 and contains items and furnishings conceived of by hundreds of the leading craftspeople and artisans of the day.

Queen Mary, consort to King George V between 1910 and 1936, was an enthusiast of all things miniature. Her dolls’ house even contains scale versions of nearly 600 real books in its library, including works by literary giants like A.A. Milne and Sir Arthur Conan Doyle. Commissioned from publishers around the U.K. and farther afield, many of these books are also held in the collections of the V&A, where they have been on long-term loan since 1916.

A recent video produced by the museum glimpses some of these tiny treasures with the expert guidance of National Art Library Assistant Librarian Amy McMullan and Catherine Yvard, Curator of National Art Library Collections. Examples include a red leather-bound Bible published in 1896 by Glasgow-based David Bryce & Son, in addition to a Quran, a collection of poems by Robert Burns, and more.

The National Art Library is housed within the V&A, and more than a million publications related to art, design, and performance comprise an archive that spans the 8th century to today.

Many more miniature books comprise the museum’s holdings, in addition to Queen Mary’s collection. Little almanacs in their embellished folios were published annually and included notable dates, such as sunrises and sunset times, holidays, and other practical information. Many of the titles sport gilt edges, marbled papers, and even metal cases that double as lockets so that they could be worn.

The collection includes diminutive dictionaries, a souvenir of The Great Exhibition of 1851 in Hyde Park, and children’s books—including a number of tunnel books, or paper peep-shows. These accordion-style tomes look at first glance like any other publication, but they expand into long tunnels through which viewers can take in a layered, dimensional scene.

The oldest object in the V&A’s collection is an early 1700s silver-bound miniature prayerbook in French that’s embellished with the semi-precious stone lapis lazuli. And the tiniest is fittingly called The Smallest Book in the World, published in 2002 and measuring 2.4 by 2.9 millimeters. It was designed by a German typographer and is so tiny that it’s accompanied by a small pamphlet showing what you would see if you could page through the book. As McMullen explains, the physical size of the book begs an interesting question: “Is it really a book if you can’t read it?”

Visitors are welcome to peruse the online catalogue and interact with items in the collection in person in the V&A East Storehouse’s reading rooms. Explore more on the museum’s YouTube channel.

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In mid-2025, the Trump administration rescinded $9 billion in public media funding and foreign aid, including $1.1 billion slated for the Corporation for Public Broadcasting (CBP). CBP, in turn, was responsible for distributing funding to organizations like National Public Radio (NPR), Public Broadcasting Service (PBS), and their member stations across the nation. The corporation was established following a 1967 law called the Public Broadcasting Act, but just like that, when the funds were no longer there, CBP voted to dissolve. What did NPR have to say about that? Its “mission will continue, unchanged.”

NPR aims “to create a more informed public—one challenged and invigorated by a deeper understanding and appreciation of events, ideas, and cultures.” While CBP-allocated funding amounted to only about one percent of the broadcaster’s annual funding, there’s a bit of a trickle-down effect. NPR relies heavily on fees from its member stations, plus endowments, cash contributions, and other revenues. And while one percent doesn’t seem like a lot, member stations—many of which are in rural areas—often depended on about 13 percent of their revenue from CBP, making them much more vulnerable to the cuts.

Reporting continues with vigor at NPR, despite some inevitable challenges, and the organization has doubled down on its mission to approach stories and news through the lens of curiosity and understanding. In collaboration with New York-based ad agency Mischief, a new campaign reimagines NPR’s logo into prompts aiming to ignite inquiry and investigation.

Mischief “creates work that makes a stir, because the riskiest thing a brand can do is be ignorable.” The campaign, titled For your right to be curious, is conceived as a way for NPR to “stand up for the public’s right to ask hard questions,” the agency says in a statement. Across a range of formats, from merchandise and the sign on NPR’s headquarters to billboards and ad screens on the New York City subway, the recognizable block letters transform into urgent and timely questions—many that listeners around the country are asking. “How does AI affect my electric bill?” “Why are groceries still so expensive?” “How is my farm going to survive?”

“Curiosity is the fuel of a functioning democracy,” says Mishka Pitter-Armand, NPR’s chief marketing officer. “NPR is essential civic infrastructure built to protect the right to inquiry. As a cornerstone of American life for over 50 years, this work is our pledge to the public: we will continue to provide the trusted context you need to explore the world, encouraging every American to keep listening and asking the hard questions.”

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“I think of playgrounds as a primer of shapes and functions; simple, mysterious and evocative; thus educational,” Isamu Noguchi said in a pamphlet about his Playscapes. Perhaps best known for his stone sculptures and Akari lamps, the Japanese artist and designer always had an eye on the spaces that define childhood, particularly public playgrounds and their influence on the young mind.

In 1933, Noguchi proposed redeveloping an entire New York City block into “Play Mountain,” an enormous topographical project that would be unstructured and open-ended. Rather than have swings and swift metal slides, for example, Noguchi wanted earthen steps, a bandshell, and a large hill for sledding and gathering. The idea was that it could be just as fun in the winter as in the summer and stimulate kids’ imaginations more than the prescriptive equipment typical in urban parks. Then-Parks Commissioner Robert Moses rejected the plan, though, and despite efforts to have the project and others of Noguchi’s designs built in New York, none were ever realized in the city.

A series of short animations recreates this lesser-known history. Using hand-painted celluloid under a Rostrum camera, Eastend Western imagines what these never-built playgrounds would have looked like—and how children may have interacted with the unconventional structures. There are concrete mounds with cavernous openings, labyrinthine sand gardens, and asymmetrical equipment that could teach users that “the rate of swing is determined by the length of the pendulum,” the film says.

The animations were produced in conjunction with the exhibition Noguchi’s New York, which is on view through September 13 at The Noguchi Museum. There’s also a new monograph that dives into the artist’s playgrounds and is a companion to a major retrospective at the High Museum of Art, available for pre-order on Bookshop. Find the full film series on YouTube.

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A new home designed by Equipo de Arquitectura begs the question: is it a house in a forest or a forest in a house? The name of the project sheds some light on that, aptly titled “Un Bosque en la Casa,” or “A Forest in the House.” Bricks, steel, glass, and concrete combine in a single-story contemporary home that’s all corners, volume, and apertures, while the trees and tropical plants around it organically soften its angles.

Architects Horacio Cherniavsky and Viviana Pozzoli took the lead on this new home in San Bernardino, Paraguay, challenging the notion that nature is in direct opposition to development. “‘A Forest in the House’ proposes an alternative approach to harmonizing the built form with its natural surroundings,” the studio says. “Rather than treating existing trees as obstacles, the project embraces them as fundamental guides that shape the spatial program.” See more on the firm’s Instagram.

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Before digital fonts and the ability to reproduce graphics on a large scale, there were sign painters. Today, printers can spit out countless posters and ads, but there was a time when hand-painted promotional signage was needed for retail windows, and business names were often rendered just the same. Of course, it’s a trade that virtually died out with the advent of new technologies, which made it cheaper and faster to produce public messaging. In the way of LPs and film cameras, though, just because there were new methods in daily use, it certainly doesn’t mean that the art form doesn’t live on.

A new book published by Letterform Archive, Lettres Décoratives: A Century of French Sign Painters’ Alphabets, celebrates the vivacity and timelessness of French sign painting from the 19th and early 20th centuries. Compiled from lithograph portfolios, which range from 1875 to around 1932, the volume includes more than 150 full-color reproductions of these bold lettering samples. These portfolios once served as catalogue-like albums, providing inspiration for styles and motifs that could be translated onto large billboards and small signage alike.

While decorative painting had been around long before embellished lettering came into vogue, it took a while to catch on. “Only in the nineteenth century did painters make alphabets into primary decorative elements,” writes sign painter Morgane Côme in the introduction. “Indeed even then, many of the letters painted on signboards, canvas awnings, and vehicles remained simple in form, following inherited models of Roman square capitals and modern variants used in printing type. The new demand for eye-catching signs called for significant change in perspective.”

Explore more in your own copy, which you can grab from the Colossal Shop.

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The construction of Grundtvigs Kirke in Copenhagen took nearly two decades, beginning in fall of 1921 and finally reaching completion in 1940. Designed by Peder Vilhelm Jensen-Klint, it transforms the humble brick into a masterpiece of Expressionist architecture. Its pointed interior arches and vaulted ceiling, stepped crenellations, and hulking exterior nod to medieval Gothic and Romanesque styles while also exhibiting a profoundly modern sensibility.

David Altrath, a Hamburg-based photographer whose work emphasizes urban and architectural elements, captures Grundtvigs’ details in an atmospheric cumulative portrait. Bathed in mellow, golden light, the church’s pale yellow bricks appear to glow, complemented by minimal interior decor beyond some simple wooden furniture and altars.

“The building feels both austere and atmospheric, especially in the way light moves through the interior spaces and emphasizes the geometry of the structure,” Altrath tells Colossal. He’s always seeking unique relationships between form, light, and atmosphere.

The church’s tall vertical lines and symmetry required careful attention to composition in order to capture the building’s architectural geometry, and the interior lighting conditions can vary depending on the weather or time of day. “I enjoyed working with these constraints and trying to capture both the structure of the building and the quiet atmosphere of the space,” he says.

Altrath is currently photographing modernist and contemporary architecture across Europe. See more on Instagram.

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