by NAOMI GOLDMAN How can visual effects practitioners best collaborate to create a successful work dynamic and production?  How do you embrace new technology to enhance the pipeline and visual storytelling process? And what are lessons learned that other VFX teams can employ? Last week, VES participated in FMX, the 29th edition of FMX/Film & Media Exchange in Stuttgart, Germany, and hosted a live discussion on Award-Winning VFX Teams.  In extending that dynamic conversation, we are proud to showcase another VES panel with three outstanding VES Award-winning Visual Effects Supervisors.  They came together to share their insights into the talent, teamwork and technology it takes to create and nurture successful VFX teams. Lending their voices to this dynamic conversation: moderator Rob Legato, ASC, five time VES Award-winning Visual Effects Supervisor and Cinematographer and recipient of the VES Award for Creative Excellence; Michael Lasker, Visual Effects Supervisor and Creative Director of CG Features at Sony Pictures Imageworks – whose team won the 2024 VES Award for Outstanding Visual Effects in an Animated Feature for Spider-Man: Across the Spider-Verse; and Alex Wang, Production Visual Effects Supervisor whose team won the 2024 VES Award for Outstanding Visual Effects in a Photoreal Episode for The Last Of Us. “I like to hire people smarter than me and find the personality that seems like they have not been tested or given the opportunity to show the limits of their talent.” -Rob Legato Rob Legato, ASC, five time VES Award-winning Visual Effects Supervisor and Cinematographer and recipient of the VES Award for Creative Excellence. Rob Legato: What does it take to create a team that allows you to realize your vision and the director’s vision? Michael Lasker: To build a team for Across the Spider-Verse, we had to enlist a team that would collaborate in this artistically-driven environment with a very graphic aesthetic.  We were already looking at artists during our work on The Mitchells vs. the Machines. A lot of people wanted to be part of the Spider-Verse; the trick was assembling people willing to experiment and find the visual answers to any number of challenges. The final look was an exploration, as we had six total universes to figure out and 1,000 artists across departments who thrived in bringing this unique film to completion. Rob Legato: On animation projects, artists often pitch their ideas; did that happen for you? Michael Lasker, Visual Effects Supervisor and Creative Director of CG Features at Sony Pictures Imageworks – whose team won the 2024 VES Award for Outstanding Visual Effects in an Animated Feature for Spider-Man: Across the Spider-Verse Michael Lasker: Artists pitched their ideas to directors and producers early in the visual development process. Once you get to animation, where you are infusing performance into the story, it reveals a lot of new ideas. So many times, animators will show several versions of shots in our ever-evolving process.  One of the biggest strengths of this film is that you can feel the hand of the artists in every frame. Rob Legato: Alex – Your work was maybe a more traditional approach. But when you have so many artists and vendors working on a project, do you go in with a set aesthetic vs. always looking for the next great visual? Alex Wang:  It helps to start with an IP that many artists love.  On season one (The Last Of Us), we had 18 vendors on the show who worked on more than 3,000 shots…it’s like working on a slew of feature films.  On such a big show, it’s important to involve our vendors as early as possible on prep and concepts…through conversations and on-set presence to help establish the look of the world we’re building. Alex Wang, Production Visual Effects Supervisor whose team won the 2024 VES Award for Outstanding Visual Effects in a Photoreal Episode for The Last Of Us. Rob Legato: When I work on things, I am continually gauging who is good at what and steering shots to them where they might excel, always moving things around.  What’s your approach to allocating and managing the work? Alex Wang:  With many of our vendors, we already had a shorthand and knew where they excelled…environment, creatures, etc.  While we are often catering to strengths, we also ask what they like to do as vendors and how they approach a variety of challenges…such as making sure that the infection is grounded in what this situation would really look like. Rob Legato: In balancing who leans into their comfort zone or embraces something new, I usually get a response that creates some excitement for me to move the work forward.  And when I’m assigning something, I usually don’t pick the technique upfront, because new things invariably come up.  What’s your approach to the evolving dynamic? Michael Lasker: We’re continually evolving how we’re doing the work while it is in process.   Some tools are written from the ground up and optimized, but we always add tools to the toolset.  Early artwork if often not representative of the final, as we come to challenges from different directions and add to our naturalistic work. Alex Wang: Because this was our first season, we were establishing a foundation of what worked. From episodes 1-9, we started to develop a rhythm… the abstract nature of the infected and creature work, that got easier in later episodes. But because this is a journey across America, each episode had a different look…day, night, seasons.  So every time we solved a challenge, the next episode posed a new one. Rob Legato: What are some of the differences in working on a show vs a feature? Michael Lasker: More stylistic animated features pose different challenges.  Cloudy With a Chance of Meatballs and Hotel Transylvania were more traditional; in Spider-Verse, we had to throw out the efficiencies and create new ones. Coming off the first Spider-Verse, we knew they wanted something bigger and crazier.  At the start we didn’t realize every shot would be so different; once we saw the reference artwork, it started to reveal itself. Rob Legato: Alex, since your show had 18 vendors, did you create any kind of key or bible to show a standardized look? Alex Wang: A large art of my job was ensuring continuity and I divvied up the work in a way that would help ensure that.  Conceptually, the game was my bible every time I needed a reference point; there is a beautiful book of game artwork.  Between reviews, it was inspirational to get me back into that foundational mindset and excitement. Rob Legato: Since you were working during the pandemic, did that help or hurt your process? Michael Lasker:  I was working on The Mitchells vs. The Machines, and in the course of one week, we moved 600-700 artists home, got their machines up and it barely affected production; surprisingly, production even increased. We tried to send out QCs every day. Rob Legato: My work style was always to go to someone’s desk, even before IO and dailies…I like to nip issues in the bud or redirect. So during COVID, we would do online desktop reviews, which was very similar. “On such a big show [The Last of Us], it’s important to involve our vendors as early as possible on prep and concept.” -Alex Wang Alex Wang: Even with 18 vendors, I needed to make everyone feel they were working under the same umbrella. Everyone’s work got dumped into Shotgrid, vendors see things right away and I like to give feedback ASAP. If we had 1,000 finals, imagine the throughput. We needed a system that worked efficiently. Rob Legato. Do you prefer working at home or in a studio environment? Michael Lasker:  I’m the last person in LA who loves going to the office every day.  Client reviews and getting people in a sweatbox is great, but I like hallway talk and brainstorms. Rob Legato: I like to hire people smarter than me and find the personality that seems like they have not been tested or given the opportunity to show the limits of their talent. I don’t have to have all the answers – I just have to get them. Alex Wang: I invite supervisors to set to see the process and build a relationship; it’s hard to do that over Zoom. I like to harness people’s potential who have complementary skills to mine. I always tell supervisors to give me a bold version, don’t be shy. Michael Lasker: I encourage people to bring their ideas and try to make a creative, empowering environment where people can become stronger supervisors and I let people know that their cool ideas may well end up on the screen. Go too far, because we’ll learn something from it. “To build a team for Across the Spider-Verse, we had to enlist a team that would collaborate in this artistically-driven environment with a very graphic aesthetic.” -Michael Lasker Rob Legato: You are both creating things we haven’t seen before and the quality of the work is extremely high. What else is unique about your way of working? Alex Wang: What’s unique about our show is our showrunner Craig Mazin – an incredible writer and leader. On a show where the effects should be invisible, it should not take us away from the characters. He will always be the biggest champion for visual effects and made everyone who touched the show feel special. Michael Lasker: My main partner is the Head of Character Animation. On these more stylistic shows, the animation drives a lot of the style, and we needed a way for it to translate downstream.  I’m always seeking the motivation for the style. And the team at the studio just got it – having a studio behind such a huge gamble was a great collaboration. Rob Legato: Some lessons I learned early on, including a Frank Capra quote which says – at any one moment, whatever is on the screen is the movie star. So everything you’re creating and cutting is important. Any final advice? Michael Lasker: For artists out there, follow your passion and don’t let anyone slow you down. Every shot is like a painting and we try to infuse love, care and enthusiasm. Alex Wang: Stay hungry and stay humble. And don’t forget that the computer is just a tool in service to the story.

There’s something about the devotion to simplicity we see in Scandinavian design. Clean lines and muted tones make it one of the most timeless design styles. But what happens when we infuse that signature calm with some modernism? The Curated Apartment, designed by Yevheniia Dubrovska and Yuliia Olenchyn and photographed by Yevhenii Avramenko, answers that beautifully. In this space, classic Scandi principles are complemented by bold materials and sculptural lighting. Let’s walk through the Curated Apartment and look through it. The living room in the Curated Apartment is rooted in Scandinavian principles. It features a muted palette of soft neutrals, crisp whites, and pale woods. These open up the room to light and air. But what truly elevates the space is the modern twist: sculptural furniture with organic curves, a striking brass chandelier that commands the ceiling, and bold yet balanced pops of color like the sunflower-yellow lounge chair and the teal-accented reading nook.  Each piece feels hand-selected, not for the sake of trend, but for how it contributes to the room’s sense of ease. Layered textures, including the subtly graphic area rug, add just enough dimension to keep things cozy without visual clutter. The kitchen in the Curated Apartment is a visual centerpiece. At first glance, you’re drawn to the exquisite veining of the marble countertops and backsplash. These ripple like fine art across the clean-lined cabinetry. The wood tones offer warmth and natural grounding, while the fluted white upper cabinets add texture. The kitchen transitions into the dining space with a glass-front cabinet, which turns dishware into decor. Whether it’s morning coffee or evening entertaining, this kitchen holds space for both ritual and beauty. The dining nook is effortlessly cozy and light-filled. The round wooden table encourages intimate conversation. The natural linen Roman shades filter in soft daylight. Paired with simple oak chairs and a touch of greenery, this Scandi-style space is designed for slow mornings, shared meals, and everything in between. In this bedroom, the bold, dark-stained headboard anchors the space with a sense of depth. The rest of the room remains airy and open. Light oak chevron floors and a sculptural shelving unit soften the contrast. Details like the matte black mobile chandelier and the wall-mounted globe sconce add a contemporary edge. This bedroom embraces a softer side of minimalism. With layered neutrals, warm wood tones, and gentle lighting, the space feels calm. The sculptural rattan screen and curved pendant bring texture and flow. This bedroom embraces a softer side of minimalism. With layered neutrals, warm wood tones, and gentle lighting, the space feels calm. The sculptural rattan screen and curved pendant bring texture and flow.

Olfactory Design: Spaces That Awaken MemoriesSave this picture!Mi Pan Bakery / Concéntrico. Image © Apertura ArquitectónicaWith each of the more than 23,000 breaths we take per day, air travels through the respiratory system into the lungs, where vital gas exchange occurs: oxygen is absorbed, and carbon dioxide is expelled. This involuntary and essential act also triggers another, less visible but deeply impactful process—our perception of smell. As air passes through the nasal cavity, odor molecules come into contact with olfactory receptors located in the olfactory epithelium. These receptors send signals directly to the olfactory bulb, which is part of the limbic system—the area of the brain linked to memory and emotion. Far from being a secondary sense, smell acts as a direct bridge between the environment and our deepest emotional responses. Scents carry a unique power to evoke vivid memories, elicit comfort or immediate aversion, and influence our emotional state almost instantaneously. Save this picture!This ability of scents to shape spaces, atmospheres, and memories is the foundation of what is known as olfactory design. The primary goal is to provoke emotional responses in physical environments—a sensory strategy gaining traction in architecture, retail, hospitality, and even institutional settings. It goes beyond simply adding fragrance to a space; it involves the intentional selection of scents that align with a place's identity, elicit desired sensations in users, and often reinforce a brand's message or a project's purpose.This aligns with the concept of atmosphere as defined by German philosopher Gernot Böhme, who describes it as a spatial quality perceived sensorially—a diffuse presence that surrounds and affects those within a space. In this context, smell plays a crucial role: unlike vision, which requires focus and direction, olfaction acts diffusely and immersively. It fills the environment in an almost invisible but deeply tangible way, capable of altering mood, triggering memories, and preparing the body for alertness, relaxation, or stimulation. As highlighted in the article Touch It, Smell It, Feel It: Architecture for the Senses, contemporary architecture is increasingly recognizing that space should be experienced with the entire body—not just the eyes.Save this picture!Smell as an Architectural ToolOlfactory design is closely related to sensory design, a field that incorporates all five senses—sight, hearing, touch, taste, and smell—into spatial creation. Within this universe, multisensory marketing explores how coordinated sensory stimuli shape consumer perception, create emotional bonds, and influence decision-making. This sensory dimension is also addressed by architect and theorist Juhani Pallasmaa, who in The Eyes of the Skin, critiques the dominance of vision in contemporary architecture and advocates for a design approach that engages all senses. According to him, smell is a fundamental part of spatial experience, capable of evoking memories and emotions with unparalleled intensity. "Architecture evokes memories through smell more than through shape or color," he states.Save this picture!Save this picture!Classic examples illustrate this power: the scent of popcorn in cinemas evokes pleasure and encourages consumption; the smell of fresh bread in supermarkets conveys warmth and increases dwell time; or the universally recognized "new car smell." Scientific studies have also shown that aromas significantly influence human behavior by activating brain areas related to memory, emotion, and decision-making. Pleasant fragrances can extend time spent in commercial spaces, increase purchase intent, and even alter subjective perceptions of temperature, spaciousness, or cleanliness. In healthcare settings, the use of essential oils such as lavender and bergamot has been linked to reduced anxiety and stress relief in preoperative patients, as shown in randomized clinical trials. In offices, subtle fragrances have been correlated with increased concentration, productivity, and general well-being. These findings reinforce the potential of olfactory design as a strategic sensory tool for creating more welcoming, functional, and emotionally resonant environments.In an increasingly overstimulated retail environment, the sense of smell is emerging as a powerful and underutilized channel. Scent branding—the development of exclusive scents to reinforce a brand's identity—aims not only to differentiate but also to create lasting emotional connections with users. Some brands develop custom fragrances that become integral to the experience. Luxury hotels spray their exclusive scents on linens and curtains, creating a memory-laden atmosphere for guests. Airlines infuse specific aromas in cabins to reduce flight stress and enhance comfort. Fashion houses go further, registering proprietary scents as part of their sensory branding toolkit, akin to logos, slogans, or jingles.Save this picture!Save this picture!Technology, Immersion, and ResponsibilityTechnology has enabled increasingly smart and personalized use of scents. Digital diffusers allow for scheduled scent release based on time, crowd density, or room temperature—enhancing both efficiency and impact. Presence sensors, automation systems, and remote control via apps are becoming common in commercial and hospitality spaces. Olfactory design is also entering digital and immersive territories. Virtual reality, sensory exhibitions, and artistic installations have started incorporating scent as a narrative layer. In multisensory experiences, scent is used to intensify immersion, trigger targeted emotions, or signal spatial and temporal transitions.Save this picture!As olfactory design evolves, so do the challenges around sustainability and health. The composition of scents—natural or synthetic—is a critical concern. Natural aromas derived from flowers, woods, and spices are often more sustainable and less aggressive, though they can be expensive and less durable. Synthetic compounds, widely used in industry, offer consistency and control but raise concerns regarding toxicity, environmental impact, and allergic reactions.Save this picture!Save this picture!For these reasons, several countries have enacted regulations limiting the use of volatile organic compounds (VOCs)—substances commonly found in synthetic fragrances—in enclosed environments. These regulations are particularly strict in high-traffic or sensitive locations such as hospitals, schools, and public buildings, where indoor air quality is crucial to occupant health. Olfactory design, in this context, must go beyond the creation of immersive experiences. It must also take into account diverse user profiles, including those with chemical sensitivities or respiratory conditions, and meet technical standards for air quality, safety, and accessibility.Evoking memories, stirring emotions, or reinforcing identity—all of this can be achieved through a single breath. To incorporate smell into the creative process is more than simply adding a fragrance; it is an opportunity to expand architecture beyond shape, color, and light—touching what is most intimate in human experience. Image gallerySee allShow less About this authorEduardo SouzaAuthor••• Cite: Eduardo Souza. "Olfactory Design: Spaces That Awaken Memories" 13 May 2025. ArchDaily. 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