Selected case studies in
digital twins & production.

The Line is NEOM's 170km linear city in Saudi Arabia — a project of a scale that resists conventional architectural representation. For the 18th International Architecture Exhibition at the Venice Biennale, Squint/Opera was commissioned to translate that ambition into an experience visitors could actually stand inside.

I contributed to the digital twin and real-time content workstreams — the engine that let the exhibition move fluidly from macro (the full 170km spine) to micro (a specific module of the city) without breaking the story. This is the through-line of my digital twin work: not fly-throughs, but navigable worlds that hold up under interrogation.

The exhibition was covered internationally as a landmark example of how architecture, film, and game-engine tooling collapse into a single medium when the operating discipline is strong enough.

PropVR is where I moved from London's exhibition and cultural context into the operational reality of the Gulf property market. The brief flipped: less cultural narrative, more sales-floor conversion, faster turnarounds, higher stakes per pixel.

I ran production on multi-million dollar digital twin engagements — coordinating between developer stakeholders, architects, engine teams and on-the-ground sales galleries. The lesson from this chapter is operational: a digital twin is only as good as the pipeline that keeps it accurate when the master plan changes on Thursday.

After four years inside the studios that make this work, I moved to the other side of the table. The consultancy exists because most digital twin projects don't fail on technology — they fail on scope, ownership and the handover between the people who imagine and the people who ship.

Working with Hiverlab gives clients access to a genuinely deep production capability; my role is to translate ambition into a plan that survives contact with a real programme. Engagements have ranged from experience design for cultural venues to advisory on real estate visualisation pipelines.

Squint/Opera and Journey sit at the intersection of film, architecture and interactive design. Working across both taught me the discipline that has shaped everything since: treat every frame as a story decision, and every story decision as an operational one.

The projects here spanned museums, master-planning films, and interactive real-time worlds for cultural and civic clients. This is where I learned that a digital twin isn't a deliverable — it's a language.