Final Diploma Portfolio

DIPLOMA YEAR 2

PORTFOLIOMAY

TARDIS/RUBIX

chris kelly, unit 15

03

I final film concept development

II film stills

PART I

FINAL FILM CONCEPT DEVELOPMENT

this section of the portfolio is closely linked with the architectural thesis titled as above. the portfolio shows the development of the ideas in the thesis into a concept proposals which is further explored in the completed film.

the thesis explored the relationship between virtual and physical space and how the body and natural locomotion can be incorporated into the virtual world to create an illusion of immersion. It then proceeded to look at how the gap between our sensory experience and the perception of that within the brain can lead to a misreading of spatial relationships that can be utilised to expand or compress physical space.

time and relative dimensions in space:the possibilities of utilising virtual[ly impossible] environments in architecture

redirection techniques

the thesis explored ways that people in a virtual environment could use natural locomotion to explore the space, but how redirection techniques could be deployed to allow a large virtual space to be explored whilst in a much smaller physical space without colliding with any physical boundaries. through a perceptive gap in our spatial cognition these redirection techniques can be used in such a way that they are not perceived by the user. A user can think they are walking in a straight line but through slight rotations in their visual stimulus are actually forced to walk in an arc. similarly they can think they are walking a long snaking path but are actually repeatedly walking in a figure of eight. these techniques are called redirection techniques and can also included the use of overlapping virtual spaces and the utilisation of an effect called change blindness in our perception.

immersive technologies are becoming increasingly effective and subtle. currently in development are bionic contact lenses that use micro leds or lasers to project images directly onto the retina that will overlay our vision of the physical world or completely replace it. this subtlety of the technology will begin to blur the boundaries between the physical and the virtual, as is the case with products like google glass.

immersion in the virtual world

pre-edit chronogram outlining the concept for a compression of the physical environment through virtual means.

from previous work in the project looking into warped space and research conducted in the thesis into cognitive mapping a space was developed to represent the process of spatial cognitive mapping.

a cognitive map can be warped, stretched, compressed, overlaid and confused with information from other spaces. it does not adhere to the same euclidean rules of a cartographic map and contains large gaps of information.

in this cognitive space the impossible staircases represent the neural networks supplying information that the brain then uses to develop a perceived understanding of spatial relationships. these neural networks are intertwined but also often provide conflicting information he brain must accept or reject, causing perceptual gaps and a misreading of the sensory stimulus.

the enclosed central space represents the brain’s perceptual system and the narrow openings giving views into it show how perception is based on the use of a small amount of the overall information provided by the sensory receptors. what we believe to be reality is actually only a perception of reality and reality itself may differ considerably but with only a small glimpse into it we cannot ever know for certain.

the following pages show some of the development images of this space.

cognitive space

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the central space encloses our warped and stretched cognitive map but the narrow perceptual openings only allow us to access a small amount of the information from our senses. information from huge expanses of space is compressed into small parts of the brain and often this information gets confused and integrated with information from other spaces.








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creation of a virtual environment

to explore the expansion of space through virtual environments the site of the previous project was used, the walk from beckton to east india. recognisable objects from the environment were modelled into tiles that could be rearranged within the virtual space to create a virtual environment that is malleable and where distances could be compressed with a rearrangement or overlapping of the tiles.

the system of tiles was developed into a

rubix style cube that would act as a tool

for the manipulation and rearrangement of

spaces. it is intended that as a user is within

the environment individual parts of the cube

could be twisted and moved to create a

warping of the virtual space.

virtual rubix

replaceable blocks

the nature of a virtual environment is that it is infinitely malleable. the architect can remove or replace parts of the rubix cube as the wish and multiple spaces can be added allowing the user of the virtual environment to navigate through and become immersed in many different environments.

these are the 64 cubes that make up the virtual rubix used in the film. they combine to represent individual parts of the journey from beckton to east india.

the following pages outline the development of the rubix model, beginning with the 6 faces of the cube in their untwisted format and then beginning to look at the rubix as it becomes twisted and the spaces become increasingly disjointed.

rubix development








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the key to the virtual environment is immersion and the breaking away from the idea of virtual spaces being confined to a screen. the virtual environments outlined in the thesis and this project exist as a space that can be physically explored through natural locomotion, the user will actually walk through a virtual space that through subtle immersive technologies becomes embedded in the physical world and the boundaries between physical and virtual become unrecognizable. this is not possible when we are separated from the virtual through a screen.

bodily experience

the virtual world can be overlaid on the physical world at any time, but to allow for freedom of navigation of the virtual space without collisions occurring in the physical world open spaces are required. it is proposed that disused buildings could be utilised initially as test areas. there will be sensors that detect when someone enters the building that will trigger the activation of the bionic contact lenses and immediately overlay the virtual world onto the building and the user will be transported into the virtual. the user will not perceive the virtual spaces as the rubix cube, but it will unwrap and immerse the user in what seems like part of the physical world.

the cube will be manipulated and developed by the architect, it acts as the architects tool for spatial arrangements in the virtual world.

virtual overlays

the use of redirection techniques and overlapping architecture allows large virtual spaces to be compressed into small physical spaces creating a virtual expansion of physical space.

expanding space

as previously mentioned the user will experience being within the virtual spaces as an euclidean part of the physical world. as long as the redirection techniques are deployed properly according to set algorithms, similar to those used to solve a real rubix cube, then they will never perceive the virtual environment as a rubix.

The rubix is the tool that is omnipresent in the space but never actually seen. the architect of the virtual space will work invisibly to manipulate the space allowing for large expanses of virtual space to be explored from within a small physical space without detection.

the rubix as a tool








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virtual worlds are becoming ever more present in our everyday lives. google glass, released this year, is a key point in that development and will create constant streams of virtual information overlaying themselves on our experience of the physical world. if, with further developments, architects can utilise these virtual worlds to create overlays and immersion within the virtual allowing for physical space to be expanded there are endless opportunities to be explored and used in the world of architecture. the aim of this project was to outline to perceptive gaps that lead to these opportunities and develop a visual representation of a possible tool that could be used by architects to manipulate virtual environments.

the role of the architect

PART II

FILM STILLS

an important factor in the deployment and manipulation of the virtual world is the use of transition spaces. whilst changes are being made to the virtual environment that stretch or compress space the user needs to be confined to a specific space that allows these changes to be made unnoticed to them.

in the film spaces such as lifts, staircases and train interiors are used as transitional spaces. when the user emerges from these spaces the environment will have changed from its state when they entered. in the film these changes are exaggerated and become more obvious but subtle changes could be made that would go unnoticed by the user.

transition spaces

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wireframeraw render with materials

post render edit

this part of the portfolio shows the development of the of the film stills from the raw wireframe model to the completed image to show part of the process of making the animations. this is followed by some of the individual stills from the finished film.

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Documents

Final Diploma Portfolio