Using a massing model of Canary Wharf, I applied techniques from previous tests to create an abstract distortion of the buildings on the site. The process involved using the Greeble plugin on the base model, then duplicating the model several times and adjusting parameters within the plugin for each set to add variance, as well as offsetting the position of each layer in the 3D space. This process took precedent from the techniques of Atelier Olschinsky.
Output renders were tested in both hidden line mode (to which colour could be added later) as well as with solid colour applied to each layer of base model. The colour concept was to use two opposite colour layers, plus one darker layer acting as shadow and one white layer acting as highlight.
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.