JEEP MUSEUM CONCEPT | ARCHITECTURAL DESIGNER
For a Jeep Museum & Experience in Toledo, Ohio, Fiat Chrysler sought an unconventional design. Working with Mandrake they favored a twist form half split into seven partitions resembling the iconic Jeep grille. How could this shape then be turned into functional architecture? That was the problem I was asked to solve in a little over a week.
A pyramidal base integrated into the landscape sought to offset an overly brutish footprint on level ground. Combined with Bi-fold garage doors this further heightened the inherent kinetic architecture.
The main twist form at ground level reduced usable floor space by two thirds. Subsequently, the main entrance thoroughfare was offset to one side, allowing the otherwise intersected twist form to continue beneath ground level, accentuating the inherently adventurous shape. This also created an opportunity to dramatically anchor a Jeep vehicle to the wall, as if riding a wave. A bridge crosswalk provides a better view of the spectacle ahead and leads to a second floor cafe. Despite the height of the structure, its unique kinetic form necessitates less obstructed views, leading to sizable second floor bridge platforms on either end, and extensive space underground that included an 80 seat theater, a VR simulator and a futuristic interactive garage where drivers could take attendees into the surrounding terraformed biomes.
Envisioned with a Reddish ochre pantina, using corten steel or red limestone and situated atop a light grey concrete base ; the architecture attains a down to earth, timeless quality. The color of corten steel likewise recalls 'Harvard Red', among the first of five civilian Jeep colors in 1946. An interior, complemented by black & wood accents and bronzed stainless steel, features thin linear lights and windows that further add to the building's dynamism.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
For a Jeep Museum & Experience in Toledo, Ohio, Fiat Chrysler sought an unconventional design. Working with Mandrake they favored a twist form half split into seven partitions resembling the iconic Jeep grille. How could this shape then be turned into functional architecture? That was the problem I was asked to solve in a little over a week.
A pyramidal base integrated into the landscape sought to offset an overly brutish footprint on level ground. Combined with Bi-fold garage doors this further heightened the inherent kinetic architecture.
The main twist form at ground level reduced usable floor space by two thirds. Subsequently, the main entrance thoroughfare was offset to one side, allowing the otherwise intersected twist form to continue beneath ground level, accentuating the inherently adventurous shape. This also created an opportunity to dramatically anchor a Jeep vehicle to the wall, as if riding a wave. A bridge crosswalk provides a better view of the spectacle ahead and leads to a second floor cafe. Despite the height of the structure, its unique kinetic form necessitates less obstructed views, leading to sizable second floor bridge platforms on either end, and extensive space underground that included an 80 seat theater, a VR simulator and a futuristic interactive garage where drivers could take attendees into the surrounding terraformed biomes.
Envisioned with a Reddish ochre pantina, using corten steel or red limestone and situated atop a light grey concrete base ; the architecture attains a down to earth, timeless quality. The color of corten steel likewise recalls 'Harvard Red', among the first of five civilian Jeep colors in 1946. An interior, complemented by black & wood accents and bronzed stainless steel, features thin linear lights and windows that further add to the building's dynamism.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
THE WOMAN IN THE WINDOW | ASSISTANT ART DIRECTOR
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Worked ~ three weeks in the art department for Supervising Art Director Deborah Jensen and Production Designer Kevin Thompson on 20th Century’s Joe Wright directed film The Woman in the Window, handling 3d builds of the brownstone rooftop, basement, Anna House and early plans for an initial skylight design.
Worked ~ three weeks in the art department for Supervising Art Director Deborah Jensen and Production Designer Kevin Thompson on 20th Century’s Joe Wright directed film The Woman in the Window, handling 3d builds of the brownstone rooftop, basement, Anna House and early plans for an initial skylight design.
DISNEY’S PRINCE OF PERSIA | SR. DIGITAL SET DESIGNER ︎
In 2008 I went to Morocco for four months to work in the art department for Disney’s 2010 film Prince of Persia, based on Jordan Mechner’s classic videogame, produced by Jerry Bruckheimer, directed by Mike Newell with production design by Wolf Kroeger.
As Sr. Digital Set Designer, I primarily worked on the city of Alamut, later realized by visual effects firm MPC.
This work included designing digital extensions from the palace to a key temple based on concept art by Julian Caldow, producing urban guidelines and studies of Alamut and building a library of basic urban architectural elements for MPC. These elements were used by fellow digital set designer Bogdan Strugar to create modular buildings which MPC used to populate the city plan as developed by VFX Art Director Tino Schaedler. Also realized a digital recreation and previz of Alamut’s constructed sets at Tameslouht, primarily based on plans by Art Director Leslie Tomkins.
In 2008 I went to Morocco for four months to work in the art department for Disney’s 2010 film Prince of Persia, based on Jordan Mechner’s classic videogame, produced by Jerry Bruckheimer, directed by Mike Newell with production design by Wolf Kroeger.
As Sr. Digital Set Designer, I primarily worked on the city of Alamut, later realized by visual effects firm MPC.
This work included designing digital extensions from the palace to a key temple based on concept art by Julian Caldow, producing urban guidelines and studies of Alamut and building a library of basic urban architectural elements for MPC. These elements were used by fellow digital set designer Bogdan Strugar to create modular buildings which MPC used to populate the city plan as developed by VFX Art Director Tino Schaedler. Also realized a digital recreation and previz of Alamut’s constructed sets at Tameslouht, primarily based on plans by Art Director Leslie Tomkins.
UNPRODUCED NETFLIX SERIES | CONCEPTUAL PRODUCTION DESIGNER
Preliminary design concepts for a container house and arches on an alien planet.
The series was greenlit by Netflix, but never moved into production.
Preliminary design concepts for a container house and arches on an alien planet.
The series was greenlit by Netflix, but never moved into production.
SAMARQAND TV SERIES | ART DIRECTOR ︎
During Ramadan 2016, AbuDhabiTV aired the 30 episode drama series, Samarqand.
Originally slated for 2017, the schedule was pushed forward forcing pre-production, filming and final post of all episodes within a three month span.
Working within this arduous schedule, I brought on board fellow art director Helen Han to help design the urban plan for the 11th century cities of Samarkand, Isfahan and the Hashasin fortress of Alamut, the assassins sect made famous in the game series Assassin's Creed.
Shown first is the urban design of Samarkand (Afrasiab), circa 1050. The city was razed by Genghis Khan in 1220, leaving an empty space, almost 2km square, that exists within the city to this day. Mixing historical accuracy with artistic license, the design strives to capture the wondrous oasis and advanced culture that travelers of yesteryear described, all painted in bold white, brown/golden and green hues. The hero palace was designed and extended from the front facade of a building selected by production on Samaliyah Island in Abu Dhabi. The Bibi-Khanym Mosque (based on a preliminary model by Lisa Marie Erickson) was a later design transplanted to the highest plateau where traditionally a fortified government and prison building would be located.
During Ramadan 2016, AbuDhabiTV aired the 30 episode drama series, Samarqand.
Originally slated for 2017, the schedule was pushed forward forcing pre-production, filming and final post of all episodes within a three month span.
Working within this arduous schedule, I brought on board fellow art director Helen Han to help design the urban plan for the 11th century cities of Samarkand, Isfahan and the Hashasin fortress of Alamut, the assassins sect made famous in the game series Assassin's Creed.
Shown first is the urban design of Samarkand (Afrasiab), circa 1050. The city was razed by Genghis Khan in 1220, leaving an empty space, almost 2km square, that exists within the city to this day. Mixing historical accuracy with artistic license, the design strives to capture the wondrous oasis and advanced culture that travelers of yesteryear described, all painted in bold white, brown/golden and green hues. The hero palace was designed and extended from the front facade of a building selected by production on Samaliyah Island in Abu Dhabi. The Bibi-Khanym Mosque (based on a preliminary model by Lisa Marie Erickson) was a later design transplanted to the highest plateau where traditionally a fortified government and prison building would be located.
A24’S AFTER YANG | ASSISTANT ART DIRECTOR / CONCEPT ARTIST ︎
“When his young daughter's beloved companion — an android named Yang — malfunctions, Jake (Colin Farrell) searches for a way to repair him” in director Koganada’s sophomore feature film.
Working with Production Designer Alexandra Schaller, Supervising Art Director Max Wixom, Cinematographer Benjamin Loeb and director Kogonada I worked for two weeks on an autocar design and initial construction drawings. This concept ultimately did not appear in the final film.
“When his young daughter's beloved companion — an android named Yang — malfunctions, Jake (Colin Farrell) searches for a way to repair him” in director Koganada’s sophomore feature film.
Working with Production Designer Alexandra Schaller, Supervising Art Director Max Wixom, Cinematographer Benjamin Loeb and director Kogonada I worked for two weeks on an autocar design and initial construction drawings. This concept ultimately did not appear in the final film.
Creatig the warm and cozy sci-fi future of After Yan
RAM 1500 ELECTRIC REVEAL | PRODUCTION DESIGN + VISUALIZATION
Rapid turnaround reveal concept for the RAM 1500 Electric (different model shown here) to have been unveiled at SoFi Stadium on the eve of the LA Autoshow. Incorporates laser light writing on the facade of SoFi Center and projected above a dynamically illuminated light tunnel leading into a stage that seamlessly fuses a turntable, bar, DJ station and LED screens.
Client: Stellantis
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
Adtl. 3D Visualization Artist: Lisa Marie Erickson
Rapid turnaround reveal concept for the RAM 1500 Electric (different model shown here) to have been unveiled at SoFi Stadium on the eve of the LA Autoshow. Incorporates laser light writing on the facade of SoFi Center and projected above a dynamically illuminated light tunnel leading into a stage that seamlessly fuses a turntable, bar, DJ station and LED screens.
Client: Stellantis
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
Adtl. 3D Visualization Artist: Lisa Marie Erickson
JEEP AUTO SHANGHAI 2019 ‘COURTYARD’ CONCEPT| PRODUCTION DESIGN + VISUALIZATION
One of three concepts produced for Auto Shaghai 2019. Initially inspired by Hakka houses, this modernist courtyard reflects a touch of urban nature, while fulfilling the brief objective to “combine a structural angular meeting room space with an elegant organic element”. The central lone tree offers spectacle and respite that emphasizes the environmentally friendly hero SUV, the Grand Commander PHEV.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
One of three concepts produced for Auto Shaghai 2019. Initially inspired by Hakka houses, this modernist courtyard reflects a touch of urban nature, while fulfilling the brief objective to “combine a structural angular meeting room space with an elegant organic element”. The central lone tree offers spectacle and respite that emphasizes the environmentally friendly hero SUV, the Grand Commander PHEV.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
ALFA ROMEO AUTO SHANGHAI 2019 BALOCCO CONCEPT | PRODUCTION DESIGN + VISUALIZATION
Embodying Alfa Romeo's racing heritage: a terraced paddock structure featuring sensuous lines is situated within a track that recalls the Balocco high speed track. The second story features both interior & exterior lounges. Sheer glass facades uniquely reveal interior screens lining the rear sections & columns of the double deck structure, creating an alluring spectacle.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
Embodying Alfa Romeo's racing heritage: a terraced paddock structure featuring sensuous lines is situated within a track that recalls the Balocco high speed track. The second story features both interior & exterior lounges. Sheer glass facades uniquely reveal interior screens lining the rear sections & columns of the double deck structure, creating an alluring spectacle.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
CHRYSLER CES 2017 ‘EXPRESSIVE DOME’ REVEAL CONCEPT | PRODUCTION DESIGN + VISUALIZATION
The iconic illuminated forms of the Portal concept are abstractly represented in a geodesic dome, playfully reminiscent of playground domes and Chrysler history.
The dome becomes kinetic as a single section is hoisted via the ceiling above with dynamic inlaid lighting accompanying the reveal, which then responds to the cars lighting & signal sync script and later reacts to attendee proximity, eliciting playful interaction.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
The iconic illuminated forms of the Portal concept are abstractly represented in a geodesic dome, playfully reminiscent of playground domes and Chrysler history.
The dome becomes kinetic as a single section is hoisted via the ceiling above with dynamic inlaid lighting accompanying the reveal, which then responds to the cars lighting & signal sync script and later reacts to attendee proximity, eliciting playful interaction.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
JEEP AUTO SHANGHAI 2017 | PRODUCTION DESIGNER + VISUALIZATION
The arches that anchor the design represent gateways to adventure; iconically symbolizing freedom, momentum, progression that capture the spirit of the Jeep brand and recall The Gateway Arch and LAX's Theme Building, while instigating a spatial narrative that creates anticipation.
A compass rose inspired floorplan further imbues a sense of adventure and meets client demands for a 10 car Jeep, Fiat and central Chrysler Pacifica showcases along with interactive & parts exhibits and an adjoining two-storey conference, lounge and office structure.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
The arches that anchor the design represent gateways to adventure; iconically symbolizing freedom, momentum, progression that capture the spirit of the Jeep brand and recall The Gateway Arch and LAX's Theme Building, while instigating a spatial narrative that creates anticipation.
A compass rose inspired floorplan further imbues a sense of adventure and meets client demands for a 10 car Jeep, Fiat and central Chrysler Pacifica showcases along with interactive & parts exhibits and an adjoining two-storey conference, lounge and office structure.
Client: Fiat Chrysler
Agency: Mandrake
Agency C.D.: Vladimir Jedlicka
MERCEDES ‘REVEAL’ COMMERCIAL | VFX PRODUCTION DESIGNER/MODELER
Combining real car photography with original CG architecture, The Artery VFX created this spot revealing the Mercedes-Benz E250 BlueTEC in 2014.
CREDITS
Director: Andreas Link
Agency: Merkley + Partners
Production Company: Bodega Studios
VFX: The Artery VFX
VFX Supervisor: Vico Sharabani
VFX Executive Producer: Yfat Neev
VFX Producer: Lynzi Grant
CG Supervisor: Todd Sarsfield
3D Modeler/Architectural Designer: Oliver Zeller
3D Tracker: Bogdan Mihajlovic
3D Texturer: Aiko Studios
Nuke Artist: Erin Nash
Lead Flame Artist: Tal Shub
Compositors: Jake Nelson, Tony Rivas
Rotoscope Artist: Alexandra Barksy
Combining real car photography with original CG architecture, The Artery VFX created this spot revealing the Mercedes-Benz E250 BlueTEC in 2014.
CREDITS
Director: Andreas Link
Agency: Merkley + Partners
Production Company: Bodega Studios
VFX: The Artery VFX
VFX Supervisor: Vico Sharabani
VFX Executive Producer: Yfat Neev
VFX Producer: Lynzi Grant
CG Supervisor: Todd Sarsfield
3D Modeler/Architectural Designer: Oliver Zeller
3D Tracker: Bogdan Mihajlovic
3D Texturer: Aiko Studios
Nuke Artist: Erin Nash
Lead Flame Artist: Tal Shub
Compositors: Jake Nelson, Tony Rivas
Rotoscope Artist: Alexandra Barksy
MEZZO ‘RACE’ & ‘LEAP’ COMMERCIALS | CO-PRODUCTION DESIGNER + MODELER
Two spots created for the launch of the Mezzo brand in Asia. Live action was filmed on a massive greenscreen stage in 35mm at the Sony Pictures Studios Lot in Culver City, and composited into a fully designed and 100% digitally created environment.
RECOGNITION
CREDITS
Director: Joseph Kosinski
Agency: Timmerman & Tan
Production Company: Rokkit
DP: Claudio Miranda
VFX: SWAY Studio
EP: Shira Boardman
Creative Director: Mark Glaser
VFX Supervisor: Rob Nederhorst
VFX Producer: Matt Winkel
Architectural Designers: Kevin Cimini, Oliver Zeller
Compositing Supervisor: Marc Dominic Rienzo
CG Supervisor: Aaron Powell
FX Lead: Greg Tsilidas
Texture Lead: Rob Meyers
Compositors: Lucinda Chee, Lee Croft, Jay Frankenberger, Feli di Giorgio, Lou, Pecora, Toshihiro Sakamaki, Maciek Sokalski, Nicki Yoblonski
Tracking: Danny Zobrist, Jay Frankenberger
Terragen Development: Matt Fairclough
Storyboard Artist: Nathan Boldman
VFX Coordinator: Hannah Yates
Production Coordinator: Joyce Pan
Production Assistant: Daughn Ward
Two spots created for the launch of the Mezzo brand in Asia. Live action was filmed on a massive greenscreen stage in 35mm at the Sony Pictures Studios Lot in Culver City, and composited into a fully designed and 100% digitally created environment.
RECOGNITION
- Visual Effects Society Award Nominee 2006.
- Featured in American CInematographer - Post Focus, April 2006.
CREDITS
Director: Joseph Kosinski
Agency: Timmerman & Tan
Production Company: Rokkit
DP: Claudio Miranda
VFX: SWAY Studio
EP: Shira Boardman
Creative Director: Mark Glaser
VFX Supervisor: Rob Nederhorst
VFX Producer: Matt Winkel
Architectural Designers: Kevin Cimini, Oliver Zeller
Compositing Supervisor: Marc Dominic Rienzo
CG Supervisor: Aaron Powell
FX Lead: Greg Tsilidas
Texture Lead: Rob Meyers
Compositors: Lucinda Chee, Lee Croft, Jay Frankenberger, Feli di Giorgio, Lou, Pecora, Toshihiro Sakamaki, Maciek Sokalski, Nicki Yoblonski
Tracking: Danny Zobrist, Jay Frankenberger
Terragen Development: Matt Fairclough
Storyboard Artist: Nathan Boldman
VFX Coordinator: Hannah Yates
Production Coordinator: Joyce Pan
Production Assistant: Daughn Ward
SYFY HOUSE OF IMAGINATION 2010 IDENT | DIGITAL SET DESIGNER
Sequel to Syfy network's award winning "Promo of the Year" reband film, returns viewers to the House of Imagination.
The trailer and ident spots feature stars from Syfy original series Warehouse 13, Haven, Stargate Universe and WWE Smackdown.
RECOGNITION
CREDITS
Director: Brett Foraker
Production Company: 4 Creative/RSA
Director of Photography: Larry Fong
Production Designer: Tino Schaedler
Visual Effects: The Moving Picture Company (MPC)
Digital Set Designer: Oliver Zeller
Sequel to Syfy network's award winning "Promo of the Year" reband film, returns viewers to the House of Imagination.
The trailer and ident spots feature stars from Syfy original series Warehouse 13, Haven, Stargate Universe and WWE Smackdown.
RECOGNITION
- 2011 ProMaxDBA Awards - 2 Gold, 1 Bronze for Art Direction & Design.
CREDITS
Director: Brett Foraker
Production Company: 4 Creative/RSA
Director of Photography: Larry Fong
Production Designer: Tino Schaedler
Visual Effects: The Moving Picture Company (MPC)
Digital Set Designer: Oliver Zeller
CANDYLAND | DIRECTION + CO-VISUALIZATION
Experimental stills from an incompleted CGI picture story.
CREDITS
Creative Directors: Tino Schaedler, Oliver Zeller
Production Designer: Tino Schaedler
Shot Direction/Render/Post: Oliver Zeller
Original Landscape CGI: The Scope Digital Studio
Producer/C.D.: Faruk Heplevent
3D CGI: Matthias Christen
Fluid Dynamics & Additional Landscape CGI: Oliver Zeller
Vehicle Design: Tino Schaedler, Bjoern Hoffmann, Oliver Zeller
Vehicle Model & Base Textures: Bjoern Hoffmann
Vehicle Shaders, Textures, Rig: Oliver Zeller
Experimental stills from an incompleted CGI picture story.
CREDITS
Creative Directors: Tino Schaedler, Oliver Zeller
Production Designer: Tino Schaedler
Shot Direction/Render/Post: Oliver Zeller
Original Landscape CGI: The Scope Digital Studio
Producer/C.D.: Faruk Heplevent
3D CGI: Matthias Christen
Fluid Dynamics & Additional Landscape CGI: Oliver Zeller
Vehicle Design: Tino Schaedler, Bjoern Hoffmann, Oliver Zeller
Vehicle Model & Base Textures: Bjoern Hoffmann
Vehicle Shaders, Textures, Rig: Oliver Zeller
540 WEST | CO-INTERIOR DESIGN + PRINCIPAL VISUALIZATION ARTIST
Developed by Fortis Property Group, 540 West is a 114-unit residential condominium located in the Hell’s Kitchen neighborhood of Manhattan in New York City.
Visualizations and interior design were completed at MARCH in 2013 along with its partners, creative director Kevin Cimini and CG supervisor Brandon Hicks.
Developed by Fortis Property Group, 540 West is a 114-unit residential condominium located in the Hell’s Kitchen neighborhood of Manhattan in New York City.
Visualizations and interior design were completed at MARCH in 2013 along with its partners, creative director Kevin Cimini and CG supervisor Brandon Hicks.
TNT’S SNOWPIERCER - WILFORDINDUSTRIES.COM | CONCEPT + DESIGN + VISUALIZATION
Sun Chapel train car concept developed over a weekend during the pandemic for a competition and was commissioned by Warner Media for their Snowpiercer website, wilfordindustries.com.
In the cable television series “the world has become a frozen wasteland and centres on the remaining people, who inhabit a gigantic, perpetually-moving train that circles the globe.”
Sun Chapel train car concept developed over a weekend during the pandemic for a competition and was commissioned by Warner Media for their Snowpiercer website, wilfordindustries.com.
In the cable television series “the world has become a frozen wasteland and centres on the remaining people, who inhabit a gigantic, perpetually-moving train that circles the globe.”