Professional Experience
My career began in 2015, when I started training as an architect after my undergraduate studies. Alongside my role as a Part I Architectural Assistant, I naturally gravitated toward visual storytelling and soon became my firm’s in‑house visualiser. That early mix of design, problem‑solving and communication set the tone for the rest of my career.
After completing my postgraduate Architecture degree, I transitioned fully into visualisation, working across several of London’s leading architectural visualisation and film studios. These years strengthened not only my technical craft, but also my ability to understand how people engage with complex ideas when they’re made visual, narrative and accessible.
In 2023, I shifted into foresight, futures thinking and sustainability work; areas where I could bring together design intuition, analytical thinking, and a genuine interest in helping others understand emerging challenges. Since then, I’ve focused on translating intricate systems, data and concepts into clear, engaging and human‑centred visual outputs. I’ve gained experience in both creative direction and project management, ensuring clear, high-quality and visually engaging work delivered on time and on budget.
Across every stage of my career, I’ve been driven by curiosity, collaboration, and the belief that good design should make information easier to understand, not harder. I enjoy working on projects that require both rigour and creativity, and I’m always excited by opportunities to help teams communicate their ideas more effectively.
Below are some examples of work; please feel free to reach out for more.
After completing my postgraduate Architecture degree, I transitioned fully into visualisation, working across several of London’s leading architectural visualisation and film studios. These years strengthened not only my technical craft, but also my ability to understand how people engage with complex ideas when they’re made visual, narrative and accessible.
In 2023, I shifted into foresight, futures thinking and sustainability work; areas where I could bring together design intuition, analytical thinking, and a genuine interest in helping others understand emerging challenges. Since then, I’ve focused on translating intricate systems, data and concepts into clear, engaging and human‑centred visual outputs. I’ve gained experience in both creative direction and project management, ensuring clear, high-quality and visually engaging work delivered on time and on budget.
Across every stage of my career, I’ve been driven by curiosity, collaboration, and the belief that good design should make information easier to understand, not harder. I enjoy working on projects that require both rigour and creativity, and I’m always excited by opportunities to help teams communicate their ideas more effectively.
Below are some examples of work; please feel free to reach out for more.
The Future of Making
A multi‑pronged project, spanning report, book, exhibition, film, drawings, renders, analysis, research and storytelling, brought together a team’s full breadth of skills to propose a radical premise: waste does not exist. Every material is tracked, reused and respected within planetary boundaries, shifting society from passive questioning to active participation. By designing a world where today’s objects are continually recirculated rather than discarded, the work challenges decades of unchecked growth and imagines a regenerative system built on responsibility rather than extraction.
The Future of Goods Movement
A concise report distilled the team’s findings on how shifting consumer habits are reshaping global logistics, and raising urgent questions about resource use. By pairing scenario‑based reasoning with today’s real‑world freight data, the piece revealed how different transport modes influence both the availability of goods and the future availability of the resources that make them possible. The result was a clear, compelling case for rethinking how we procure and move the things we rely on.
Water Worlds 2050
A world‑building design exercise for an immersive workshop at Stockholm’s World Water Week (hosted by the Stockholm International Water Institute) required crafting a suite of collateral: worksheets, persona lanyards, animations, stickers and interactive matrices. I developed a visual language that felt both familiar and intriguingly new, helping a room of futures‑thinking specialists engage deeply with the scenario.
The session brought together a packed room of climate and water experts, regenerative designers, foreign dignitaries, activists and sustainability leads for a focused hour of collective imagination. Together, they explored how humanity might take decisive action between now and 2050 to prevent the most extreme water futures.
The session brought together a packed room of climate and water experts, regenerative designers, foreign dignitaries, activists and sustainability leads for a focused hour of collective imagination. Together, they explored how humanity might take decisive action between now and 2050 to prevent the most extreme water futures.
Graphic Design
Being an interdisciplinary designer means the work is varied, fast‑moving and often unpredictable. At times it involves building a “Miroverse” so stakeholders can navigate familiar tools in fresh, engaging ways. Other days it means crafting an infographic in under two hours from raw data alone, or rapidly assembling a research report and defining its visual language from scratch. This breadth creates space to explore different visual styles, balancing brand adherence with thoughtful boundary‑pushing to elevate each brief beyond the expected.
3D Rendering
Sometimes a project demands photorealism, or at least a convincingly real illusion, to land its message. Using tools such as 3ds Max, Blender, Modo and Houdini, I create 3D simulations that feel tangible, then elevate them through compositing into stills, motion pieces or full animations. These techniques form an essential part of a skillset honed over more than a decade.
Renders have helped win projects, clarify thinking for clients and stakeholders, and tell both stories and cautionary tales. When an idea needs to feel more immediate or more human, a well‑crafted visual can bridge the gap between skepticism and genuine buy‑in.
On-set Experience
Alongside my design and visualisation work, I’ve gained hands‑on experience on film sets, supporting a range of projects from early planning through to final delivery.
I’ve coordinated shot lists, helped manage on‑set workflows, and produced the visual material needed for both pre‑production and post‑production.
My experience includes green‑screen recording and vox‑pop video setups, often working within fast‑moving schedules. I’m comfortable adapting to different timescales, budgets, and team structures, and I enjoy the collaborative, problem‑solving atmosphere that comes with production work.
Marie Cruwys-Wong • Designer