The initial chronogram imagines that the film will explore different scales of architectural responsiveness and complexity, from the perspective scale to the external view of the spaces.
However, during the tutorial I was thinking it would be more interesting to start with footage of a real space and then begin to morph that space, changing it piece by piece to move to the created virtual architecture, a psychological space unique to each individual.
I was also inspired by the visuals and effects in the film ‘Chupan Chupai’ by Factory Fifteen, in which children manipulate the architecture of their city in a game of hide and seek, and would like to use similar techniques to demonstrate the changing of the space from real to virtual in my own film.
Testing the Greeble plugin with sets of overlaid cubes. The base cube was removed with only the ‘widgets’ (smaller add-ons to the cubes) remaining – the sizes and parameters of these widgets were then adjusted to create the overall effect.
To incorporate elements of the earlier folly work into the building design, I created a facade using similar techniques of exporting a model from fractal modelling software, and then manipulating this model to create facade louvres.
The above precedent inspired me to turn the fractal model into louvres that would create an undulating effect across the facade, allowing different amounts of light in to the spaces where necessary.
Initial fractal model, exported using voxel slices and then rebuilt as an .obj using Rhino.
2. Splitting the model into contours. At this stage the model file required a lot of cleaning up to remove pieces that were unattached to the whole.
3. After cleaning up the file, the model was ready to be split into smaller elements to create louvres.
4. The final louvre design was then placed onto the building facade.
I returned to the folly design in order to further develop the final images. Using new techniques learnt, I was able to portray the ideas of fractals, scale and the combination with the Old Royal Naval College more successfully, and was very satisfied with the final effect, which I feel has a more subtle and delicate quality.
The fun palace should show a belief in advanced technology, as well as architecture as fun. We will be using the RIBA Polyark brief as a starting point, and modifying it to create a self-defined programme.
The programme of the fun palace should draw on the folly. For my project this could mean looking at fractal systems and how they are applied (eg. in the brain, in technology or in urban systems). A fractal methodology could also be used for the cladding or structure. I will be looking at creating simplified components that could be used for developing the fractal aspect of the design.
In the second masterplanning workshop, as well as defining fun palace locations we decided locations of secondary interventions, to include visitor centres and kiosks, cafes, cable car stops, sports areas, playgrounds, and educational areas, eg. outdoor lecture spaces. We also discussed landscaping on the site, taking inspiration from the Olympic Park and Barrier Park. Changes in level, and the access between areas of a different level, will be a key feature of the overall masterplanning scheme.
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.