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Technical Art Direction · Team Leadership · Production Strategy · 3D Pipeline Development
During the COVID-19 pandemic, commercial real estate businesses needed new ways to present and lease properties without relying on physical inspections. Inspace’s 3D Stack platform provided an interactive, browser-based way to explore commercial buildings, attracting projects from global clients including CBRE, JLL and Blackstone.
Inspace operated two distinct production teams. The Studio team, based in Bangkok, produced pre-rendered architectural visualisations, while my Stack team handled the real-time 3D assets and technical requirements of the interactive platform. With the Studio team already established in Thailand, expanding Stack’s production capability there offered a practical way to meet growing demand.
I led the recruitment and integration of 15 artists into the offshore team, alongside a remote Australian team of around ten 3D artists and product designers. To bring new starters up to speed quickly, I developed and delivered an intensive three-to-four-day training program covering the production pipeline from initial build through to deployment. Fourteen of the 15 artists went on to join the ongoing production workflow.
When I took on the role, project delivery was difficult to forecast. Buildings varied significantly in size and complexity, and the existing approach made it difficult to estimate production time, plan team capacity or align project scope with client costs.
My mandate was to establish a more predictable, repeatable production cycle. Working with the team, I reworked the build process around a modular Blender pipeline, breaking projects into manageable stages that began with a simple building structure before progressively adding detail within an agreed timeframe.
We also introduced a clearer definition of project scope. A single building became one production unit, or Stack, while a multi-building development could be scoped and priced as several Stacks. This brought greater consistency between the work required, the time allocated and the cost to the client.
Together, these changes helped us establish a reliable five-day production cycle, representing approximately 35 hours of active production per Stack. The team could plan delivery with greater confidence while maintaining a consistent level of detail across projects of varying size and complexity.
While my primary responsibility was leading the studio and improving how it operated, I remained closely involved in production.
During periods of high demand, I worked alongside the artists on complex building projects, testing techniques, refining the pipeline and sharing practical solutions. This hands-on involvement helped me identify where the process could improve while giving the team direct support and technical guidance.
It also ensured that the systems we introduced were grounded in the realities of production, balancing the technical demands of real-time browser rendering with the visual quality clients expected.
Interactive 3D digital twin
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Load the scene, then drag to walk a full circle around the building. It stays centred in view the whole time.
The work expanded Inspace Stack’s production capacity while making delivery more consistent and commercially predictable.
By combining recruitment, accelerated training, a modular production process and clearer project scoping, I helped build a distributed team capable of delivering technically demanding 3D experiences at a scale the business could plan around.
The result was not simply a faster pipeline, but a more connected approach to production — aligning the team, the build process, project scope and client expectations.