Lukas tackles the challenge of visualizing BOGL’s subtle rest stops in Norway. With limited time and the project’s unique nature, only one artist took the lead, while art director Jan offered insights. Dive into Lukas’ approach in the interview with Pavla.
The Norwegian Scenic Routes are roads through the nature of Norway, enhanced by architecture and art. They are designed by architects whose proposals have been selected for their minimal intervention in the landscape. Whether it’s a rest and picnic area or a viewpoint, they take people to breathtaking places. Places you might not otherwise visit.
BOGL asked us to create a new chapter in their story: To visualize their proposal for two rest areas near Suldalsvatnet lake. Even though it was not selected and only two team members worked on the project, it was an unusual and exciting journey that we decided deserved its own blog post.
Lukas, can you take me through the first phase of the project? What was your first impression?
Lukas: We didn’t even know if we could say yes when the BOGL team contacted us with their proposal. Adding as little as possible but as much as necessary is hard to do, especially in the middle of nature. But we are in love with Norwegian nature and minimalist design, and we are always up for a challenge. Besides, the local clients are okay with overcast skies, and we love them for that.
Was the subtlety of design the only consideration?
Lukas: Like any competition, I had limited time and a tight deadline. The support materials were limited, we had a minimum of reference photos, half of them in winter, which the client wanted to avoid visualizing. I knew from the very beginning that I would have to model the environment completely in 3D.
What steps did you take to familiarize yourself with the environment?
Lukas: I made the most of what I had. I combined Google Street View and photos available online. I tried to understand the environment as much as possible. Authenticity was a top priority for me.
It sounds daunting to find the balance between subtle architecture and authentic nature. Suddenly the environment is more important than in other archviz projects, right?
Lukas: Well, since the architecture was practically left behind, I just had to put all the effort into the authenticity. We tried to find a way not to make the environment completely 3D. There was no way around it. So we had to spend a lot of time on it.
What were the biggest challenges that you had to face during this process?
Lukas: Finding and achieving harmony. Choosing appropriate vegetation, rocks, and stones and putting them together randomly, but with a certain conformity. Finding and creating the right assets took most of my time. I even created my own shader with a moss.
Do you enjoy “hunting for details”?
Lukas: Some moments hurt, but I was able to do what I enjoy most about visualization: finding what is specific to each location and getting as close to authenticity as possible. I love to focus on the details. To make everything work and respect the environment.
So, in the end, you modeled all the environment in the visuals?
Lukas: For one of the five final images, I partially used a photograph. The rest is completely 3D, with assets either created by myself or taken from our warehouse. Megascans also helped a lot.
When finding the right camera angles, did you respect the environment?
Lukas: I was looking for angles with curves and shapes. But since I was working on the environment most of the time, my mind was stuck on geographical facts. I struggled a bit to find the right angle. That’s where Jan, our art director, came in. A fresh set of eyes and insight pushed me to be more daring while still staying true to the locations. In the end, we found fascinating camera angles. They show both the design and nature in balance.
Did you meet the client’s eye when choosing the final cameras?
Lukas: Overall, we did. The client didn’t want one of the cameras. But Jan and I were able to explain its qualities. It happened to me the first time, changing the client’s mind.
And do you have a favorite?
Lukas: As we managed to change their mind, they also changed mine. There is a wide camera that I was not quite sure about, because it shows a lot of the environment . But paradoxically, now I like it the most. It has elements of a painting, soft and pleasant light. And even though there’s a lot going on, there’s not a single moment that would look bad and ruin the feeling.
You mentioned the tight deadline. Is there anything you wish you had more time to do?
Lukas: As a matter of fact, I loved that there was just the right amount of time! Because we didn’t have much time to spare, we never got to the final stage, where everyone involved is giving subjective points of view, and there’s a lot of tweaking and changing that very often doesn’t really help the final image. For me personally, it was a very refreshing experience.
What else do you like to remember from that time?
Lukas: I enjoyed the abstraction and conceptualism. These types of projects require clever and sophisticated solutions to achieve the maximum in the given time. I love finding new ways to achieve that.
How was it for you to communicate with foreign clients?
Lukas: This was the first time I had the opportunity to be alone and directly in touch with a foreign client. The team of BOGL has been incredibly forthcoming and understanding. We met in the process and in the way of thinking.
Numbers & facts:
Hours spent: 63 hours
Number of images: 5
Team: Lukáš Dvořák, Jan Lankaš, Daria Chertkova
Project: Two rest stops at the Norwegian Scenic Route
Year: 2023
Designed by: BOGL
Our first collaboration with BOGL:
Havana town square
