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National Geographic Magazine staff Jason Treat and Amanda Hobbs.
Sources: J. Mark Kenoyer, University of Wisconsin–Madison; Uzma Z. Rizvi, LIAVH/Pratt Institute; Sara Eichner, LIAVH/Studio 2263
3D reconstruction by me, Thomas Kole, with human illustrations by Pedro Rafael Mena.
Mohenjo Daro, for National Geographic
For an article on Mohenjo Daro in the May 2026 edition, National Geographic commissioned three 3D archaeological reconstructions: an overview of this city in the Indus valley, one of the Great Bath, and one of a residential area.National Geographic Magazine staff Jason Treat and Amanda Hobbs.
Sources: J. Mark Kenoyer, University of Wisconsin–Madison; Uzma Z. Rizvi, LIAVH/Pratt Institute; Sara Eichner, LIAVH/Studio 2263
3D reconstruction by me, Thomas Kole, with human illustrations by Pedro Rafael Mena.
In order to create an artist's impression of the entire city, a technical foundation was laid using GIS to georeference modern sources and historic maps. Drone footage provided a photogrammetry base for excavated areas.
Extensive use was made of procedural tools, using Blender’s geometry nodes. These tools worked in tandem with carefully hand-placed elements based on archaeological excavations.
As with my project on Tenochtitlan, this reconstruction was continually adjusted as new questions arose during the development of the 3D scene.
Extensive use was made of procedural tools, using Blender’s geometry nodes. These tools worked in tandem with carefully hand-placed elements based on archaeological excavations.
As with my project on Tenochtitlan, this reconstruction was continually adjusted as new questions arose during the development of the 3D scene.
Two cutaways were created: one of the Great Bath (a large building with a bitumen-lined bath) and one of a residential area in the lower town. Both were designed to highlight known archaeological features.
I wanted to utilize as much natural light as possible, giving the scene a grounded look. This light could be directed wherever needed, pleasantly bouncing off the red brick or fading away to obscure unknown details.
For human illustrations, I brought in the expertise of Pedro Rafael Mena. He is an illustrator specialized in historical work with a background in archeaology. The figures he added made the scene come alive with human activity, blending in naturally with the lighting and scale.
I wanted to utilize as much natural light as possible, giving the scene a grounded look. This light could be directed wherever needed, pleasantly bouncing off the red brick or fading away to obscure unknown details.
For human illustrations, I brought in the expertise of Pedro Rafael Mena. He is an illustrator specialized in historical work with a background in archeaology. The figures he added made the scene come alive with human activity, blending in naturally with the lighting and scale.
You can read the article in National Geographic Volume 249, or online here: Inside Mohenjo Daro - nationalgeographic.com
You can contact me at thomas@thomaskole.nl.
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You can contact me at thomas@thomaskole.nl.
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