I began designing the Departure Lounge by exploring brutalist architecture and its defining characteristics. I didn’t want to copy an existing building but instead, take inspiration from the style and create something more unique. It still had to be simple enough to quickly model and implement the mesh in Unity. I had limited time, so the goal was to create a storytelling effect using overall space rather than lots of detail.
Brutalist buildings are characterised by minimalist structures that showcase bare materials and structural elements instead of decorative design. The style often uses exposed, unpainted concrete or brick, angular geometric shapes, and a predominantly monochromatic colour palette; other materials such as steel, timber, and glass are also featured.
Brutalist designs have become the most common in institutional buildings, which do fit in with the function of the Departure Lounge.
Soviet brutalism is characterised by a functional, monolithic appearance, with large concrete buildings dominating the landscape. These structures were often designed to be both practical and imposing, reflecting the ideology of the Soviet state. Many Soviet Brutalist buildings were made with prefabricated concrete panels, allowing for quick and efficient construction.
Function:
New Brutalism is not just an architectural style; it is also a philosophical approach to architectural design, striving to create simple, honest and functional buildings that accommodate their purpose, residents and location. We wanted to think about the functionality of the building, especially the corridors and cells. In addition, they had to stand out against the background of more impressive, representative spaces, such as a hall or waiting room.
We wanted a “brutalist feeling” with a raw, concrete design. Something about the intention of the departure hall contradicts the original socialist intentions of the Brutalist architects, who focused on material rawness and honesty to create the ideal form of housing.
An important theme was the use of light in the narrative spaces to create atmosphere and mood and direct the viewer’s attention to specific areas. My main point of reference was the work of Fabrizio Barozzi and Alberto Veiga, architects known for working with light in a transparent, minimalist way. Their emphasis is on the three-dimensional aspect of space. In brutalist buildings, light can also be used to create contrast and highlight the textures and materials of the site.
Another aspect that had to be taken into account during 3D modelling was the height of the objects. The overall size of the building influenced both the atmosphere (telling the story through the surroundings) and the sense of the reality of the space in VR.
Optimising assets for the VR: https://www.youtube.com/watch?v=Djx5WltmTUU
Textures:
Due to its low cost, raw concrete is often used and left to reveal the basic nature of its construction with rough surfaces featuring wood ‘shuttering’ produced when the forms were cast in situ. I wanted to recreate these textured visuals while showing the effects of time and decay.
Where to find textures: https://www.creativebloq.com/3d-tips/find-high-res-textures-1232646
General Meeting (17/02/23)
I started modelling the body of the building based on the floor plan provided by VR. In the beginning, I had to consult with everyone if there would be any changes to it because it would significantly affect my model.
Meeting notes:
- Lower entrances, and larger lobby spaces.
- Chapel-like waiting room – high. The building should be built on a circular plan.
- Partially destroyed ceiling and the artificial roof – the focal point. Different heights.
- Adjusting the dimensions (testing in Unity) to better see the scale of the space.
- Adding an area where memory objects can be accessed (where people left their items).
- Adding an architectural detail.
- Barriers in the security room.
- Municipal, cheap furnishing.
We also discussed in detail the functionality of individual rooms. I raised the issue of giving municipal building brutality and grandeur. We had to feel that this is a place that will draw you in.
Example:
Sometimes waiting areas have rather low artificial roofs, so you can create a contrast with the space with a high ceiling. At the same time, you encounter a slightly more tacky space where plastic moulded chairs are knocked over and the ceilings are not very high.
Guide to Choosing Waiting Room Seating (2021) Available at: https://www.evertaut.co.uk/news-story/guide-to-choosing-waiting-room-seating/ (Accessed: 17 February 2023).
After the meeting, I decided to start the model from scratch to make the space more mixed (and work longer on its overall shape/design). Presenting my moodboards to Klaus, Luke and Ana helped me choose the design details/ideas we would like to include in the model, such as the circular ceiling.
Student Meeting (18/02/23)
We continued the meetings with other students, where we discussed what we needed from a technical point of view. We also created a list of more memories/objects to be placed in the space and planned which ones we want to buy and which ones we want to create ourselves.
Further research:
Cohn, D. (2013) Interview: Barozzi Veiga. Available at: https://www.architectural-review.com/essays/interview-barozzi-veiga (Accessed: 15 February 2023).
Cymer, A. (2022) Brutalizm. Poezja betonu. Available at: https://culture.pl/pl/superartykul/brutalizm-czyli-poezja-betonu (Accessed: 15 February 2023).
Daley, H. (2017) Is the architecture in ‘Blade Runner 2049’ really Brutalist? Available at: https://archinect.com/news/article/150040099/is-the-architecture-in-blade-runner-2049-really-brutalist (Accessed: 15 February 2023).
Hashima Island (2023) Available at: https://en.wikipedia.org/wiki/Hashima_Island (Accessed: 15 February 2023).
Ott, C. (2019) Cantonal Museum of Fine Arts / BAROZZI VEIGA. Available at: https://www.archdaily.com/918961/cantonal-museum-of-fine-arts-barozzi-veiga?ad_medium=office_landing&ad_name=article (Accessed: 15 February 2023).