Recently I had the pleasure of working alongside ScanLAB on a project for the Architecture Biennale in Venice. As part of Haworth Tompkins Architect's installation for the Biennale we commissioned a 3D scan of the Young Vic theatre in London along with some of the surrounding buildings. The animation is on show alongside a large 1:1 fragment of the facade and will be open in Arsenale till 25th November.

Artwork and music video for British post-rock group nedry for their latest album 'In a Dim Light' released March 2012 through Monotreme records.

Im very excited to announce the launch of Factory Fifteen - a creative studio specialising in animation, film and architectural representation formed of myself and five other ex-unit15 students Jonathan Gales, Kibwe Tavares, Paul Nicholls, Richard Young and Christopher Lees. Details of our launch party below:



FACTORY FIFTEEN are proud to present Robots of Brixton and other fantastic short films.

Come and join us for the launch of FACTORY FIFTEEN, a new creative design studio specialising in film, animation & architectural representation.

Get there early to enjoy free drinks and meet the artists.

Diagram showing the main film environments.

Responding to some of the feedback I got at the crit I have been trying to make more out of the simulation and testing that has underpinned the Battersea project. This is a new sequence showing protocells forming lattice structures at a small scale. This will feed back into the film (or possibly form a short stand alone sequence/interlude)

A test render for a sequence that shows microscopic living structures forming.

I have been developing some sequences to try and build up the character of the scientist and explain some of the back story to the project.

This week I have been constructing the external landscape of the hollowed out shell of Battersea power station. The images present an architectural ecology, cultivated over time. These visuals are part of the ongoing development of a short film which will be released in June.

A set of composition and grading tests showing how the female character interacts with Oliver Deuces' living worlds.

Yesterday I had the pleasure of working with Vic Ranger and Eve Randle, whose acting skills made for an enjoyable day of green screen shooting. Above are a couple of grading/compositing tests. Now for the epic task of sorting through the mountain of footage.

I have created a new photography website. There is not a huge amount on there yet but will hopefully add to it when I get a chance. Below are some shots I took in China:

Today has been all about the timeline. I have tried to lay out the entire film in animatic form so I have a clear idea of the shape of the edit. This has also allowed me to start designing the audio and writing a script for the narrative. There are still plenty of holes to fill and one or two messy transitions but for the first time it is possible to get an idea for the overall look and feel of the film. Its actually becoming more somber than I originally intended but think this is a good thing, after all a film about what it means to be 'alive' should also be able to deal with mortality.

This is a matte painting for a scene that takes in a vista of the power station hemmed in by the encroaching city (best viewed in high-res, click image to link to flickr)

I couldnt resist getting the 300mm lens out to capture tonight's full moon from our North London balcony.

Earlier I was struck with a rare but overwhelming urge to do a 'proper' architectural drawing. A long section through the reconfigured roof of the western turbine hall seemed like a good idea:

I wanted to revisit some of the last project's research into alternative screens. Here the dark expanse of the western turbine hall is illuminated by bioluminescent algae circulated from cultivating tanks on the roof through a network of pipes and tubes into vessels. These vessels become electrically charged screens showing the time-lapse footage of the building growing.