The main feedback from the crit was that the folly design was not representing the initial drawings or the ideas about fractal forms. After reflecting on the feedback and the design development process it was clear that the main issue I was having in creating the final folly was the question of how the space would be contained, and what it would look like from the outside or from afar.
Another point of discussion in the crit was why the folly was sited in the park as opposed to another part of the site such as the Old Royal Naval College, in order to allow the folly to be visited in the evening after the park closes. Considering this in relation to the issue of interior/exterior led to a somewhat revelatory moment, as placing the folly in the smaller ORNC courtyard would actually allow me to retain the fractal forms of my component models as a kind of interior. The surrounding buildings provide a sense of enclosure for the folly, giving it the intentionality that I was trying to create and allowing the fractal components to be placed without seeming random or without purpose as they do on a larger site such as the park.
In the revised folly, the fractal forms will be placed within the smaller courtyard of the ORNC, creating almost a fractal ‘jungle’ that visitors can walk through. The components will be densely placed to create a strong atmosphere and experience.
The workflow for this project has thus far been quite interesting, with the concept images and animations from Mandelbulb being turned into slices, which can also be turned into animations. These slices were then processed into obj files, which were reduced to a more manageable size in Rhino and then input into Cinema 4D. As the final goal is an animation showing the folly, I expected the workflow would involve creating a 3D model and then animating this model. Instead I have created all my 3D model components from scenes from the first animation.
To create the final folly in the ORNC courtyard, the workflow involves using After Effects and Cinema 4D simultaneously. Shown above is an screen capture showing the setup, with Cinema 4D on the left screen and After Effects on the right. After creating a 2.5D context in After Effects using photographs, I linked the Cinema 4D files of the fractal components to the After Effects file using Cineware. This means that the model can be changed in Cinema 4D – upon saving, it immediately updates in AE to reflect the changes. This is extremely beneficial as it allows me to play around with position and scale in the final scene before deciding on lighting, also giving an idea of what the composition will look like without having to render any 3D objects.