Physical | Spatial | Community
LARGE-SCALE PHYSICAL EXPERIENCES
Large-scale physical experiences are about designing for crowds without losing the individual. For brands, entertainment properties, and communities, they create rare opportunities for people to enter a world together, engage with it personally, and carry that connection beyond the space itself.
THE PLAYBOOK IN ACTION
As a Creative Director, I find the intersection between a brand’s ambition and what its audience will genuinely care about. I lead multidisciplinary teams through the realities of crowd flow, regulations, fabrication, and large-format execution while protecting the creative idea that makes the experience worth entering in the first place.
TWITCHCON AMSTERDAM | MASSIVE SCALE FOR EVERY FANDOM TO SQUAD UP
Bringing Twitch’s online communities into a physical convention for 17,000 streamers, creators, and viewers meant balancing festival-scale flow with the intimacy of fandom. I led the experiential creative vision for the Big Room, a highly interactive environment built around six themed zones, from the Arcade Pod to the 8-Bit Disco, giving different communities distinct places to gather, play, and express themselves inside the larger TwitchCon ecosystem.
UNIVERSAL PICTURES: WICKED AT ROCK IN RIO | DEFYING EXPECTATIONS IN FESTIVAL BRAND EXPERIENCES
Launching Wicked inside Rock in Rio, a festival welcoming more than 700,000 attendees, required a physical footprint strong enough to cut through the surrounding sensory overload while staying true to the film’s world. I directed the creative concept and execution for an immersive portal into the contrasting atmospheres of Glinda and Elphaba, extending the experience through tactile, shareable takeaways such as bubble-blowing souvenirs and friendship bracelets that helped build anticipation for the release.
THE SUPER MARIO BROS. MOVIE | BRINGING THE MUSHROOM KINGDOM TO LOLLAPALOOZA
Translating one of gaming’s most iconic IPs into a public festival experience required both creative fidelity and precise execution. For Lollapalooza Brazil, attended by more than 300,000 people, I led the creative translation of the Mushroom Kingdom into an explorable immersive booth packed with fan-recognizable moments, including a real-life Rainbow Road kart, Piranha Plant, warp pipe, and Mystery Box photo opportunities, turning brand nostalgia into physical discovery ahead of the film’s release.
PROVEN AT GLOBAL SCALE
This same approach to spatial storytelling and large-scale audience design has shaped physical experiences for brands around the world. Additional work includes bringing Moxxi’s Bar to life for Ballantine’s x Borderlands at CCXP, building Panda Express’s House of Good Fortune, and architecting Google’s interactive footprint at CES 2024.
MORE WORK
Physical | Spatial | Community
LARGE-SCALE PHYSICAL EXPERIENCES
Large-scale physical experiences are about designing for crowds without losing the individual. For brands, entertainment properties, and communities, they create rare opportunities for people to enter a world together, engage with it personally, and carry that connection beyond the space itself.
THE PLAYBOOK IN ACTION
As a Creative Director, I find the intersection between a brand’s ambition and what its audience will genuinely care about. I lead multidisciplinary teams through the realities of crowd flow, regulations, fabrication, and large-format execution while protecting the creative idea that makes the experience worth entering in the first place.
TWITCHCON AMSTERDAM | MASSIVE SCALE FOR EVERY FANDOM TO SQUAD UP
Bringing Twitch’s online communities into a physical convention for 17,000 streamers, creators, and viewers meant balancing festival-scale flow with the intimacy of fandom. I led the experiential creative vision for the Big Room, a highly interactive environment built around six themed zones, from the Arcade Pod to the 8-Bit Disco, giving different communities distinct places to gather, play, and express themselves inside the larger TwitchCon ecosystem.
UNIVERSAL PICTURES: WICKED AT ROCK IN RIO | DEFYING EXPECTATIONS IN FESTIVAL BRAND EXPERIENCES
Launching Wicked inside Rock in Rio, a festival welcoming more than 700,000 attendees, required a physical footprint strong enough to cut through the surrounding sensory overload while staying true to the film’s world. I directed the creative concept and execution for an immersive portal into the contrasting atmospheres of Glinda and Elphaba, extending the experience through tactile, shareable takeaways such as bubble-blowing souvenirs and friendship bracelets that helped build anticipation for the release.
THE SUPER MARIO BROS. MOVIE | BRINGING THE MUSHROOM KINGDOM TO LOLLAPALOOZA
Translating one of gaming’s most iconic IPs into a public festival experience required both creative fidelity and precise execution. For Lollapalooza Brazil, attended by more than 300,000 people, I led the creative translation of the Mushroom Kingdom into an explorable immersive booth packed with fan-recognizable moments, including a real-life Rainbow Road kart, Piranha Plant, warp pipe, and Mystery Box photo opportunities, turning brand nostalgia into physical discovery ahead of the film’s release.
PROVEN AT GLOBAL SCALE
This same approach to spatial storytelling and large-scale audience design has shaped physical experiences for brands around the world. Additional work includes bringing Moxxi’s Bar to life for Ballantine’s x Borderlands at CCXP, building Panda Express’s House of Good Fortune, and architecting Google’s interactive footprint at CES 2024.
MORE WORK
Physical | Spatial | Community
LARGE-SCALE PHYSICAL EXPERIENCES
Large-scale physical experiences are about designing for crowds without losing the individual. For brands, entertainment properties, and communities, they create rare opportunities for people to enter a world together, engage with it personally, and carry that connection beyond the space itself.
THE PLAYBOOK IN ACTION
As a Creative Director, I find the intersection between a brand’s ambition and what its audience will genuinely care about. I lead multidisciplinary teams through the realities of crowd flow, regulations, fabrication, and large-format execution while protecting the creative idea that makes the experience worth entering in the first place.
TWITCHCON AMSTERDAM | MASSIVE SCALE FOR EVERY FANDOM TO SQUAD UP
Bringing Twitch’s online communities into a physical convention for 17,000 streamers, creators, and viewers meant balancing festival-scale flow with the intimacy of fandom. I led the experiential creative vision for the Big Room, a highly interactive environment built around six themed zones, from the Arcade Pod to the 8-Bit Disco, giving different communities distinct places to gather, play, and express themselves inside the larger TwitchCon ecosystem.
UNIVERSAL PICTURES: WICKED AT ROCK IN RIO | DEFYING EXPECTATIONS IN FESTIVAL BRAND EXPERIENCES
Launching Wicked inside Rock in Rio, a festival welcoming more than 700,000 attendees, required a physical footprint strong enough to cut through the surrounding sensory overload while staying true to the film’s world. I directed the creative concept and execution for an immersive portal into the contrasting atmospheres of Glinda and Elphaba, extending the experience through tactile, shareable takeaways such as bubble-blowing souvenirs and friendship bracelets that helped build anticipation for the release.
THE SUPER MARIO BROS. MOVIE | BRINGING THE MUSHROOM KINGDOM TO LOLLAPALOOZA
Translating one of gaming’s most iconic IPs into a public festival experience required both creative fidelity and precise execution. For Lollapalooza Brazil, attended by more than 300,000 people, I led the creative translation of the Mushroom Kingdom into an explorable immersive booth packed with fan-recognizable moments, including a real-life Rainbow Road kart, Piranha Plant, warp pipe, and Mystery Box photo opportunities, turning brand nostalgia into physical discovery ahead of the film’s release.
PROVEN AT GLOBAL SCALE
This same approach to spatial storytelling and large-scale audience design has shaped physical experiences for brands around the world. Additional work includes bringing Moxxi’s Bar to life for Ballantine’s x Borderlands at CCXP, building Panda Express’s House of Good Fortune, and architecting Google’s interactive footprint at CES 2024.