In the context of science fiction, there is a speculative angle to the art of world-building, as the places, objects, systems, and identities contained within an imagined universe, often have their roots firmly grounded in the reality of the present. The most acclaimed examples of world-building in this genre have always honed in on the issues of their time and extrapolated the potential outcomes of those scenarios over extended periods. From the post-apocalyptic virtual reality-centred world of The Matrix to the decaying dystopian cityscapes seen in Blade Runner, AKIRA, and Cyberpunk 2077, or even the slightly more optimistic musings of Ghost in the Shell, Interstellar, and 2001: A Space Odyssey, the most lucid fictional universes echo the zeitgeist of the era they were created in, and examine how things would pan out in the future if the status quo prevailed.

The same could be said about the work of Italian artist and architect Annibale Siconolfi, who also goes by the moniker of Inward. Having trained as an architect in Rome, Italy, Siconolfi is now an accomplished visual artist and self-described “builder of worlds,” who specialises in creating complex digital models of futuristic landscapes and megacities that examine the long-term consequences of pertinent present-day issues such as overpopulation, environmental degradation, climate change, and globalisation. Over the years, his work has been featured online in several digital art collections and NFT showcases, as well as in the 2021 Venice Architecture Biennale, the 2022 Venice Art Biennale, the Perspective Galerie in Paris, and the CAFA Art Museum in Beijing.

Drawing influence from a multitude of sources, including popular culture, hard science fiction, fantasy, developments in contemporary architecture, and references from mythology, Siconolfi paints vivid pictures of the many conceivable trajectories that human civilisation could take in the near and distant future. Ranging from fantastical visions of flying cities and solar punk utopias covered in swathes of green—where humanity and nature enjoy a harmoniously intertwined coexistence—to more bleak futures where technological advancement, industrialisation, and ultra high-density urban development have disconnected humans from the scale of their surroundings, Siconolfi’s endeavours are as richly detailed as they are monumental in scale, imagining worlds that are just beyond the reach of current technologies, but still not entirely implausible. Speaking to STIR, he shares insights into the origins of his journey, his workflow, and the various sources of inspiration that drive it all.

Jerry Elengical: What led you to embark on your current journey as an artist and architect?

Annibale Siconolfi: It all started many years ago. Ever since I was a child, I loved drawing and playing the guitar. Hence, the path of an artist was natural for me. At the age of 16, I delved into the world of sound design, an element that greatly influenced my artistic vision. Then, my university studies in architecture provided me with the technical tools to bring my creative visions to life. It was during this period that I began using 3D modelling software. Simultaneously, I also produced electronic music, which allowed me to observe all the parallels between the visual and sonic arts. Today, all these studies and experiments converge in my works, evolving as I explore new techniques.

Jerry: Where do you draw inspiration from?

Annibale: My work continually evolves based on what I study and admire. During my university studies, I had the opportunity to appreciate the great masters of the past. Among those who have inspired me the most, for various reasons, are Giovanni Battista Piranesi, Étienne-Louis Boullée, Antonio Sant'Elia, and Le Corbusier. Studying in Rome, I was constantly surrounded by historically significant works of architecture, whose forms and proportions always fascinated me. Additionally, I am always very attentive to the issues plaguing our planet today, such as mass consumerism, global pollution, and overpopulation. These themes strongly influence my art, and I hope that it can raise awareness among those who observe it.

In the field of 3D art, I greatly admire the work of Paul Chadeisson, and the sci-fi creations of Beeple, and Stuz0r. When I discovered these artists, I began experimenting with 3D software more artistically. Before that, I primarily used 3D for architectural visualisation. Music also plays a fundamental role, being one of my favourite art forms, and I am often greatly influenced by what I listen to. I could go on for hours here; every artist and every musical genre influences my work in different ways. Musical composition is very similar to the composition of visual art, with many analogous concepts recurring in both domains.

I am always very attentive to the issues plaguing our planet today, such as mass consumerism, global pollution, and overpopulation. These themes strongly influence my art, and I hope it can raise awareness among those who observe it.

Jerry: Could you take us through your workflow and creative process concerning how you ideate, flesh out concepts, and fine-tune them?

Annibale: I have various approaches to creating my work. Some come to life directly on software when I have a clear vision of what I want to achieve. At other times, I have the concept in my mind but need to create a hand-drawn sketch first to study proportions. Over time, I have built a library of materials and 3D models that I use in different ways, but I also make use of third-party assets like buildings and urban elements, which are especially helpful when I want to create a complex and detailed piece. The softwares I primarily use include Cinema4D for scene creation, OTOY Octane for rendering, Blender and MoI3D for modelling certain elements, alongside Adobe Photoshop and After Effects for post-processing.

Jerry: What considerations do you need to make when envisioning urban landscapes on such massive scales?

Annibale:  When depicting urban landscapes on such massive scales, you need to incorporate precise references into the context, such as the silhouette of a person or the profile of a foreground building. The variety and correct sizing of elements also contribute greatly to framing the perception of a vast and complex space.

Jerry: How has your background as an architect affected how you conceptualise urban layering and the mechanics which underscore how different segments of a megacity interact with one another?

Annibale: Certainly, the study of modern and contemporary architecture has allowed me to investigate and reflect on themes such as the dynamism of future cities. While urban planning tends to provide a certain order and ensure proper management of urban spaces in challenging contexts, where overpopulation has created issues of coexistence and sanitation, these plans often worsen the situation, creating difficult environments where individuals lose their identity and become mere numbers within a macrosystem.

What I often depict in my works are the overlays that arise from the need to bring order to an urban context saturated with buildings and inhabitants, often resulting in overcrowded and chaotic places. It's an extreme representation of this theme, but one that sometimes finds a real parallel in certain places on our planet. Consider, for example, large metropolises where thousands of people live in extreme conditions. Our current way of inhabiting the planet could eventually lead to the multiplication of such situations.

What I often depict in my works are the overlays that arise from the need to bring order to an urban context saturated with buildings and inhabitants, often resulting in overcrowded and chaotic places.

Jerry: Your work straddles the boundaries of imagination and reality, combining ideas and references from a multitude of sources. On an aesthetic and technical level, how do you ground the more fantastical elements of your projects in a sense of relatable realism?

Annibale: Some elements in my works are surreal and unattainable with the technology available to us today, but there is still a desire to connect them with our reality, and that is evident. It is precisely this aspect that allows observers to empathise more deeply with my pieces. The sci-fi aesthetic guides viewers towards the future, while the inclusion of elements like ancient architecture, pure forms, and nature gives us a sense of the present, of what we know. This creates a powerful connection with the observer. Anthropomorphic sculptures placed within a scenario that may seem almost uninhabited at first glance, serve as a reminder of human presence. These elements aim to emphasise the importance of humanity in a context where living beings struggle to find an identity.

Jerry: Issues related to climate change, overpopulation, and economic inequalities in late capitalism are prominent in your work. How do you visualise urban environments that attempt to address these challenges?

Annibale: What I often depict is precisely this connection between urban spaces and new technologies. Sometimes these technologies struggle to integrate into an urban planning model that no longer meets the needs of an increasingly overpopulated planet. Through these connections, we observe the most interesting aspects of these visions. Nature has disappeared in some places, and it needs to be integrated into megastructures. The concept of skyscrapers which involves vertical development to minimise land use, originated with the idea of accommodating as many people as possible within a confined space. However, this is entirely surpassed by flying cities. With available land already saturated, the preference is to occupy the sky. Consequently, the city skyline undergoes constant changes, profoundly altering the concept of identity that has always distinguished the places on our planet.

Jerry: Your work blends both utopian and dystopian ideals, drawing from aesthetics such as cyberpunk , dieselpunk, steampunk, and solar punk. Which one of them best represents your vision of what the future of the built environment might look like?

Annibale: I am heavily influenced by these styles but I cannot say which one represents the future scenario better. I believe that over time, the effects of globalisation will alter the identity of regions on our planet. We might find elements typical of Chinese culture in the United States, for example. Who knows? Perhaps we will reach a point where it will be difficult to recognise where we are just by observing our surroundings. There could be a standardisation of certain elements of urban design that may jeopardise the integrity of human identity. These are just speculations, of course, but considering how the world is changing, they might find resonance in the future.

Jerry: In your view, how have ideas from science fiction shaped the cities we live in today, and how could they impact the cities of the future we inhabit tomorrow?

Annibale: One of the most striking examples is undoubtedly Isaac Asimov, who, with his laws of robotics, influenced the thinking of experts in artificial intelligence and cybernetics. I would describe such sci-fi writers more as prophets. They had a highly developed sensitivity to the point of glimpsing the technological future when, in their time, there was barely a computer the size of a bedroom. For example, Philip K Dick even narrated romantic relationships between androids and humans in unsuspecting times. Today, we know that this could easily happen. So, rather than influencing the future, science fiction anticipates it through the authors' sensitivity, revealing how things could turn out. Of course, there is no mathematical certainty in their stories, but such brilliant minds can travel to the extent of envisioning the evolution of society and technologies just by observing the present.

Rather than influencing the future, science fiction anticipates it through the authors' sensitivity, revealing how things could turn out.

Jerry: What’s NEXT on the horizon for you and your practice?

Annibale: I have many ideas to work on, and I honestly hope to realise all of them. The advent of AI has encouraged me to take a step back; I am considering creating physical artwork, something I have never done before. I will certainly also explore technologies based on AI, trying to integrate them into my workflow, but currently, I love what I do and how I do it too much. I am very open to new technologies and experimentation, but at the same time, I would not want to overuse them, as it might compromise my creative strength. As for collaborations, it looks like an exciting year for me. I recently created concept art for a television series, and I am now working on a visual art project for a DJ, I will be able to announce more details about it soon.