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## Action
### URL
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## Hotspot
### Text
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htmlText_CF91218B_D2CC_1229_41DF_38122E567B10.html = As part of my master's degree thesis on Resonant Experience Design, I developed a new land adjacent to the Wizarding World of Harry Potter at Island of Adventures. My vision was to transform the underused Sinbad theater into a vibrant, immersive environment that captured the excitement of a live sporting event.
Upon entering the land, guests would discover that a quidditch game was already in progress within the stadium. The festive atmosphere outside the arena, complete with a majestic water fountain displaying the game's score, would add to the immersive experience.
The main attraction was a quidditch dining experience where guests could interact with the game on the field. While the focus was on the experience rather than the actual game itself, the building was designed with special effects to enhance the experience when a goal was scored or something unexpected happened. Harry Potter characters would also make appearances to further engage guests.
To create this immersive experience, I utilized a range of design techniques including narrative development, master planning, sightline studies, interior design, and 2D/3D visualization. Each time a guest experienced the quick-service dining attraction, they would encounter a new game with unique surprises in both the interior and exterior of the stadium.
Overall, my goal was to create an unforgettable experience for guests that was based on the Aristotelian concept of experience and resonated with their emotions and senses.
GUEST EXPERIENCE DESCRIPTION
We stand in front of the entrance to this new land, feeling as though we are entering a forest where a great event is happening. Large wooden beams appear to grow from a semi-collapsed stone wall, creating an incomplete arch where two Hogwarts school flags welcome us. In the distance, above the fences that divide the lands, some of the turrets of the Quidditch stadium loom discreetly but imposingly. From there, we can hear the first roars of excitement from students witnessing a fierce Quidditch match. Although it is daylight, some fireworks are being fired into the sky above the turrets, indicating that something magical is happening. It is not an ordinary Quidditch game.
As we pass through the incomplete arches, we can see in more detail the land surrounding the Quidditch stadium. Some structures have old stone ruins as foundations, and on them, lighter materials such as wood and fabric are built. The trees and wood used make us feel as though we are in a natural place.
On both sides, there are features that catch our attention and introduce us to the place. On the left side, an animated wooden artifact with a magical string system raises the signs of the teams playing today's game. On the right, a large wall riddled with new regulations for Hogwarts reminds us of the frames hung by Mr. Filch on Umbridge's orders. The curious thing about this is that all the pictures with the regulations only talk about one thing: the entry of anyone not directly related to the Hogwarts school to the vicinity is prohibited. No wizard will be able to invite anyone to the venue, and they are asked to give immediate notice if they see any strangers to Hogwarts staff and students. On both sides, we can see happy people taking pictures.
To the right, there is a path that leads to Madam Pomfrey's Health Services, where magic medical equipment is just outside the door, and Quidditch players have a close place to take care of their injuries. We also know that this is the place in the park to take care of us, but we decide to continue forward and not get any closer to the nursing area. On the right, there is a small kiosk where typical merchandise is sold at a sports stadium, such as pennants, scarves, hats, and other items to support the teams playing, all in five variations: Gryffindor's house, Hufflepuff, Slytherin, Ravenclaw, and Hogwarts school. On one side of that same stall, there are wizards painting the faces of some visitors with the colors and emblem of their favorite teams.
As we continue walking, we see an almost-collapsed structure on our left. The building, made of stone and crooked wood, is covered with fabrics to make the place a little more pleasant to visit. Above the entrance door is a sign that reads "Quidditch Quality Supplies - open only on game days." It's the same store we've seen in Diagon Alley, and it seems that they have opened a small branch only on game days. Luckily for us, today is game day, and we can go in to buy all kinds of Quidditch and Hogwarts memorabilia.
As we leave the Hogwarts Quidditch Stadium, we carry bags full of gifts and a Quidditch broom. As we walk towards Hogsmeade, we notice the stone bridge that connects the stadium with the castle. However, the wooden section of the bridge is partially on fire and closed for safety reasons. We are directed to take the long route through Hogsmeade to reach the castle.
As we turn around, we come across an asymmetrical and unstable wooden structure where butterbeer and snacks are sold, and where the Hogwarts choir is performing on an oversized stage. We stop to enjoy their talent and have some Butterbeer.
Next, we see the impressive and beautiful Hogwarts Quidditch Stadium. A circular fountain, with four flags of the Hogwarts houses and four game scoreboards, welcomes us. The scoreboard shows Gryffindor defeating Ravenclaw 23 to 6. In the center of the fountain, there is a medieval stone structure with four twisted metal horns on its sides. We hear the commentator of the Quidditch game, and we can't wait to enter the stadium and witness the action.
The stadium's highest part has a metal sculpture of a Golden Snitch that moves slowly, simulating its flight through the air. The entrance marquee has two majestic stone turrets that support a wooden arch, where restaurant menus hang. However, the main entrance is closed due to Professor Umbridge's presence in the stadium. A wizard standing in front of the chain tells us to take a side road to a secondary and more hidden entrance where the Weasleys are waiting for us.
Overall, our journey has been eventful and exciting so far, and we can't wait to see what else Hogwarts has in store for us.
As we enter the cellars of the stadium through a back door, we notice that it's not very bright or clean, and there are old Quidditch equipment and boxes in a corner. We then turn around a corridor filled with dozens of Quidditch brooms, some hanging on the wall and others flying over us. The sun's rays enter above our roof, and we can see the shadows of Hogwarts students witnessing the match and hear their screams and stomps. Even though we want to see what they're seeing, we are in a serene place underneath where all the action is. We feel like we're hiding from someone, and we're not sure if we should be there. We fear getting caught by Umbridge.
After walking down the corridor of brooms, we enter a small door that leads us to the dressing rooms of the Gryffindor team, covered with the players' uniforms. We see a flag taunting Ron Weasley and realize that some Slytherins were there first. The gate in front of the dressing rooms overlooks the Quidditch field, and we can see the shadows of the players flying in front of the closed gate. The roar of the game is a constant reminder that it has started, and we want to be out there to see it.
As we turn around, we see the columns and wooden beams that support the stadium. Walking down a corridor, we arrive at a very different place: the kitchens of Hogwarts have a space inside the stadium to prepare the food that will be given during the game. We can see hundreds of dishes and kitchen items huddled on the four walls of the place, and below us are the burning pits with food cooking. Wooden shovels stir the ingredients magically.
In front of us, there's a door that faces the outside, and we see Fred and George Weasley and Dobby. They have taken us around so that Umbridge does not realize our presence. We couldn't get in through the front door! To enter the stadium and enjoy the game, they make us a spell in which everyone will see us as a real student of Hogwarts. It will influence the eyes of all the wizards present in the stadium. Dobby is a little afraid of what Fred and George did but joins the plan. He will be with us all the time from afar –no one can see him among the students either. He will make sure we are okay.
We leave, already under the spell, towards the main lobby of the stadium. It seems like a much nicer place now, made for the comfort of the students and staff. We no longer see the wooden ceiling that overlooks the seats of the spectators. There's a tent inside the stadium that makes for a more comfortable and delicate space. A wizard greets us with joy and asks if we want to eat while watching the Quidditch game or if we'd prefer to go to the teachers' lounge or the bar.
We want to eat something and watch the game. We move towards what look like boxes where today's menus are displayed. Behind the boxes, there's all kinds of merchandise to support our team. We order our food and buy some Gryffindor scarves. We're told that the elves will prepare our food, and a wizard will take us straight to our table. He gives us a wooden envelope that will vibrate when everything is ready.
We wait a moment, and our envelope begins to vibrate. We approach some doors where a wizard is already waiting for us and guides us to our box where our assigned table is. We walk down an elongated corridor. On one side, there are the entrances to the boxes. On the left, there are the restrooms and the exit.
We enter through one of the doors. In front of us is the Quidditch field surrounded by the wooden grandstand covered with fabrics. There are already a lot of people eating there, enjoying the game. There are several rows of tables. From anywhere, we can see the field.
As in any stadium, the players look small. We're far from the action. But the atmosphere in there is everything. People are ecstatic, waiters are dressed in their teams and move people to support their own teams. We realize that there's much more going on inside our box than in the match itself. In the distance, a player scores. The flags of the team that scored fall magically hanging all over the walls. Magical sparks fly over our tables, creating shapes and turning our table into the scoring team's flag.
The box is filled with items that come to life, like a giant cauldron that's above us. When we order the special of the day, the waiter lends us his wand to cast a spell on the cauldron. It bursts steam and color from it. There are doors at the top of the box, platforms that descend from the ceiling, stairs that are placed from the field to the box. This is how well-known characters like Weasleys, Dobby, Umbridge, Hagrid, among others, visit the guests.
The game goes on. We've already finished our meal. We're told that the game could last up to 20 hours. We head to the exit. Fred and George are there to take the spell off us so we can come back outside. We go to a very large shop where there are all kinds of Hogwarts merchandise. As we leave the store, in front of us, the fountain looks magnificent. And yes, the match goes on. We know this from what we hear from the fountain speakers and the match scoreboard. It's a visit full of emotions and sensations. A memorable experience.
In this Pirate Hotel project, I played an integral role in both the design and presentation of the hotel. As part of a team of graduate students, I contributed to the overall concept and development of the hotel's features and amenities. My passion for design and attention to detail allowed me to make valuable contributions to the project.
One of my main responsibilities in the project was creating visualizations of the Pirate Hotel. I used software such as 3ds Max, SketchUp, Vray, Twinmotion, and Photoshop to create 2D and 3D renderings that showed different aspects of the hotel's design. These visualizations helped to bring the project to life and allowed us to showcase our ideas to others in a compelling way.
Another major aspect of my role in the project was producing and editing a video presentation of the Pirate Hotel. I compiled the visualizations I created and added multimedia elements such as music, sound effects, and voiceovers to create an engaging and informative video.
Overall, I am proud of the contributions I made to the Pirate Hotel project. It was a challenging but rewarding experience, and I am grateful for the opportunity to work with such a talented team of graduate students. The skills I developed during this project will undoubtedly serve me well in my future endeavors.
TEAM MEMBERS:
Alex Underwood (Lead)
Monserrat Dominguez
Larisa Dunham
Dila Kiliboz
Brittany Bryan
Adrian Gutierrez
PRE-VISUALIZATION VIDEOS
(PERSONAL PROJECTS & PUBLISHED ONES)
CLIENTS:
- Herschend Family Entertainment
- Attraction, Dining Venues, Gift Shops
-Cedar Fair
- Themed Lands, Attractions, Dining Venues
SOFTWARE I USE IN MY PRE-VISUALIZATION PIPELINE
- AutoCAD
- SketchUp (used by my team)
- 3ds Max
- V-ray
- Photoshop
- Twinmotion
- Unreal Engine
- Adobe After Effects
- Adobe Premiere Pro
My team and I met with the clients to determine their goals and vision for the land, attraction, and dining venues. We then created rough storyboards and detailed site plans. I started creating basic 3D models of the land, attractions, and dining venues to map out the guest experience and identify any potential issues or design challenges.
I did not stop only doing these concept images, but I also used real-time engine technology to create 3D walkthroughs of the complete land, attractions and dining venues. This allowed us to experience the areas from a guest's perspective and identify any potential issues with sightlines, flow, or theming.
Based on my pre-visualization work, we made several adjustments to the design, including modifying the layout to improve guest flow and adding additional theming elements to enhance the immersive experience.
Overall, the pre-visualization process allowed us to test and refine the design of the theme parks areas, ensuring that the final product would meet the client's goals and provide an exceptional guest experience.
PRE-VISUALIZATION STILL RENDERINGS
(PUBLISHED ONES)
CLIENTS:
- Herschend Family Entertainment
- Attraction, Dining Venues, Gift Shops
-Cedar Fair
- Themed Lands, Attractions, Dining Venues
SOFTWARE I USE IN MY PRE-VISUALIZATION PIPELINE
- AutoCAD
- SketchUp (used by my team)
- 3ds Max
- V-ray
- Photoshop
- Twinmotion
- Unreal Engine
My team and I met with the clients to determine their goals and vision for the land, attraction, and dining venues. We then created rough storyboards and detailed site plans. I started creating basic 3D models of the land, attractions, and dining venues to map out the guest experience and identify any potential issues or design challenges.
I did not stop only doing these concept images, but I also used real-time engine technology to create 3D walkthroughs of the complete land, attractions and dining venues. This allowed us to experience the areas from a guest's perspective and identify any potential issues with sightlines, flow, or theming.
Based on my pre-visualization work, we made several adjustments to the design, including modifying the layout to improve guest flow and adding additional theming elements to enhance the immersive experience.
Overall, the pre-visualization process allowed us to test and refine the design of the theme parks areas, ensuring that the final product would meet the client's goals and provide an exceptional guest experience.
___
PRE-VISUALIZATION STILL RENDERINGS
(PUBLISHED ONES)
CLIENTS:
- Herschend Family Entertainment
- Attraction, Dining Venues, Gift Shops
-Cedar Fair
- Themed Lands, Attractions, Dining Venues
SOFTWARE I USE IN MY PRE-VISUALIZATION PIPELINE
- AutoCAD
- SketchUp (used by my team)
- 3ds Max
- V-ray
- Photoshop
- Twinmotion
- Unreal Engine
My team and I met with the clients to determine their goals and vision for the land, attraction, and dining venues. We then created rough storyboards and detailed site plans. I started creating basic 3D models of the land, attractions, and dining venues to map out the guest experience and identify any potential issues or design challenges.
I did not stop only doing these concept images, but I also used real-time engine technology to create 3D walkthroughs of the complete land, attractions and dining venues. This allowed us to experience the areas from a guest's perspective and identify any potential issues with sightlines, flow, or theming.
Based on my pre-visualization work, we made several adjustments to the design, including modifying the layout to improve guest flow and adding additional theming elements to enhance the immersive experience.
Overall, the pre-visualization process allowed us to test and refine the design of the theme parks areas, ensuring that the final product would meet the client's goals and provide an exceptional guest experience.
___
PRE-VISUALIZATION VIDEOS
(PERSONAL PROJECTS & PUBLISHED ONES)
CLIENTS:
- Herschend Family Entertainment
- Attraction, Dining Venues, Gift Shops
-Cedar Fair
- Themed Lands, Attractions, Dining Venues
SOFTWARE I USE IN MY PRE-VISUALIZATION PIPELINE
- AutoCAD
- SketchUp (used by my team)
- 3ds Max
- V-ray
- Photoshop
- Twinmotion
- Unreal Engine
- Adobe After Effects
- Adobe Premiere Pro
My team and I met with the clients to determine their goals and vision for the land, attraction, and dining venues. We then created rough storyboards and detailed site plans. I started creating basic 3D models of the land, attractions, and dining venues to map out the guest experience and identify any potential issues or design challenges.
I did not stop only doing these concept images, but I also used real-time engine technology to create 3D walkthroughs of the complete land, attractions and dining venues. This allowed us to experience the areas from a guest's perspective and identify any potential issues with sightlines, flow, or theming.
Based on my pre-visualization work, we made several adjustments to the design, including modifying the layout to improve guest flow and adding additional theming elements to enhance the immersive experience.
Overall, the pre-visualization process allowed us to test and refine the design of the theme parks areas, ensuring that the final product would meet the client's goals and provide an exceptional guest experience.
RESONANT EXPERIENCE DESIGN
DESIGN & VISUALIZATION
GUEST EXPERIENCE DESIGN - REAL-TIME ENGINE PRODUCTION - VISUALIZATION - 3D MODELING - STILL RENDERING - VR - 360 PANORAMA TOURS - VIDEO RENDERING - VIDEO EDITING
3ds Max - Unreal Engine - VRay - Twinmotion - Maya - SketchUP
Photoshop - Illustrator - InDesign - After Effects - Premiere Pro
Final Cut - Revit - AutoCAD
Throughout my career, I have worked on numerous projects for various amusement and theme parks, including Dollywood, Silver Dollar City, Carowinds, Canada’s Wonderland, King’s Island, California’s Great Adventure, Kentucky Kingdom, and Wild Adventures. My responsibilities have encompassed a range of tasks, including:
1. Designing, previsualizing, and visualizing themed entertainment venues, such as theme park lands, attractions, restaurants, museums, and shops, using 2D renders, animatics, and VR outputs.
2. Collaborating with the client's architectural team to identify facility conflicts and concurrently developing a white model for mass blocking and preliminary story development, starting with only a CAD stick building model.
3. Previsualizing attractions from the guest's point of view using the manufacturer's ride capacity, speed, and centerline data. This process helped the client's design team make critical adjustments to the story, set design, and budget.
4. Exporting data from real-time engine software into tables to create a beat list that enabled the various teams and vendors to synchronize multiple media, animatronic animations, lighting, and special effects.
5. Extracting 2D elevations from the 3D model to create detailed design drawings packages.
6. By leveraging my expertise and experience, I have consistently delivered high-quality work that has exceeded client expectations.
My design expertise has been recognized through several accolades, including first place in the Theme Attractions international design competition and being among the Top Ten designers in the Storyland design challenge. Additionally, my thesis, "Resonant Experience Design: A New Experiential Design Approach Based on the Aristotelian Concept of Experience," was presented at the TEAAS Symposium 2022 - IAAPA Expo in Orlando, Florida.
I hold a Master's degree in Fine Arts with a specialization in Themed Entertainment Design from the prestigious Savannah College of Art and Design (SCAD). My lifelong passion for evoking emotions has driven my academic pursuits, starting with studies in Philosophical Anthropology and Classical Humanities, which provided me with a deeper understanding of human nature and enabled me to effectively communicate ideas and emotions. Subsequently, I completed a Bachelor's degree in Audiovisual Communication, which equipped me with the necessary tools to create immersive experiences.
My good academic performance is reflected in my 4.0 GPA in the Master's program in Themed Entertainment Design. This program offered me a unique opportunity to integrate my academic and professional experiences and provided me with a comprehensive skillset to excel as an experience designer.
As a designer, I recognize the importance of effectively communicating my ideas and emotions to colleagues and clients. My passion lies in using 3D modeling and real-time rendering tools to create captivating visualizations that enable individuals to experience and connect with the stories, ideas, sensations, and places envisioned by the team.
In my personal life, I am happily married to an amazing woman, and we are blessed with two beautiful daughters.
RESONANT EXPERIENCE DESIGN
DESIGN & VISUALIZATION
GUEST EXPERIENCE DESIGN - REAL-TIME ENGINE PRODUCTION - VISUALIZATION - 3D MODELING - STILL RENDERING - VR - 360 PANORAMA TOURS - VIDEO RENDERING - VIDEO EDITING
3ds Max - Unreal Engine - VRay - Twinmotion - Maya - SketchUP
Photoshop - Illustrator - InDesign - After Effects - Premiere Pro
Final Cut - Revit - AutoCAD
Throughout my career, I have worked on numerous projects for various amusement and theme parks, including Dollywood, Silver Dollar City, Carowinds, Canada’s Wonderland, King’s Island, California’s Great Adventure, Kentucky Kingdom, and Wild Adventures. My responsibilities have encompassed a range of tasks, including:
1. Designing, previsualizing, and visualizing themed entertainment venues, such as theme park lands, attractions, restaurants, museums, and shops, using 2D renders, animatics, and VR outputs.
2. Collaborating with the client's architectural team to identify facility conflicts and concurrently developing a white model for mass blocking and preliminary story development, starting with only a CAD stick building model.
3. Previsualizing attractions from the guest's point of view using the manufacturer's ride capacity, speed, and centerline data. This process helped the client's design team make critical adjustments to the story, set design, and budget.
4. Exporting data from real-time engine software into tables to create a beat list that enabled the various teams and vendors to synchronize multiple media, animatronic animations, lighting, and special effects.
5. Extracting 2D elevations from the 3D model to create detailed design drawings packages.
6. By leveraging my expertise and experience, I have consistently delivered high-quality work that has exceeded client expectations.
My design expertise has been recognized through several accolades, including first place in the Theme Attractions international design competition and being among the Top Ten designers in the Storyland design challenge. Additionally, my thesis, "Resonant Experience Design: A New Experiential Design Approach Based on the Aristotelian Concept of Experience," was presented at the TEAAS Symposium 2022 - IAAPA Expo in Orlando, Florida.
I hold a Master's degree in Fine Arts with a specialization in Themed Entertainment Design from the prestigious Savannah College of Art and Design (SCAD). My lifelong passion for evoking emotions has driven my academic pursuits, starting with studies in Philosophical Anthropology and Classical Humanities, which provided me with a deeper understanding of human nature and enabled me to effectively communicate ideas and emotions. Subsequently, I completed a Bachelor's degree in Audiovisual Communication, which equipped me with the necessary tools to create immersive experiences.
My good academic performance is reflected in my 4.0 GPA in the Master's program in Themed Entertainment Design. This program offered me a unique opportunity to integrate my academic and professional experiences and provided me with a comprehensive skillset to excel as an experience designer.
As a designer, I recognize the importance of effectively communicating my ideas and emotions to colleagues and clients. My passion lies in using 3D modeling and real-time rendering tools to create captivating visualizations that enable individuals to experience and connect with the stories, ideas, sensations, and places envisioned by the team.
In my personal life, I am happily married to an amazing woman, and we are blessed with two beautiful daughters.