Disney+a cinema in the virtual world.

Six families from one ethos.

Nature runs one algorithm and gets endless variety. We design the same way, so a client is not shown a single proposal but a family of typologies that share an ethos and differ in behaviour. Each was scored on what actually matters later: can it scale, can it adapt, can it carry the brand.

No site, no climate, no context. Build one.

An architect in the physical world reads site, topography, climate, landscape. None of that exists here. So the context is manufactured from the mood board, the brief and the brand, and then evolved: cellular mutation for variety, and function and navigability acting as natural selection.

A square deforms twice. A hexagon deforms forever.

Squares can only become parallelograms and trapeziums. A hexagon can become an unlimited number of shapes, which makes the cellular grid exponentially scalable, flexible and adaptable. Cell shape, size, position and proliferation are then decided by function and navigability.

Every function gets the shape it needs.

Because the structure is malleable, no room has to compromise to fit a uniform form. Spatial coordination came out of design studies, performance analysis and costing. Ten spaces are configured: spawn point, gallery, info booth, screen, display unit, lounge, seating and three auditoriums.

The first second of the whole world.

Spawn points are birth canals: the first thing anyone experiences, so their location and angle matter more than almost anything else. In the physical world you walk from A to B. Here you do not have to, so teleportation becomes the default and arrival becomes designed. It is also the highest-traffic surface in the world, which makes it the most valuable place to put a brand.

Four rooms, four sets of rules.

Each room was drawn before it was modelled: what is fixed, what is shareable, who can lock the door, how many it holds. Switch between them.

Brandable down to the geometry.

Branding integrates into the design of the space and into the media inside it: pictures, posters, 3D models, animations, text, links. Everything customisable, so the world reads as the brand rather than as a venue the brand rented.

Twelve things you can actually do.

Avatars interact with each other through movement, gesture, audio and chat, and with the world through everything else: clicking links, selecting options, playing with objects, changing colours and textures.

Synthetic worlds need biology.

A metaverse environment is entirely synthetic, which makes biomimetics essential. We study genetic algorithms in nature and replicate the process, then push it with parameters. The result is psychologically settling in a place that would otherwise be overwhelming.