Platforms, campaigns and products built to last.

HyundaiUSA.com is where most people meet the brand before they meet a dealer. I led its relaunch end to end: customer experience, UX and UI, engineering, personalization, CRM, analytics, SEO and content, all from inside Hyundai's in-house agency.

That meant directing a 60-person team across strategy, design, technology, content, analytics and project management, and holding a single coherent direction across all of it. Alongside the relaunch I initiated a personalization strategy as well as an AI integration program aimed at making the digital experience more responsive to individual customers.

Oculus Quest was Facebook's first standalone VR headset, and it arrived with a marketing problem no budget solves. Virtual reality only makes sense once you have been inside it. First person footage does not travel. To anyone who has never worn a headset, it just looks like a video game.

Everyone who tries VR has one moment where they briefly believe the impossible. Catching a bullet in mid air. Standing toe to toe with Darth Vader. Those moments happen to the person, not on the screen. So the campaign stopped showing the game and started showing the player, using mixed reality capture to put someone and their virtual world in the same frame. We called it Defy Reality.

I led the project together with Meta Lab, across film, out of home in Los Angeles, San Francisco and Chicago, digital takeovers, lifestyle photography and Oculus owned channels.

Global brand stewardship for Visa: amplifying the positioning and making sure it survived contact with 24 different markets. Every market has its own culture, its own media reality and its own good reasons to bend the brand a little. Enough small bends and there is no brand left.

So the work was less about policing and more about equipping. I mentored regional and local brand specialists and guided them on creative execution, so that consistency came from shared judgment rather than from a rulebook nobody reads.

AutoScout24 Direct lets people sell their car straight to a dealer. The campaign had to make that feel simple and human, and it had to run everywhere at once: social, YouTube, automated video delivery and digital out of home, each with its own formats and cuts.

We filmed the sellers in live action and generated the world around them. The dealer scenes exist only as pixels. Midjourney built the visual worlds, Kling the sets, Veo the human motion, Seedream and Nano Banana the retouching, Topaz the scale, ElevenLabs the voices.

Generative tools did not replace the crew. They built what a crew could not have afforded to build, which is the honest case for AI in production: not cheaper versions of the same work, but work that would otherwise never have been greenlit.

The Swiss Paraplegic Foundation was already one of Switzerland's best-known non-profit organizations. But membership growth had slowed, especially among people under forty.

The previous communication focused on vulnerability. We shifted the story toward self-determination, showing people with spinal cord injuries not as passive recipients of support, but as active parents, partners, friends and professionals.

The campaign connected that human truth with the strength of a community of nearly two million members. It ran across television, out-of-home, digital, social and CRM, with more than 200 creative adaptations continuously optimized throughout the campaign.

The result was a powerful return to growth.

For Four Seasons Resorts and Ritz-Carlton, we designed an in-room digital experience that brought the hotel's services together in one place. Guests could explore activities, order amenities, shop, make requests and access services at the moment they needed them, without calling the front desk or interrupting their stay.

Luxury hospitality presents a particular design challenge. Technology must make the experience feel more attentive without becoming more visible. If it feels like software, it has already taken up too much space.

The goal was to turn a complex service environment into an experience that felt intuitive, personal and quietly present.

Diagnostic results are usually designed for clinicians, even though the information ultimately describes the life and health of a patient.

We designed a connected ecosystem of three platforms. A patient app that made results more accessible. A pharmacy based check-in experience. And a professional platform that supported physicians across the diagnostic workflow, from ordering tests and registering patients to printing specimen labels and reviewing results.

We led the work from functional requirements and UX architecture through visual design, front-end development and quality assurance.

The central challenge remains relevant today. Health information is most valuable when the people it concerns can understand it, while clinicians still have the depth and precision they need.

The work was developed for Theranos before the company's claims and conduct became publicly known.

Multiple sclerosis rarely follows a predictable path. Symptoms differ from person to person and can change from one day to the next, making it difficult to understand the disease through occasional clinical appointments alone.

Roche's Floodlight Open study used everyday smartphone interactions to collect data over time. The aim was to create a richer, more individual picture of how multiple sclerosis affects movement, cognition and daily life.

Our task was to make the study understandable and participation feel worthwhile. The platform had to explain what was being measured, how personal data would be used and why a person should contribute it.

In a field shaped by complexity and understandable caution, clarity became more persuasive than promotion. The experience was designed to make participation feel informed, purposeful and accessible.

Over two years, Yo-Yo Ma brought Bach's complete Cello Suites to 36 cities across six continents. The tour was guided by one question: how does culture connect us?

The Bach Project began with the belief that culture can turn division into understanding. It is a powerful idea, but not one that can be proven through a conventional campaign.

So we did not try to answer the question for the audience. We invited people around the world to show us how they express culture, then created the music video entirely from their contributions.

The film became the answer. A collective portrait of culture, created by the people the question was about.

Call of Duty is one of the world's largest entertainment franchises. Every launch brings together a global audience, a complex product ecosystem and an extraordinary volume of creative work.

During the Black Ops 4 cycle, I led the client relationship and the collaboration between Activision and the agency across a year of campaign development.

At that scale, leadership is not only about protecting the quality of the idea. It is about creating the conditions in which strong ideas can survive. Aligning stakeholders, navigating competing priorities, maintaining momentum and helping decisions happen at the right moment.