Concept artist Roel Jovellano uses a time lapse video to demonstrate his process of designing a weapon structure for the forthcoming game Planetside. It is interesting to note the methods by which the design is realised, first through quick digital sketches using a tablet, through to a 3d model fleshing out these concepts into a ‘physical’ form from which a render is taken and then worked back into by (digitised) hand. This composite, conversational way of working between the 2D and 3D, and the rapidity of the thought generating sketch vs. the computer model is increasingly relevant to the ways architects work nowadays – or rather how the visualisation industry produces this composite architectures enmeshed together from layers of ‘true’ (constructed) or ‘false’ (indicative) geometries designed to illustrate the proposition in its most evocative light.
And in relation to architecture students, it gives insight into the potential ways in which atmospheric and textural qualities may be deployed and through digital painting spaces can be augmented to enliven an architectural scene.
Post-Apocalyptic Research Institute have recreated a village from the game Minecraft, by exporting geometry from the game itself and 3d printing it. Inhabitable spaces constructed within the game block by block become transcribed into physical geometry, producing a static three dimensional cartography of an ever expanding and shifting digital terrain. As printing and milling technologies move forward, one could imagine these cartographic models become ever larger, allowing digital communities, territories and architectures to weave into the physical city – or producing the emergence of maps at a 1:1 scale, similar to Borges’ On Exactitude in Science.
Their flickr photostream also shows beautiful prints chopped into sections, like an inhabitable cake or a stylised child’s toy version of an existing building.
Via PC Gamer: http://www.pcgamer.com/2012/02/07/minecraft-video-shows-lovely-3d-printed-minecraft-village/
Using inkjet printed graphics and hand painted frames, Benjamin Ducroz blurs the distinctions between digital and analogue techniques for the composition animations. How might this apply to the idea of transitory architectures where the “drawings” begin to show the fluctuating life of a space?