Before the films,
there was
a shared table.

Was architecture always the plan?

Not at all. Rugby was a huge part of my life growing up. I captained my high school team and the Limpopo team, and rugby opened doors to school and university bursaries. A lot of people thought sport would be my future. For a long time, I thought so too.

But when it came to choosing what to study after school, I wasn’t sure. I knew what I loved doing on the field. I hadn’t yet found something that gave me that same feeling away from it.

So how did a crowded restaurant change that?

It was around 2015, if I remember correctly. I was at Nando’s, and the place was packed. A very smartly dressed man asked whether he could share my table. There was space at mine, so of course I said yes.

He had come there to get some work done. He put on his earphones and started working, and eventually we got talking. He told me he was an architectural draughtsman. Then he designed a house right in front of me.

I was completely hooked. That same night, I went home and researched the profession: what to study, what software people used, and what the work involved. I had gone out for something to eat and come home with a possible career. Quite a productive meal, looking back.

What kept you interested after that first moment?

The people. Very early on, I realised how much a building means to someone. A home is where you raise your children, keep the things that matter to you, and create memories. For many people, building a home is one of the biggest milestones of their lives.

And that meaning extends beyond houses. A school or a church matters deeply to the community that uses it. Seeing the excitement—and sometimes the frustration—made me understand how emotionally involved people are. There are highs and lows because people care. That is what made the work feel important to me.

What does your draughting background bring to Motion Dept?

It gives me an understanding of the decisions behind the image. A floor plan, an opening, a material choice—these all affect how a place works and feels. When I look at a reference, I bring that attention to the proportions, the details and the way spaces connect.

That matters in visualization. The finished image or film needs to respect the design. The architecture has an identity before I begin, and my role is to help communicate it with care.

Why tell those stories through images and film?

Because the meaning of a building can be difficult to communicate through a drawing alone. People want to imagine being there. They want to understand the atmosphere, the scale, and how a space might fit into their lives.

That is what connects my interest in architecture with visual storytelling. A film gives light, materials, movement and sound time to work together. It can help someone connect emotionally with a place before they ever step inside it.

Where do new tools fit into that?

Motion Dept uses AI-assisted tools as part of the production process, with architectural review, creative direction, editing and sound design. The references remain the authority for the building.

The camera can be creative: an establishing view, a material detail, a reveal, a change in perspective. But that freedom needs to be supported by the source material. Technology gives us more ways to tell the story; the judgement behind the work still matters.

How would people close to you describe you?

I’m quite a simple person, and an introvert. I enjoy spending time with my family. I was raised with a strong support system, and respect, humility and empathy are important to me.

I care about how people feel, and I pay attention to detail. Those things shape how I approach both life and work. I want someone working with me to feel that their project matters to the person on the other side of the conversation.

What keeps you moving forward?

Purpose. My faith is a big part of that. I believe God has put me here to make a difference, for my family and beyond it. My life hasn’t followed the sporting path that people once imagined for me, but I see meaning in where it has led.

I want to do work that matters to people, treat them well, and keep growing. That is what I try to bring to each day.

And when does your best thinking happen?

I enjoy the quiet of late-night work. There are no unexpected calls, no interruptions—just me and my workstation. I also like an early start. Around four in the morning, I might be starting the day or finishing a late session.

There is a sporting advantage to being a night owl: I’m a Boston Celtics fan and a Baltimore Ravens fan. Their games often fall in the early hours here in South Africa, so I get to watch live. For once, the time difference is doing me a favour.

What do you hope people take away from Motion Dept?

That there is care behind the work. I understand that a building can represent years of effort, a family’s hopes, or a designer’s vision. I want the way we present it to reflect that importance.

The project should feel recognisable, considered, and worth spending time with. That is the kind of work I want to put into the world.