Creative Environments: Eleven Visualisation's Aneta Gesiorska and Joana Sobrinho Maduro on Sensitivity and Pushing Boundaries

By Julia Gamolina

Aneta Gesiorska and Joana Maduro are co-founders of Eleven - a London based Architectural Visualisation practice. Although their paths to finding passion in architecture were quite different they found their common interest in an area that perfectly combines design with technology. Their everyday role is to combine visions of architects, designers, real estate developers and marketing specialists in order to portray their design in the most visually engaging manner. Over the years in the industry, they have learned the importance of good 3D imagery in the design process, through engagement with a wide spectrum of clients. In their interview, they share their experience through finding their ways as artists and small business owners.

JG: Tell me about your foundational years - where did you grow up, what did you like to do as a kid, and what was the biggest challenge you faced growing up?

JM: I was born in Porto, Portugal and raised in a small city nearby. My parents, both teachers, also had side jobs researching linguistics and literature. Growing up seeing them so passionate about their careers and their studies and seeing them both publish books made me wish to equally find my passion and dedicate my life to it from an early age. And for some time I thought that I had found it with my passion for ballet. I committed myself to this art form for many years, which helped me understand that behind the subtle and elegant movements of a ballerina, there’s so much hard work in technique and coordination. While seeing the blood on my tiptoes made me turn away from a professional ballerina career, ballet certainly helped me choose another career where I could subtly combine creative art with technical excellence.

AG: I was born and raised in a smallish town in south-eastern Poland. It is not necessarily a place with an abundance of extracurricular activities, so like most kids who find themselves in that situation, I focused the majority of my energy on living in a virtual world, through my computer. It was around the age about thirteen when I decided the 3D graphics industry was definitely what I was destined to be a part of. To my great disappointment, no Polish university at that time would recognise this as a serious career path. Architectural visualisation was something that I was instantly drawn to plus I believed that architects are one of the most respected professions one can choose. And so the decision was made, architecture it was. At that point, it seemed to be a fairly easy path to my goals. Little did I know, that while yes, it is a very respected career choice, it is definitely not an easy one.

Aneta and Joana with the Foster + Partners team.

How did you get your start in the field?

JM: I finished my Masters Degree in Computer Animation in 2012. Following my thesis supervisor’s advice, I decided to focus my studies on the 3D Lighting algorithms that are responsible for rendering the light in 3D visuals. One of my teachers, who was an Architect, introduced me to Architectural Visualisation, and this opened my eyes to an industry I wasn’t even aware of. My grandmother is still not able to explain what I do to her friends, so not much has changed. My interest in Architecture truly flourished when I joined Foster + Partners in London as a 3D Artist. Being around such talented people who all had backgrounds in Architecture was very intimidating at first, and finding my place in the team was an exciting challenge that was ultimately good for my confidence and creativity. A few years later I was delighted to join The Boundary Visualisation, where I took my 3D skills to the next level.

AG: I consider myself extremely lucky when it comes to my early professional experience. When I graduated in 2014, I was absolutely sure that the chances of getting a paid job in any field even remotely related to architecture were close to zero. My self esteem was the size of a peanut at that point. I clearly remember the day when I sent my portfolio to Foster + Partners. To my great surprise they got back to me and a week later I was already climbing up their grand entrance staircase to start my first day as a Design Communication Artist. It goes without saying that joining the F+P London office has truly transformed my career and set the direction of all my future professional decisions. It’s hard not to be influenced when surrounded by so much talent and passion. That’s where I met my current business partner Joana, some of the clients that we now work with and many of my dear friends. Working for F+P gave me reassurance in my excitement in architecture and design. It was, however, only after I joined The Boundary Visualisation team that I realised creating images can be a genuine career choice, and even one to be proud of.

“My core mission is definitely helping build a friendly and enjoyable workspace where we all feel appreciated while doing work we feel excited about...it is in our hands to search for that inspired sparkle that keeps us running with curiosity, passion, purpose and integrity. ”

— Joana Sobrinho Maduro

How did you eventually start Eleven Visualization?

JM: Starting Eleven with Aneta was a natural step, having worked together for five years. The decision to leave our comfortable lives in full-time employment behind was not easy but essential as we wanted to have a strong say in what kind of projects we devoted ourselves to professionally.

Our approach was different from the very beginning. We didn’t want to start as freelancers and take the risk of having a portfolio of content we couldn't take much control of. Instead, by having our own clients and having creative freedom, we could curate our portfolio by creating the kind of images we want our future clients to ask us for. The Douro Valley Hotel & Winery project designed by OODA Architects was an opportunity to showcase our skills and build a portfolio around it within a very short timeframe. Not having an income and living in London is not something we want to be doing again.

AG: Joana says that she always knew that we would be starting something new together one day. We got our chance when we met OODA architects in Porto, Portugal during early 2019. They were working on the perfect project in the most amazing location and they were willing to collaborate with us. The timing wasn’t ideal but we both felt it was our ‘now or never’ moment. So we leapt! And Eleven Visualisation was born.

Now, two-and-a-half years after that first trip to Douro we’re a proud team of three. Carl, who joined us at the beginning of this year, is an amazing addition to our little team and has created some of Eleven’s best work so far.

Where are you in your career today? What is on your mind most at the moment?

JM: It’s been challenging to be in a position where I have to do management work whilst toggling between multiple projects, client communication and the artistic work itself. Apart from growing our in-house team, having a trusted handful of freelancers has proved essential lately. Most of the time, we try to outsource only 3D modelling work, to keep our team available to explore the artistic side.

AG: For now we’re focusing on growing in slightly different ways. One is building healthy relationships with our clients. I believe that in the creative field it’s all about finding the right partnership. You can of course adjust your workflow and style to a certain point but often it’s the collaborations where esthetics and temperaments seem to flow seamlessly that really works.

Another area that we’re aiming to grow at is design. We don’t want to be visualisers who can only do what they’re told to do but also those who are able to also offer their own input. As such, keeping up with design fairs and art shows is something that became very important to Eleven. We even started running a little personal project where we would collaborate with friendly architects, interior designers and artists to develop our knowledge and sensitivity a bit further.

Looking back at it all, what have been the biggest challenges? How did you manage through a disappointment or a perceived setback?

JM: I am proud to say that there hasn’t been a single setback that we haven’t turned into an opportunity. Most of the time we actually look forward to challenges as problems to solve and they give us many nice stories to laugh about too. Client presentations being one of them, as it is difficult to say in words what we do and explain the true value of it. Although we came to realise that Eleven is not about big words, and we happily accept that. We are just very lucky our clients trust our eyes more than our words!

AG: Anyone who has ever worked with me knows that I’m not particularly big on the idea of putting yourself out there. When the output of your work is visual, it’s very easy to hide behind it. Being anonymous is an extremely comfortable place to be. Nobody can judge you, no words can hurt you. So, while just the thought of someone reading through this interview gives me the chills, I have to recognise that it’s important to push our boundaries. In the end, what is the worst that can happen? You get some criticism, a few laughs - then you shake it off and continue doing your thing. As they say, the more times you fall the easier it is to get up and move on.

It’s the same process when progressing as an artist - the more you put yourself and your ideas out there, the quicker you evolve as a creative. I believe that being comfortable with receiving criticism, however painful and personal it might feel at times, will get you far in any industry.

“The first project you’re assigned to, the way feedback is being delivered to you, the way your team handles stressful situations - it’s all so important when you start. Then, slowly but steadily the creative environment you find yourself in moulds the kind of artist and team player you’ll one day become.”

— Aneta Gesiorska

What are you most excited about right now?

JM: Getting to a stage where managing multiple projects becomes easier, as we get more experienced in the different timeframes that each project requires.

I am also excited to start working on our current R&D project, which was born during the pandemic last year. Having some extra time on our hands, we started wondering how we could improve our collaboration with our clients, that could challenge us to go beyond our 3D skills. We see ourselves so often in a position of having to propose architecture solutions or even interior design, which made us realise that perhaps we shouldn’t invest only in learning new software or technologies, but also educate ourselves in the Design process.

The way we found to tackle this was to come up with an architecture project! We got a few talented architect friends on board, who have worked for over a year in architectural design, and we are now in the process of developing the interior spaces. Even though this project is far from giving us real-world experience, it has nevertheless been a humbling and expansive experience that shows us the challenges of putting together a big team.

AG: There’s probably some healthy balance of the work aspects that we’re comfortable with and the ones that make us feel challenged. Something that I’ve always seen as extremely exciting yet a little scary at the same time, is becoming an employer. I know from my own experience how much influence one can have over a young inexperienced artist. The first project you’re assigned to, the way feedback is being delivered to you, the way your team handles stressful situations - it’s all so important when you start. Then, slowly but steadily the creative environment you find yourself in moulds the kind of artist and team player you’ll one day become. I’d like to think that realising the importance of this task is already a step towards not being a nightmare of an employer but I feel that we should constantly remind ourselves how it was to be on the other side. Or rather, remember that there are no sides at all. We’re all one team working toward a common goal.

What is the impact you’d like to have on the world? What is your core mission? And, what does success in that look like to you?

JM: My core mission is definitely helping build a friendly and enjoyable workspace where we all feel appreciated while doing work we feel excited about. I don’t believe every project will motivate us in the same ways, but it is in our hands to search for that inspired sparkle that keeps us running with curiosity, passion, purpose and integrity.

AG: We often get asked about what makes Eleven different from other studios. We’d love to have a big bright mission from the day we started but the reality is that we just took something we loved and turned it into a business. And now slowly but steadily we’re building it up to something that will give us and other people around us satisfaction and enjoyment. Plus that sign of joy, relief and gratitude that we get when we send our work to clients - that really never gets old.

Success is a rather subjective term. You can be terribly successful in the eyes of others and perhaps not so much in your own perception. It’s probably worth remembering that when you suddenly wake up in the middle of the night thinking your life is a total mess - definitely happens to me sometimes! I remind myself that the thirteen-year-old me would be pretty excited if she heard what I’m up to these days!

What advice do you have for architects, given the many that you've worked with?

JM: Always do your best to motivate and inspire the people you work with on every project. When we are being briefed about our client’s projects, it makes a huge difference when architects and designers take the time to properly explain the design process and decisions they’ve made along the way. It might not look important at first sight and even feel like it is taking valuable extra time, but it makes a huge difference in the long run.

AG: The more I observe the natural environment of architects, the more I think they really are a species of their own. The ability to fuel yourself with only a grand dose of passion and determination is rather admirable. It does, however, become heartbreaking to watch when it’s later mixed with frustration and lack of confidence. I think a lot of creative people start their career with this misconception that things will magically work out and in a few years you’ll be exactly where you want to be. even when you don’t really know where that is. I very much doubt there’s anything written in the stars. If you don’t make your bed in the morning it’s extremely likely you’ll come back home to a mess. I too went through a period of frustration and bitterness towards people who I thought were responsible for my creative misery. At some point I had to be honest with myself though and admit the only person responsible was me. I have taken a lot of risks since then. Plenty of ups and abundance of downs. There’s one thing I’m absolutely sure about now - I much rather fall asleep exhausted but with yet another challenge undertaken than have to tolerate the daunting thought that my life is just passing me by.

Finally, what advice do you have for those starting their career? Would your advice be any different for women?

JM: Your network is your biggest asset. The Architectural Visualisation world has so many perks, and going to 3D conferences and events is one of them. Plenty of companies attend these events every year with their teams, and it is usually a very friendly environment. If I were to advise someone to take action, this is the single best opportunity I can think of to reach out personally and professionally, and perhaps even to show off a few of your portfolio images. For women in our industry: don’t be afraid as there are plenty of us and we are here to stay.

AG: Similar to what I’ve mentioned before - I think the worst thing that can happen to those starting their career is the lack of direction. It’s probably difficult to have a perfect work goal when you’re 16 but it’s important to keep checking with yourself what it is that you enjoy and where you want to end up in a couple of years. If you don’t decide that, someone else will do it for you and you may not like the result.

It’s also good to remember that there’s always time to shift directions. I read somewhere that the most brilliant ideas came from people who mixed different disciplines and experiences in their life. Another big one for me is, don’t be shy with your goals! It seems like an obvious reality to me now that I have a job that I love, that I work with friends, collaborate with some of the brightest minds in the industry and live in one of the most amazing cities in the world - but that wasn’t always the case. Not that long ago all of that was just a distant dream of mine. I guess now it’s time for some new ones.

As for the advice for women, I can't really say that I’ve experienced much inequality in my professional life in England. There are so many supportive initiatives for 3D artists here that I feel there’s very little reason to complain. Not to mention that I did have some very openly sexist teachers when I was a student. In this case, there seemed to be a pretty simple solution though - prove them wrong and eventually they’ll be forced to change their minds. Actually some of them didn't mind doing so. So have a goal, work hard, don’t get discouraged easily and stay truthful to your values.