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Student Showcase Archive

Harry Varnavas

MA work

MA work

  • Perspective Plan with 3D 'Paint' interventions

    Perspective Plan with 3D 'Paint' interventions, 2015

  • x Dimensional Space 2D to 3D Perception

    x Dimensional Space 2D to 3D Perception, 2014

  • Laser Scan and Direct 3D Intervention, Finger drawn

    Laser Scan and Direct 3D Intervention, Finger drawn, 2015
    Hand Tracking device, Laser Scan, 3D Glasses

  • Point Cloud Plan - Park, Paint and Forms Architectural interventions

    Point Cloud Plan - Park, Paint and Forms Architectural interventions , 2015

  • 4/25, Hand Gesture Diagrams 'How to use'

    4/25, Hand Gesture Diagrams 'How to use' , 2015

  • Theatre Park Pavilion 3d paint form

    Theatre Park Pavilion 3d paint form, 2015

  • Pavilion zoomed scale part - facade from point cloud cut

    Pavilion zoomed scale part - facade from point cloud cut

  • Theatre Pavilion Top View, 3D Density points to space

    Theatre Pavilion Top View, 3D Density points to space, 2015
    processing

  • WIP-object from 3D Virtual Sculpting

    WIP-object from 3D Virtual Sculpting, 2015
    tracking divice, fingers and 3d glasses

CryptoForm Space*

Can we paint architecture?
*Design through visual perception of 3D Space and Form

This thesis examines the use of computer vision and digital media to generate a new design methodology for architects that conflates perception of found, existing spaces and design through the direct act of ‘painting’ architecture.

The project focuses on the perception of the surrounding elements of the environment, which are scanned and imported into the virtual world. Contrary to traditional design methods, which massively reduce the amount of data considered when imported into any Cad software, high-resolution of scans allow for the import of physical space as millions of points, retaining information on colours, light, etc. These can then be collected, experienced and utilised in virtual space. The aim of CryptoForm Space is to allow designers to operate directly inside their site and shift the scale of both site and intervention, using only your hand and mind.

Through motion-tracking, the two-dimensional movements of the designer's hands are captured and directly spatialised in three dimensions, effectively allowing them to ‘paint’ their ideas. This process generates sculptural forms that can be further manipulated or sculpted. This results in the creation of architectures which not only works with the site much more closely, but also allows constantly changing scales, move smoothly from two-dimensional to tree-dimensional space and between physical and digital domains.

Info

Info

  • MA Degree

    School

    School of Architecture

    Programme

    MA Architecture, 2015

    Specialism

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  • Degrees

  • BA (Hons) Architecture, University for the Creative Arts, 2013 ; BD Architecture - Undergraduate Exchange, University Technology of Sydney, 2011
  • Awards

  • First prize, AIA Charette Competition Award, 2011
  • Publications

  • Project submitted, RIBA President's Medal Award, 2012