ARCHITECTURAL MATCHMOVING
2010
NEW DEVELOPMENTS IN MATCHMOVING AND MIXED REALITY ALLOW DESIGNERS TO ENGAGE A MORE EMBODIED UNDERSTANDING OF SPACE AND OFFER AN LINK BETWEEN INTUITIVE EXPERIENCE AND DIGITAL WORLDS. THIS EXHIBITION FOCUSED ON TECHNIQUES THAT ACHIEVE THESE EFFECTS FOR THE ARCHITECTURAL DISCIPLINE.
CAMERA MATCHING
When architecture is rendered through matchmoved footage, it conveys spaces from a scalar, first-person perspective. Architects can’t usually experience their creations until after they are built, so this type of representation is immensely beneficial in both iteration and final production. Pre-composed templates allowed dozens of projects to be situated in real-world sites.
Click the play icon to view example footage
VIDEO GAME
We took the same models and placed them within the CryEngine software to give designers an interactive perspective of their buildings in a video game environment. We disseminated these techniques to allow for easy iteration through an experiential lens.
Click the play icon to view interactive environments
MIXED REALITY
This was prior to XR headsets by several years. We captured a Mixed Reality composite in real-time via webcam and displayed it on an external screen. Through a 3DS Max Plugin, architectural models were appended with digital content to created scaled representations of mixed reality environments. A turntable with a QR code allowed for anchored, yet movable content.
“As the technology of design representation advances, we should focus not only on enhanced visuals, but on the new subjectivities that those technologies promote. Composite video and mixed reality are one facet of a second wave of digital representation tools. Spatial interface devices (such as the Kinect and iPhone) comprise another facet with a great deal of potential. Despite this, they have yet to purposefully engage the built environment. As designers of space and form, we can utilize these technologies and project their potential as experiential modes of design.”
- Greg Tran, Matt Storus (2010).
