Tara Iti Ocean Suites

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The Tara Iti Ocean Suites project was created to showcase the design of proposed visitor accommodation for the recently completed Tara Iti Golf Course in New Zealand.

The Ocean Suites sit within the link land in between the Pacific Ocean and the golf course itself offering high end accommodation for the quests of the course and it’s members

Designed to sit naturally in their dune environment, the Ocean Suites provide curated comfort after a day on the links or in the surf.

The project was completed using Unreal Engine before the advent of hybrid ray tracing and provided a chance to create animation in real time rather than using traditional offline techniques. The project was created working with Architect, Ella Darby and Herringbone Design for interior design and styling direction. The models were largely created in 3DS max before being imported into Unreal Engine. The free form roof structure was created using Rhino and Grasshopper as these model were later used for manufacture.

Façades

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The facades of individuals portrayed through those of architecture.

Facades hide flaws, failings and – ultimately – reality. In the past decade, the structures surrounding us have been cosmetically overhauled; covering the deeper, economic faults.

Can parallels be found between these architectural fronts and the fronts put up by a community?

The visuals and its narration attempt to demonstrate that it doesn’t matter; aesthetics trumps all.

“What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty. “– Alain de Botton

By Ryan Wai Kin LAM
Music with Teresa CP TAN
Narration written and voiced by Hana SCHONEGGER
Typography and motion graphics by Manuel A FERNANDEZ

Song :
soundcloud.com/waikin182/facades

Making Of :
artstation.com/artwork/babWkG

Reverie

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We made this architectural animated film as an experiment focusing strongly on the Story and the experience of the audience. During our first cooperation with Creative Director Ferenc Benesch we reshaped the process of filmmaking inside ZOA.

We think of this animated short movie as a very specific milestone in our lives.

Any film is a sequence of images cushioned by the sound of music and the voices of the actors resonating in our ears. However what you appreciate in reality and what you remember of it in the deepest sense is the Story with a capital S: The very fabric of filmmaking.

Shaker Kitchen CGI

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Earlier in the year we were commissioned to create a number of images displaying our client’s shaker cabinet doors in various colour finishes. We crafted a large kitchen-dining room, with a high level of detail which allowed us to create multiple camera angles. Given that a number of shots were to be created great care was taken to ensure accuracy with room props and styling.

The images were all created using 3DS Max and the final scenes rendered with Corona Renderer. As usual, finishing details and tweaks were made in post production with Photoshop for better accuracy to the product finish.

Coming Back to Life

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COMING BACK TO LIFE IS AN ARCHITECTURE MOVIE, A CINEMATIC NARRATIVE LOADED WITH EMOTIONAL CONTENT AND DRAMATIC SCENERIES.

IT IS AN ATTEMPT TO PRODUCE NEW UNDERSTANDINGS OF WHAT IS AN ARCHITECTURAL CONCEPT. IT IS A SIMPLE IDEA REPRESENTED THROUGH A STORYLINE, A PLOT AND A TWIST, BASICALLY A MODERN DAY FAIRY TALE.

THE MOVIE REVOLVES AROUND AN ARCHITECT’S OBSESSION WITH BURJ EL MURR, THE TOWER OF BITTERNESS, A SOARING MONUMENT AND AN OLD LEGACY OF WAR, IN THE HEART OF BEIRUT.

THE FIRST SCENE PORTRAYS OUR MYSTERY MAN ENTERING HIS GLOOMY APARTMENT FACING HIS ARCHITECTURAL FASCINATION, TO BE SURPRISED BY AN EMERGING STRUCTURE SUSPENDED ON THE WALLS OF THE TOWER. SUDDENLY THE DISBELIEF IS INTERRUPTED BY A NOISE THAT APPEARS TO COME OUT OF THE TV, AND THE FRAME BLACKOUTS OUT WHEN IT GETS CLOSER TO THE WINDOW. DIRECTLY WE ARE TRANSPORTED INSIDE AN OPENING OF THE BURJ EL MURR, TO ASCEND THE BODY OF THE CONCRETE BRUTE, PASSING THROUGH THE VOID, THE GREEN SPACE, THE MEMORIAL AND THE RECEPTION AREA. WE ARE THEN DRIVEN OUTSIDE, TO DISCOVER A MONUMENT, ELEVATED FROM THE GROUND. OUR ARCHITECT’S CAR ARRIVES TO THE SCENE WHILE THE STRUCTURE IS COMPLETING ITS GROWTH. FINALLY THE STORY ENDS ON A SHOT OF THE TOWER IN ITS NEW SKIN, STANDING TALL IN THE MIDST OF ALL THE DISTURBING CHAOS OF THE CAPITAL.

Check the Full Story on www.jpag.co

Scandinavian Kitchen

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This is my first completed render of a realistic interior.

In total, about 30h was spent on it over the course of 3 months. (not including render times)
20% of the time was spent gathering, organizing and preparing reference images.
40% of the time was spent modeling and framing the shot.
30% of the time was spent texturing and lighting.
10% of the time was spent compositing.

Included in the gallery is the render passes used.

Most of the passes were used as luma mattes for adjustment layers, as i used the beauty render for the background layer.

The built-in noise pass from octane was desaturated, then used as a guide pass to denoise the image.

Beauty render and passes rendered in 2h, but with optimizations it could be brought down to 30 minutes. (32 ray bounces might be a bit overkill)