As a Game Architect I combine three interconnected disciplines: game design, 3D environment creation, and optimized asset development, into one skill set.

I help studios, developers and creatives to bring their game concepts and 3D worlds to life, remotely, efficiently, and with a focus on quality and cohesion.

Game Design

I write and design game design documents, from one-pagers to complete game projects. This can include World building: consistent, grounded settings, characters, narrative arcs, quests, lore, detailed 2D (world) maps, level designs, and gameplay systems.

My designs include clear visual overviews: structured schemes, tables, charts, pitch decks, lists, GUI/HUD concept designs, all depending on project needs. Design either happens in function of a specific briefing, or can encompass defining a solid direction and art style, game feel, atmosphere, functional, technical, art & asset requirements to fit within budget.

The essence of this service is helping you to shape and clearly define your project's vision — and present it with confidence, structure, and clarity.

3D environment creation / level art

I can also help your project by translating designs into 3D worlds with Unreal Engine 5. This includes reference selection, level/environment (map) design, terrain creation, 3D block-outs, and a tailored, organised, structural approach to a detailed implementation. Whether open-world or level-based, real-time or cinematic: believable, convincing environments are built on a strong foundation and planning. If it fits within a project's setup and pipeline, I endorse leveraging modular assets and non-destructive workflows and tools that can save you a lot of time and energy.

For 3D environments with biomes, architecture, and locations to feel convincing, they must appear structurally sound and authentic. That means: research, alignment, decisions, and proper design foundation. No floating elements, structurally impossible assemblies, or paper-thin meshes where thickness is expected. Such mistakes can break immersion and trigger the uncanny valley, making the player feel a dissonance in their experience — exactly what we want to avoid. I also bring an eye for detail, composition, lighting & color.

To build truly immersive, believable digital environments, I draw on two key insights:
1. Years of real-world observation — visiting (historical) locations and museums, studying construction methods, and researching (traditional) crafts, architecture and local nature.
2. Continuous analysis of what makes and breaks immersion in digital experiences — and how to avoid the observed pitfalls with smart design choices to sustain the digital illusion.

True player immersion happens when environments feel believable to move trough. They must make sense within the game world and setting, and enhance the experience through cohesive environmental storytelling, aligning with other game elements like sound and lore. To support this, I maintain a personal reference library of thousands of curated thematic images and studies — actively built and refined since 2011.

Feel free to check out my article "Distilling the Essence of Historical Architecture" for a deeper dive into my approach to convincing visual worldbuilding.

Optimized, game-ready 3D asset creation:

I decided to specialize in the creation of modular (historical) 3D architecture & props. 
Why? Because I enjoy this, and it aligns perfectly with my other projects, skills, interests, and long term goals. I deliberately don't create characters, stylized fantasy assets, low-poly stylized sets, animations, or other 3D stuff, to be able to focus on reusable, qualitative, and optimized content for real-time rendering. 

My 3D assets use easily replaceable texture sets, with one consistent texel density across all UV unwraps. This way, you can easily make the assets fit in and blend into your specific project and art style. The assets are Leveraging Epic's nanite technology in Unreal Engine 5. With modular generic assets as instanced building blocks, it is possible to create a multitude of possible unique combinations and assemblies with a limited amount of different parts. Project-defining unique parts can be modeled/added using the same materials if required.

Modular kits are reusable, save time, and ensure a consistent level of detail and quality throughout the visual experience. For larger projects and environments, it's the way to go.

In support of the 3D asset sets, I created a specific master material for Unreal Engine 5 to be able to smoothly implement a consistent great and custom look, material quality and texture scale in any Unreal Engine 5 project. The repeating textures can easily be changed and can be setup without any visible tiling. The material uses a well-researched approach to ensure a minimal impact on performance, along with other well-considered optimizations.

Check out my FAB Marketplace page or follow my YouTube channel for an accurate impression and future releases. (Currently in development)

Tell me about your project needs, vision, doubts, or any question.
Feel free to connect on LinkedIn via my personal profile or company page!
–> Send me an e-mail <–

Before any collaboration, I offer a free call to feel if there is a mutual click to work together. If we decide to continue, you can choose from two pricing options (€/$):

1. A fixed rate per hour (min. quantity: 2 hours)

2. We agree on a fixed price for a well-defined deliverable or task

Let’s discuss your project: just send me a simple e-mail and I will get back to you soon.

My favorite tools are: Unreal Engine 5, Blender, Photoshop, PureRef, Draw.io, Trello, Articy: Draft, and World Machine.

Why work with me?

For all my life, I’ve been designing games. But I also have technical insight: I own a professional bachelor degree in applied informatics, did a full year of film studies in art school, and followed one full year of digital arts and entertainment studies. Those five years of higher education were a solid foundation to build on. I then collected over five years of professional experience working for multiple international clients (companies) as an IT consultant in various roles , which gave me deep and broad insights on working with different teams, workflows, organizations and projects. In 2019, I founded my own digital creative company: Past Future Entertainment, fully aligned with my true calling & passion.

I embrace lifelong learning: I continuously study, take on new courses, follow up on relevant technology updates in the digital entertainment industry, and actively ask around for feedback. I also gather experience working on several professional in-house projects. I really thrive in complex settings and I enjoy challenging projects. In my current position I combine creative, design, and technical skills into one versatile profile I decided to name “Game Architect”.

Writing, design, environmental storytelling, composition & design principles are as important to me as cheese on a pizza. In my free time, I like to explore nature and historical (architectural) locations: the real world is my main inspiration, and reference.

My part-time availability ensures a peak performance, focus, and top-quality output can go to your project during my most productive deep work hours of the day. All creative assignments include IP transfers by default, ensuring you retain full rights to your project.
I am familiar with Non-Disclosure Agreements, IP, copyright, and SCRUM workflows.
Expect professional, clear and efficient communication in English and/or Dutch, and a positive, can-do attitude.

Let’s talk about your project, your vision, what you want.
Asking is free! Send me an e-mail:
contact[at]past-future-entertainment.com
I usually reply within 24 hours.

I strongly believe remote work is win-win for both clients and creatives. Here‘s why:

I work very efficiently from my own office in Belgium with a custom, optimized setup.
A powerful workstation with multiple monitor setup, customized professional tools and software, a fast, reliable internet connection, and most importantly: an office door that can be closed, with no distractions coming trough. This way, I can work with full focus and at peak performance. This tailor made setup was built from scratch and optimized precisely.

I am a big advocate of focus goal work sessions. During such sessions, I put my phone away, close my mailbox and any open distractions until the session is over. I learned from experience that my best work and productivity peaks when I can lock out all external distractions during a serious block of time to build flow. This can sound quite obvious, but the ability to really implement that is by far not an easy default in many work environments and offices. I also avoid multitasking, daily commutes, and (not really required) meetings. We don’t only manage time, but also focus, and energy!

I am convinced that (open) office spaces can distract creatives from reaching their full potential output, and slow down the efficient execution of deeply creative tasks. At least for me personally, this is true. Shared workspace setups can certainly work and have their value for certain businesses models, teams or personalities, but in my own creative work I discovered long ago that I really thrive outside the nine-to-five mindset, and within a distraction-free workspace. That’s important, and it’s the reason why I choose to offer remote work: it’s a big win, for both you and me.

Feel free to reach out via e-mail to address any questions or doubts you might have.
You can also check out my “about Past Future Entertainment” post for more info on some of my projects and the company itself. I wish you a great & fantastic, creative day!

Do you know someone who could benefit from these solutions?
You can send them this permalink. I thank you in advance!

_{Note: game design ≠ game programming. I also don’t create 2D visual assets or game packaging art. I have noticed that the term “game design” is often misunderstood — even within the game industry. So let’s clarify:
In the context of my work and company, game design refers to the structured, intentional design decisions of what a game is and how it should function and play. This includes concept and narrative design, system design, mechanics, player experience, and technical requirements — all forming a solid foundation to guide implementation and communicate a consistent vision. By contract, the broader term “Game Development” spans the entire production pipeline, but typically emphasizes the technical realization of those design decisions.}