La Cucina Futurista

LA CUCINA FUTURISTA T H E G R E AT A U S T R A L I A N R O A D T R I P

STATEMENT ON THE “NEW COOKERY” THE GUARDIAN, SUNDAY 10 DECEMBER 2006 “We believe that cooking can affect people in profound ways, and that a spirit of collaboration and sharing is essential to true progress in developing this potential. The act of eating engages all the senses as well as the mind. Preparing and serving food could therefore be the most complex and comprehensive of the performing arts. To explore the full expressive potential of food and cooking, we collaborate with scientists, from food chemists to psychologists, with artisans and artists (from all walks of the performing arts), architects, designers, industrial engineers. We also believe in the importance of collaboration and generosity among cooks: a readiness to share ideas and information, together with full acknowledgment of those who invent new techniques and dishes.”

-Ferran Adria of El Bulli, Heston Blumenthal of the Fat Duck, Thomas Keller of the French Laundry and Per Se, and writer Harold McGee

No.1 Chef of the 20th century, Paul Bocuse proclaimed on the maiden flight of the supersonic Concorde jet plane that: Nouvelle Cuisine would change the world with new technology and a less restricted rule book on what constituted acceptable haute cuisine. This audacious statement shook the culinary world as it was akin to the Catholic pope renouncing all religious dogma and attempting to convert current passionate parishioners to atheism.

Chefs who once preached from a high alter, in there with their tall hats (originally from Greek orthodox monasteries) came down to earth and started listening to what diners wanted to eat. Classic complicated cuisine was cast out, for regionally based lighter, brighter and fresher fare. Essentially there was a seismic shift in power where the diner who would generally eat, whatever stodgy meal placed in front of them by a self-righteous chef, were now calling the shots and asking for specific dietary needs to be considered.

Heresy continued by kitchens being fitted out with time saving gadgets that flew in the face of back breaking labour involved in classic French cuisine. Microwaves and blenders caused such a fuss that some chefs boycotted the movement as they didn’t want such sorcery in their gastronomic presbytery. They saw the craft of food preparation to be virtuous, pure and far more important than the individual dining experience.

In the design world too, the shift to user centred design was slowly emerging. In the 50’s industrial design was seen to be the purview of iconic or “rock star” designers. Raymond Loewy would be the epitome of this movement given he was on the cover of Time magazine. He famously coined the MAYA principle of Most Advanced Yet Acceptable.

Where designers would produce aesthetically driven “Streamlined” goods for mass market consumption with little to no interest in the overall user experience.

But like Bocuse on the concord, Norman shook up the design world when he wrote decades later: The Design of Everyday Things. The

radical idea of “Design Thinking” was born, the idea the physical artefact was less important than the overall experience astonished many designers, engineers and marketers alike. The concept of the individual in society was starting to take root and so with it the individual user expectation was being considered.

Here lies the confluence between the diner and the user experience.

The complex journey from expectation to service delivery can be mapped out in advance by a chef or a designer with cultural probing to assist in gathering useful data. At Restaurant Lûmé prospective diners are asked provocative questions such as “Would the advent of a Zombie apocalypse excite or terrify you?”. This is basic psychometric analysis, whether the diner is low or high in the (big five) personality trait of neuroticism.

If they say they would be excited they are more likely to be open to adventure and having fun. This information can influence how the staff responds to the diner or and as such define their user experience inside the restaurant. This ethnographic research exists too in the design world where managing user experience and expectation is high on the agenda.

Where designers create services and systems, chefs create gustatory experiences. Ferran Adria and Heston Blumenthal have been most noted with creating these rarefied dining experiences. Australia’s answer to these international modernist chefs is Shaun Quade. I was introduced to him through mutual friend and creative ingredient specialist Phil Vernon who consulted for Food Terroir studio in 2015 at RMIT. Chef Quade takes incredible Australian ingredients and transforms them into a dish which tells the story of that area. The food it’s selftastes delicious as the ingredients are second to none, however creating a memory with the food is Shaun’s special skill. Creating a neural link between the dish and the terroir through narrative is what creates a memorable experience. Also in turn celebrating Australia and its primary producers in the process!

RMIT is very lucky to have partnered up with such a prolific and awarded Australian chef. Our students are creating a visual narrative for his restaurant using the latest augmented reality technology Unreal Engine. We are projection mapping drone like tours of these culinary landscapes. Thanks to Veronica Fil director of Mr Harry’s marketing agency students have been given exciting scripts to digitally animate in the virtual reality engine.

The third iteration of the Great Australian Road Trip is an epic trip through Australia’s gastronomic hinterland. The journey through Darwin, Canberra, Margaret River, Kangaroo Island, Byron Bay and the Great Ocean Road will be played out on three screens and table top setting. This is so diners are fully immersed in environment during the dining experience.

To make these experiences come alive, students have spent 220 hours learning the latest 3D software packages and project managing this epic project from the ground up. They have created cumulatively over 1000 high quality digital assets, including photo-scanned real world environments, they have captured on their group road trips around Victoria.

They have shown all show great strength of character throughout this endeavour. I sincerely believe witnessing the high level of ingenuity shown throughout this semester, that any one of these students would be a talent to have at any organisation digital, creative or otherwise. It was truly humbling mentoring such a hardworking, fun and collegial collection of students.

I wish them the best in their future studies and prolific careers in the creative design world!

LÛMÉ BRIEF Welcome to the Great Australian Road Trip! This is one scene from the current iteration of the narrative outline for this upcoming event.

You have a vital and important role to fill! We have sourced the best ingredients from around Australia and created the most technical and tantalising dishes imaginable. It’s your mission to connect diners to those delectable delights, through psychological priming and technological interactivity.

You will bring this vision to life, by creating immersive unreal environments and virtual props. The diner wants to feel like they are there, surrounded by the elements. When we run this event we will be filling the room with ultra bright high definition projection systems to envelop the dinner in the fantastical space. Your job is to work hard and inspire us to the untapped possibilities of projection mapping in fine dining using the scripts and locations as a guide.

Best of Luck!

CONTENTS 0 - 4 6

1 7 2 - 2 2 2

KANGAROO ISLAND

BYRON BAY

4 8 - 1 0 8

2 2 4 - 2 8 6

1 1 0 - 1 7 0

2 8 8 - 3 5 6

GREAT OCEAN ROAD

CANBERRA

DARWIN

MARGARET RIVER

KANGAROO ISLAND

CONTENTS 1 - 6

7 - 8

BRIEF

STORYBOARD

9 - 1 8

1 9 - 3 0

SOUTH AUSTRALIAN VINEYARD

KANGAROO ISLAND

3 1 - 3 8

3 9 - 4 2

PHOTOGRAMMETRY

4 2 - 4 6

REFERENCES

THE MULTISENSORY PERCEPTION OF FLAVOUR

SA | Kangaroo Island BURNING ROSEMARY + MARINE

LOCATION A : South Australian Vineyards Shots form above, beautiful Drone shots.

LOCATION B : Kangaroo Island aboriginal and whaling island The roaming beam of a lighthouse.

The sound of ships crashing onto rocks.

NARRATIVE IDEAS Mum gets drunk in the wineries. Maybe it’s embarrassing.

Maybe they argue. Maybe it’s loud. Maybe they’re screaming.

Maybe it’s quiet. Maybe it’s passive aggressive. Maybe they make out. Maybe they have passionate make up sex. That’s probably later. Maybe their relationship is on the rocks. Maybe this is what keeps their relationship together.

ACCOMMODATION : Cape Du Coudic Lighthouse Heritage Accommodation EXIT LOGISTICS : To leave here they need to drive to Melbourne, And then ferry to Tasmania.

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Christian Veloso Project Manager

Travis Gemmill Technical Officer

Jordan Liu Creative Director

Marcus Cher Mentor

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SOUTH AUSTRALIA VINEYARD South Australia is world renowned for their vast award-winning wineries. Lûmé has chosen to highlight the splendour of these wineries by capturing the beauty of their landscape through shots from above; beautiful drone shots. Our group wanted to highlight the signature form and pattern of vineyards by recreating paddocks that replicate one of the South Australian Vineyards. By implementing drone shots from above, we could demonstrate the repetitive nature of grapevine rows which is iconic to vineyards in wineries.

As part of our narrative ideas provided by Lûmé, we wanted to have the ‘mum’ cycling through the vineyard and then later found at the chateau enjoying a glass of wine and cheese in a table setting outside overlooking the paddock of grapevines in full bloom. We have set our scene during golden hour where the sun is blooming through the leaves and the night is approaching whilst mum is starting to indulge in wine.

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GROUND TEXTURE

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SPEEDTREE - GRAPEVINE

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KANGAROO ISLAND Kangaroo Island lies off the mainland of South Australia, where over a third of the island is protected in nature reserves. This historic aboriginal and whaling island, which is home to a diversity of wildlife, boasts striking coastal rock formations like the sculpted Remarkable Rocks. There are a few lighthouses on the island and as a group, we decided to replicate Cape du Couedic for its striking coast and its line-of-sight with Remarkable Rocks, along with the heritage accommodation situated near the lighthouse.

As a group, we chose these two iconic regions from the island to highlight the story’s narrative provided by Lûmé, with a roaming beam of a lighthouse provided by Cape du Couedic Lighthouse and a ship crashing onto rocks. The scene showcases the coast off Boxer Drive and Weirs Cove which is in between Remarkable Rocks and Cape du Couedic Lightstation Heritage Accomodation. This accommodation is where the mum will be staying for the night before her road trip towards Melbourne and ferry to Tasmania.

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CAPE DU COUEDIC LIGHTHOUSE The lighthouse which was constructed between 1906–1909, consists of a tower built from 2,000 pieces of local stone, together with three fourroomed cottages to house the head keeper and two assistants with their families. The light characteristic shows two flashes every ten seconds, emitted at a focal plane height of 103 metres. A Fresnel lens made

by Chance Brothers is used there. For many of its early years the site was inaccessible by land. Stores, materials and equipment brought by boat were hauled up to the lighthouse by a flying fox winching system originally powered by a pair of horses.

Today the lighthouse is automated and visitors to the area can stay in the old keepers’ cottages. The lighthouse, its former keepers’ cottages, stable and store, and the following structures at Weirs Cove - jetty, funnel way and the ruins of a store have separate listings as state heritage places on the South Australian Heritage Register.

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REMARKABLE ROCKS The Remarkable Rocks are one of the best known icons of Kangaroo Island. They are located in the Flinders Chase National Park, over on the western side of Kangaroo Island. The remarkable Rocks on Kangaroo Island at the South Coast of Australia are made of granite, which embedded into the Earth’s crust during the Ordovician.

The granite consists of three minerals; bluish quartz, black mica and pinkish feldspar. There are darker patches in the rock which may be the remains of the Cambrian rocks into which the granite intruded. The boulders where formed by rain penetrating the granite and decomposing the rocks into blocks. At that time Kangaroo Island was part of Godwana, the supercontinent in the southern hemisphere, which included Australia, South America, Africa, India and Antarctica. About 150 million years ago, Godwana began to split up into the present continents. Australia moved northward and with it the Ordovician granite.

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The Multisensory Perception of Flavour ‘“The first taste is always with the eyes.” (Apicius, first century) “The visual sensation of a dish is as important as its flavour.” (Yang 2011) The atmosphere is set, the food is ready and garnished. How can the dish be presented to the expectant diner? There’s a popular expression that goes, we “eat with our eyes”, does that mean that visualisation of food also influences the way we eat and perceive flavour?

Visual sensory perception may determine the way we respond to the visual aesthetics of the dish presented before us; our eyes perceive things subconsciously that influences our initial responses to things.

Spence & Piqueras-Fiszman (2014) states that visual attributes affect our perception of both sensory-discriminative attributes of food and our relative responses to a dish. Responses to the visual aesthetics of a dish will depend on the sensitivity of the diner and how they will respond accordingly. Becker et al. (2011) claims that there is a correlation between the results for visual aesthetics sensitivity and the appreciation of flavour for dishes that are artistically presented.

Furthermore, hypothesizing that the culinary world could be pushed even further through results of visual sensory experiences (Beker et al., 2011).

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Visual cues play a significant role in multisensory flavour perception.

Clydesdale (1993) asserts that changing the colour of food can alter its taste and flavour. Spence & Piqueras-Fiszman (2014) reiterates that there has been numerous research on how we visually perceive the distinctiveness of certain food’s taste, aroma and flavour can all be influenced, or even manipulated, by the change of colour. There has been evidence of chef’s, the likes of Heston Blumethal, who is known to be a master of culinary deception, where food has been constructed to visually perceive another form of food to deceive our initial perception of the flavour of the food that is influenced by our sight (Guy, 2014). Spence & Piqueras-Fiszman (2014) backs this up by reviewing research where 26% of people were found to taste the flavour of lemon/lime in a cherry-flavoured drink that has been altered to have the colour green, whereas there was no lemon/lime taste when the drink was the colour red. This phenomenon is referred to by psychologists as visual dominance (Spence & Piqueras-Fiszman, 2014). its taste and flavour. Spence & Piqueras-Fiszman (2014) reiterates that there has been numerous research on how we visually perceive the distinctiveness of certain food’s taste, aroma and flavour can all be

Fig. 1 There are four interoceptive sensory inputs within the box, they are likely intersecting with each other through a process of multisensory integration to deliver flavour precepts. The exteroceptive cues that are outside the box, such as vision in this case, can also influence the perception of flavour, this is executed through the means of setting up expectations concerning the flavour, aroma and/or taste of the food or drink (Spence & Piqueras-Fiszman, 2014).

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New Realities: Tech and Food

There is now an emerging practice and research on the application of digital reality, technologies consisting augmented reality (AR); visual reality (VR); and mixed reality (MR), within the culinary sphere.

Spence & Piqueras-Fiszman (2014) claims that there are research groups, mainly in Asia, are now developing an array of digital reality applications that enables users to manipulate the visual aspects of the food they’re eating, such as colour, texture, and even the scale. Locally in Melbourne, the restaurant Lûmé have served up a multisensory virtual dining experience for ‘Taste of Melbourne’ developed with the virtual reality studio, Catalyst (“Taste of Melbourne’s Innovative Culinary Virtual Reality Experience | CATALYST VR”, n.d.). Digital reality is being explored, not only alleviating the entertainment and experience of dining, but also enhancing the flavours of the food by creating a multisensory experience through the medium of technology.

Our perception of a meal is influenced by different sensory inputs that derive from visuals, flavours, scents, textures, consistency and auditory feedback of what we eat. There is a gastronomical virtual reality experience developed by Project Nourished, that isolate various flavour compounds and recreating their taste and textural profiles with

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the use of virtual reality, aromatic diffusion and auditory sensation (“Project Nourished – A Gastronomical Virtual Reality Experience”, n.d.). Furthermore, Project Noun has identified hyper gastronomy – where the state of food is manipulated with its form, colour and motion to perceive senses, and augmented gastronomy – where digital artefacts are layered on top of existing food (“Project Nourished – A Gastronomical Virtual Reality Experience”, n.d.).

Alternative ways in which digital technology can enhance the multisensory experience is by enabling the diner to manipulate the atmosphere. Philips Research has been developing similar technologies for the use in the home environment, where the user is able to control their multisensory atmosphere by changing the ambient lighting, music and possibly even the scent combined – all designed to convey a multisensory mood or ambiance (Pelgrim et al., 2006). In a unique perspective, could technology be a form of seasoning for our foods/ drinks (enhancing flavours with the use of technology)? If this is that case, then digital technology can potentially be used to enhance gastronomic experiences rather than merely providing an entertaining distraction from the dining experience.

Conclusion

Flavour perception is not only found in multisensory experiences that directly involves taste, smell and oral-somatosensory, and auditory, but also the contribution of visual cues. The visual aesthetics of food and various visual cues influence on the way we perceive flavour and in a way, enhance the flavour profile of foods and drinks. Multisensory dining experiences revolve around interoceptive sensory inputs as well as exteroceptive cues that can also influence the perception of flavour. We found that even the change of colour can manipulate the way we perceive flavour in foods/drinks. Contemporary chef’s in the culinary industry have already implemented this food science through their practice, such as Heston Blumethal, and the applications of digital technologies incorporated in the dining experience, with the likes of Lûmé with their virtual reality dining experience. With the combination of visual perception and digital technologies, we can hypothesise that the flavour of food and drink can be altered or enhanced through visual cues. Digital technologies are not only an avenue of entertainment, but it can also be a powerful instrument to enhance multisensory atmospheres and alleviate flavours as a form of “digital seasoning”.

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References Becker, L., Van Rompay, T. J. L., Schifferstein, H. N. J. and Galetzka, M. (2011) Tough package, strong taste: The influence of packaging design on taste impressions and product evaluations. Food Qualityand Preference, 22, 17–23 Clydesdale, F. M. (1993) Color as a factor in food choice. Critical Reviews in Food Science and Nutrition, 33, 83–101.

Guy, S. (2014). Heston Blumenthal - The master of culinary deception - retirementliving.tv. WYZA. Retrieved 17 October 2017, from https:// www.wyza.com.au/articles/lifestyle/food-andwine/heston-blumenthalthe-master-of-culinary-deception.aspx Pelgrim, P. H., Hoonhout, H. C. M., Lashina, T. A., Engel, J., Ijsselsteijn, W. A. and de Kort, Y. A. W. (2006) Creating Atmospheres: The Effects of Ambient Scent and Coloured Lighting on Environmental Assessment. Paper presented at the Design and Emotion conference 2006, Gothenburg.

Project Nourished – A Gastronomical Virtual Reality Experience.

Projectnourished.com. Retrieved 18 October 2017, from http://www. projectnourished.com/ Spence, C. & Piqueras-Fiszman, B. (2014). The perfect meal : The multisensory science of food and dining. Chichester, West Sussex, UK ; Hoboken, NJ: Wiley Blackwell.

Taste of Melbourne’s Innovative Culinary Virtual Reality Experience | CATALYST VR. CATALYST VR. Retrieved 18 October 2017, from https://www.catalystvr.com.au/taste-melbournes-innovativeculinaryvirtual-reality-experience/ Yang, J. (2011) The art of food presentation. Available at http://www. cravemag.com/features/theart-of-food-presentation/

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GREAT OCEAN ROAD

GREAT OCEAN ROAD The Great Ocean Road is one of Australia’s most famous roadtouring routes. The stretch of road goes along the south-eastern coast of Australia between the Victorian cities of Torquay and Allansford.

Initially built by returned soldiers between 1919 and 1932, the road winds through varying terrain along the coast and provides access to several prominent landmarks. These including, the 12 Apostle rock formations, world-class surfing spots, pockets of rainforest and calm seaside towns among many koala-filled tree canopies.

Aashish Mathew Project Manager

Jacob Sheahan Technical Officer

Adrian Ciriani Technical Officer

Nicole Gemlitski Creative Director

CONTENTS

5 9 - 6 0

7 1 - 7 8

LUME

ACADEMIC RESEARCH

6 1 - 6 6

7 9 - 9 0

SCRIPT AND STORYBOARD

FINAL STORYBOARD

7 0

9 1 - 1 0 7

SITE VISIT

DEVELOPMENT AND FINAL PROJECT

LÛMÉ VISIT Cleverly deceptive, Lumé is a terrace house in South Melbourne, formerly home to a burlesque club, taken over by Chef Shaun Quade.

With the mission of creating a multisensory and theatrical restaurant with deep respect for experimentation with remarkable produce, an incredible food experience is cultivated for each individual diner.

Lumé has many different events ranging from immersive dining experiences, private dining to even private cooking demonstrations.

With to their reputation in creating multisensory dining experiences, Lumé has partnered with RMIT industrial design students to find the link between food and technology through projection mapping.

On Wednesday the 23rd of August we had a site visit to the restaurant where we met the Chef and received the project breakdown.

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LÛMÉ SCRIPT VIC | GREAT OCEAN ROAD STRAWBERRY FED DUCK Duck smoked over melaleuca finished with elderflower honey

Narrative Ideas Acknowledge that in hindsight we’ve only driven more with our hearts, and stomachs, than a sense of economical navigation. This is probably in all honesty about 2 weeks into the drive at least. The children are grown adults by the time we get to the final destination. Which is an excellent segue to talk about how we spend our time in cars.

In this scene we start by talking about ‘driving down the Great Ocean Road.

So in this scene CHEF talks about singing alongs in cars. This transitions to the idea of everyone stopping the car, having a camp out.

And a camp fire. And the sing along continues by the fire.

Once the sing a long premise is set by the fire. CHEF mentions his favourite song from this time, and sings a line of it. Then the AUDIENCE PLANT starts to sing along. A guitar is brought out of the kitchen, and the AUDIENCE PLANT takes it and begins a campfire style sing a long, walking around the room, encouraging others to sing.

All the KITCHEN STAFF join in too.

And that means we’re all staying for the night We’re camping here. Under the stars.

And so the dark could set in, and the fire grows.

And all the lights go out, and its all the sounds of the bush.

Perhaps they talk about Yarra Valley wine, serve some, and like most trips to wine region, everyone leaves a bit drunk

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INITIAL SCRIPT AND STORYBOARD Scene 1: The illusion of sitting in moving vehicle with the silhouette of a car window showing the scenery go by of the great ocean road. Sky is gloomy and overcast (giving the sense of a long road trip ahead) Transitioning from a empty dirt road with lots of plain greenery and farmland to rainforests. (giving the sense of movement and adventure, making the audience feel like they are on a long journey) Scene 2: Driving through/past the ‘Welcome to The Great Ocean Road Sign’ with the car silhouette still present. (giving the audience the sense of finally reaching their destination) Scene 2.5: The car continues to drive down the road, looking through the scenery of farmland and greenery with possibly some cows/ sheep and hay stacks. Finally reaching the shore and beginning the journey through the rocks and beaches. (giving the audience a sense of driving for a long period of time while still having so much more to see) Scene 3: Looks to side and sees what is left of the 12 apostles. Sky is gloomy and overcast. (movement is still present, audience feels the excitement of the main attraction of the great ocean road) Scene 4: The movement starts to slow down and eventually stop after a few seconds. (sense of the car journey stopping and the adventure beginning, taking a pitstop, taking photos of the beautiful scenery). Audience looks to the side and sees the sun setting over the trees over the path to the forest. (sense of time and vastness of nature)

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Scene 5: Camera transitions to walking through a path that leads to the beach (sun is nearly set and the night is coming closer, sense of a cold breeze present to make the audience really experience the feeling of a night on the beach). Camera is moving through the path and leads to the fire pit and camping area on the sand.

Scene 6: Camera moves along the fire area and logs. (sense of nature, warmth and safety) Camera ends at a shot of the guitar laid on the side of the log.

(Stays in the fire section and focus goes to table scene) Scene 7: (Guitar starts to play) Scene looks straight into campfire then pans out slowly along the water with the sparks of fire still present. (giving the audience the sense of the warmth surrounded with nature) Scene 8: End with the view of stars in the sky, (different variation is sizes) lightly twinkling and a small constellation of a strawberry (incorporating aspects of the dish into the scene giving the audience a sneak of what they will be consuming). Then a shooting star to end the scene (giving the sense of completeness and pure joy)

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SITE VISIT In order to develop a better understanding of our given location, our team ventured off for a day trip to the Great Ocean Road to gather inspiration and inform our design decisions. The road trip consisted of mostly driving down the Victorian country side surrounded by farmland and eucalyptus trees, finally leading us to the windy Great Ocean Road. This was a great opportunity as we learned first-hand what our location consisted of, from scenes to objects.

We were able to gain a greater appreciation for the landscape and textures we would need to replicate in 3D. We were also able to practise our learnings on photogrammetry to create 3D objects by taking overlapping photos all around the artifact.

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PHOTOGRAMMETRY Photogrammetry is the science of making measurements from photographs. It is a 3-dimensional coordinate measuring technique that uses photographs as the medium to formulate a digital object.

Photogrammetry can be classified in several ways but there are 2 main methods; Aerial photogrammetry is where the camera is mounted in an aircraft and pointed towards the ground and multiple photographs are taken as the aircraft flies along a flight path. This method is very effective in recreating topology and mass landscapes.

Terrestrial and Close-range Photogrammetry, sometimes called imagebased modelling, is another method that was more suited to our project.

It is where the camera is located on the ground and stabilised using a tripod. Using a standard DSLR, photos are taken all over the object with significant overlap and multiple angles and heights. This allows for online software to stitch the photos together, determine heights and details and output a 3D asset.

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BIOPHILIA Biophilia is the innate tendency to connect with nature. It’s the phenomena that explains why the crackling sounds of a campfire or the crashing waves captivate us, why the smell of rain evokes certain emotions, why the sense of nature provides us with a feeling of calm.

A somewhat controversial hypothesis put forward by Edward Wilson is the idea that humans evolved as creatures deeply enmeshed with the intricacies of nature, and that we still have this affinity with nature ingrained in our genotype.

For decades, research scientists and design practitioners have been working to define aspects of nature that most impact our satisfaction with the built environment. From indoor gardens and walls of vertical plants to furniture and carpets that simulate outdoor environments, we crave a connection with nature.

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COMPUTER GRAPHICS EVOLUTION Graphics have evolved significantly, from cave drawings of ancient times to life-like simulations today. Technology has spearheaded innovation in the quality of digital graphics at an exponential rate.

A 3-minute animation that may have required a warehouse full of servers and graphic cards can now be done on a single machine and at even better quality. With the introduction of projection mapping, virtual and augmented reality, computer graphics have enabled us to experience other environments and situations without having to physically be there. Right from your living room, you can experience the weightlessness of space, right from the classroom students can visualise the solar system.

Our project with Lume has provided us the opportunity to transport diners right to the natural source and context of the food they’re eating, enhancing the experience beyond the sense of taste.

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NEUROGASTRONOMY The study of complex brain processes that elevate the experience when eating or drinking through perception and association.

According to this field of study, taste and flavor are two very different things: “Taste is an experience composed of only five elements: sweet, salty, bitter, sour, and umami…. Flavor is at once a broader and more powerful property than taste, one that marries the senses and their associated properties — memory, experience, neurobiology — to create and control the way we eat.” (Shott, C. 2017) For example, research has shown that the color red is perceived to be sweeter, tricking the mind into believing a sweeter taste; a white plate has the same impact. The promise of neurogastronomy is that by focusing on the brain instead of the body, we may be able to alter eating habits in a different way. Things like sound, sight and temperature also impact how our minds perceive flavors.

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FINAL SCRIPT AND STORYBOARD Scene 1: Birds eye view of the great ocean road drive. Showing the whole journey of the road from the trees, farmland and shrubs towards the ocean road and the 12 apostles. (sense of a big journey ahead and movement) Camera begins to follow a car driving down the road surrounded by treelines (sense of time and nature) Then camera continues to follow the car through the farmland, surrounded by hills with grass, farms with cows and sheep and canola flower fields. (sense of nature and peace)

Scene 6: Camera goes to the top of the stairs and pans to a view down the stairs.

Fade into the bottom of the stairs and camera looks up the the top of the stairs and then around to the beach.

Scene 2: Camera continues to follow car, reaching an intersection where the road splits into two different directions. It follows car driving down the coast with more windy roads towards the apostles. (one side with shrubs and the other side with farmland)

Scene 8: Camera reaches the fire in the middle with a few camping seats around with a cooler and a guitar leaning on one of the chairs.

Scene 3: Camera slowly moves into ‘person height’ (giving the sense of being in the vehicle) Scene 4: Camera turns to the left and stops at a car park. Then transitions to walking through the dirt path to the viewing deck. Camera then pans around the deck scene. (lots of beach and cliffsides with water movement and apostles in the background).

Scene 5: Camera moves through dirt path towards the bumpy cliffside stairs which lead to the beach.

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Scene 7: Pans out towards the apostles on the beach then begins to move towards the fire on the beach (water moving in and out on the right side and cliffside on the left side)

Scene 9: Camera moves around in a circle, following the central logs around the campfire.

Scene 10: Light fades into darkness and goes into night time. The camera begins to move around the fire slowly and then stops circling while looking straight into the fire with the apostles in the background.

Scene 11: Camera pans up into the sky with stars glistening and ends with a shooting star.

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DEVELOPMENTAL WORK After establishing the story we wanted to present in our scene, we began developing our assets and landscape. Using satellite imagery, we created the Australian coast road. Using the skills we learned in the first phase of the course, we created high-quality objects and textures to further develop our expertise in the programs. We also sourced animals typically found in the location and rigged them to add movement, allowing us to provide a far more dynamic scene. With intensive work and effort, we were able to build a seamless experience that can be enjoyed across multiple screens to enhance the food and environment.

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REFERENCES Shott, C. (2017). What Is Neurogastronomy? - Food Republic. Food Republic. Retrieved 18 October 2017, from http://www.foodrepublic. com/2016/02/16/what-is-neurogastronomy/ Gortler, S. (2012). Foundations of 3D computer graphics (1st ed., pp.

1,2,3). Cambridge, MA: MIT Press.

Thomas, J. (2000). The impact of computer graphics. IEEE Computer Graphics And Applications, 20(1), 17-17.

Tamasi, T. (2008). evolution of computer graphics (1st ed., pp. 2,9).

Nvidia. Retrieved from http://www.nvidia.com/content/nvision2008/ tech_presentations/technology_keynotes/nvision08-tech_keynote-gpu. pdf Eberly, D. (2007). 3D game engine design : a practical approach to realtime computer graphics : The Morgan Kaufmann Series in Interactive 3d Technology (pp. 2-3). Morgan Kauffman publishers.

Browning, W., Ryan, C., & Clancy, J. (2014). 14 patterns of biophilic design. Improving Health & Wellbeing In The Built Environment.

Retrieved from http://www.terrapinbrightgreen.com/wp-content/ uploads/2014/04/14-Patterns-of-Biophilic-Design-Terrapin-2014e.pdf Spence, C., & Piqueras-Fiszman, B. (2013). Technology at the dining table. Flavour, 2(1), 16. http://dx.doi.org/10.1186/2044-7248-2-16 Youssef, J. (2015). Science of Food Plating - Great British Chefs.

Great British Chefs. Retrieved 18 October 2017, from http://www. greatbritishchefs.com/features/the-science-of-food-presentation-jozefyoussef Planet, L. (2017). Great Ocean Road travel - Lonely Planet. Lonely Planet. Retrieved 18 October 2017, from https://www.lonelyplanet. com/australia/victoria/great-ocean-road#maps

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Great Ocean Road, Victoria, Australia. (2017). Visit Victoria home.

Retrieved 18 October 2017, from http://www.visitvictoria.com/Regions/ Great-Ocean-Road Walford, A. (2007). Photogrammetry. Photogrammetry.com. Retrieved 18 October 2017, from http://www.photogrammetry.com Pillai, A. (2015). A Brief Introduction to Photogrammetry and Remote Sensing ~ GIS Lounge. GIS Lounge. Retrieved 18 October 2017, from https://www.gislounge.com/a-brief-introduction-to-photogrammetryand-remote-sensing/ Definition of BIOPHILIA. (2017). Merriam-webster.com. Retrieved 18 October 2017, from https://www.merriam-webster.com/dictionary/ biophilia Spence, C., & Piqueras-Fiszman, B. (2014). The Perfect Meal (pp. 3-4).

Somerset: Wiley.

NiSi Road Trip 2017 - Daniel Tran Photography. (2017). Daniel Tran Photography. Retrieved 18 October 2017, from https:// danieltranphotography.com/nisi-road-trip-2017/ Australian Landscape Photography | Gibsons Beach | Twelve Apostles | Great Ocean Road | Victoria | Australia | Panoramic Framed Print.

(2017). Chockstonephotos.com. Retrieved 18 October 2017, from http:// www.chockstonephotos.com/Australian-Print.asp?ID=559&Zoom=XXL 100 Greatest Holidays of Australia: #8 Great Ocean Road roadtrip (Vic). (2017). Australian Traveller. Retrieved 18 October 2017, from https://www.australiantraveller.com/vic/great-ocean-road/100-greatestaustralia-holidays-8-great-ocean-road-roadtrip/ The Great Ocean Road self drive itinerary including the London Bridge and the 12 Apostles - MEL365 Travel & Photography. (2017). Mel365. com. Retrieved 18 October 2017, from https://mel365.com/great-oceanroad-self-drive-itinerary-london-bridge-12-apostles/

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CANBERRA

jacob Sandom Project Manager

Ying Lun Ma, Marvin Technical Officer

Wing Yung Lai, Vanessa Creative Director

Marcus cher Mentor

content CONTENTS 1 - 4

IntroductIon 1 2 1 - 1 2 2

INTRODUCTION

STORYBOARDING

our LocatIon

OUR LOCATION

1 4 - 2 3

DEVELOPMENT

3 5 - 4 9

FInaL renderS 1 5 5 - 1 6 2

FINAL RENDERS

StorYboardIng 1 3 1 - 1 4 6

deVeLopMent 1 4 7 - 1 5 4

5 - 1 3

1 2 3 - 1 3 0

2 4 - 3 4

5 0 - 6 0

concLuSIon 1 6 3 - 1 7 0

CONCLUSION

the project This project was set up through RMIT University and carried out by a small group of Industrial Design students. Operating with input and direction from Lûmé, a high class restaurant owned and operated

by Chef Shaun Quade in South Melbourne. This project is centred on virtual reality that we realised through projection mapping. The course provided by the university saw all class members develop and master a wide range of digital skills across numerous platforms. The platforms we utilised to create photo-realistic environments were Maya & Mudbox (Autodesk), Substance Designer & Substance Painter and Unreal Engine 4 was used to unite all aspects created in the previously stated platforms. This project would see us learn to projection map virtual scenes onto three walls and a table centred in the middle.

Over the course of 13 weeks, these skills were developed to an industry level that meant we were capable of executing the brief received from our client at Lûmé.

Our client challenged us to utilise our skills and draw inspiration from the ingredients to enhance the customers experience of the evening and of the food. Through immersive environments, which place the customer at the heart of the dish in a setting that specific to the ingredients and cooking methods. We drew on neurogastronomy to incorporate sight and sound to the meal to connect diners to their unique dishes. The dishes used were taken from the Great Australian Road Trip of 2016 and re-imagined for a future showcase to be carried out at Lûmé.

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canberra - act Australian Capitol Territory (ACT) is a federal district located in the South-East of Australia. The territory is enclaved by New South Wales (NSW) and is home to the capital of Australia; Canberra. ACT has some unique geological features such as Black Mountain, which primarily consists of white quartz Black Mountain Sandstone deposited in the Silurian era.

Canberra is the centre for economics in ACT and therefore hosts a stable housing market, high employment rate and steady population growth making it a very prosperous region to live. Due to Canberra’s central location, unlike many Australian cities, it experiences four distinct seasons because it is not regulated by the ocean.

The entire city was designed by Walter Burley Griffin and utilises a wheel and spoke pattern for the urban structure. This structure is localised on two axis, the Lake Burley Griffin from east to west and the ‘Ceremonial Land’ axis from New Parliament House in the south to the Australian War Memorial in the North home to the ‘Unknown Soldier’.

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parLIaMent houSe Canberra is the heart of the nation, it is home to Parliament house, both old and new, the Australian Institute of Sports (AIS), the Royal Australian Mint, Commonwealth Scientific and Industrial Research Organisation (CSIRO), the iconic Telstra Tower, the Australian War Memorial and some iconic views of the state from the surrounding mountain ranges. One of the most easily recognisable buildings is the Parliament House.

This is located at the apex of the parliamentary triangle that can be seen from above Canberra and on the right. Located within parliamentary triangle are the majority of Canberra’s government buildings.

Therein lies Old Parliament, Treasury Building, National Gallery of Australia, High Court, Royal Australian Air Force Headquarters, Australian Security Intelligence Organisation, National Library and Commonwealth Park.

Parliament House was completed in 1988 and the iconic shape of the roof was inspired by two boomerangs and supports an eighty one metre flagpole atop. It is open to the public and they can most areas and has 4700 rooms within. The new parliament house closely resembles its predecessor with the colour scheme and façades. The parliament house is one of the few in the world to host a variety of private events in any one of its 14 event spaces.

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roYaL auStraLIan MInt Since the inception of the Mint in 1965 it has manufactured fifteen billion circulating coins and has a maximum output of two million coins per day. The mint produces three types of coins, circulating coins for general use and everyday transactions, collector coins, which are legal tender but manufactured as gifts or souvenirs, and lastly the investment coins, the most valuable, contain a small mintage and use precious metals.

The mint is the only manufacturer of Australian coins and a popular tourist attraction located to the west of Parliament House. Visitors can manufacuture their own legal tender coins of the visitors press.

teLStra toWer The Telstra Tower is situated at the summit of Black Mountain an is a telecommunications tower with panoramic views of Canberra and ACT. It has one indoor viewing area and two outdoor viewing decks The tower stands at 195.2 metres above the summit.

Initially named Telecom Tower, with the company rebranding it was renamed Telstra Tower in 1993. It is responsible for all telecommunications to Canberra through the numerous satellite dishes located halway up the column.

This landmark is a distinguised monument and in 1989 was approached by the World Federation of Great Towers to join other prestigious landmarks such as the CN Tower in Toronto and the the Empire State Building in New York City.

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auStraLaIn War MeMorIaL The Australian War Memorial Builing is located directly opposite Parliament House on the north of the river. It is the national memorial to servicemen and ewomen who have given their life for their country in wars invoving Australia. Those who lost their life in World War One have their names only, with no accolades as “we are all equal in the presence of death� (Publilius Syrus) enscribed on the west wall.

The east wall features the names of those who have given their life in World War Two and the conflicts since.

Opened in 1941, it is comprised of three areas, the commemorative hall (Shrine), National Gallery (museum) and the Research Centre (Records). Located within the commemorative hall is a cenotaph; the Tomb of the Unkown Soldier. Following the conclusion of World War One soldier whose remains were unidentified was buried, with a single tomb commemorating the unkown and the memories of the soldiers killed in all conflicts.

The memorial building has the floor plan of a Byzantine cross and uses limestone brick with a jade dome atop in the centre. It has a small water feature in the centre and has manicured trees and hedges throughout the gardens on site.

The Australian War Memorial is one of the most highly regarded war memorials in the world.

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LûMé Cannabis Minted Coins & Absinthe Frappe

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the dISh C A N N A B I S

coInS

M I N T E D

coInS

A B S I N T H E

Frappe

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the ScrIpt To begin, it’s worth saying that Canberra is a very modern built city, and very strange design. The whole city is built in concentric circles, which means as a driver you can get very lost and then an hour later find you’re still exactly as lost. Then drive another, and be exactly as lost again.

This is where parliament is. The hear of the nation. The AIS. The CSIRO. The mint is here and that’s about all. This is a town that was built specifically built for politics, but for CHEF perhaps it’s important, because that’s where his parents met. Maybe one was from Canberra. Maybe they both worked there. Canberra is a bit like that. It’s a place that is not about the place. It’s more about the relationship because no one is really from there. Maybe that’s why it’s also the home of the nations only unrestricted pornography studios, legal fireworks, and the loosest marijuana laws this side of the pacific.

Parents kiss under the fireworks. Bit stoned. Bit high.

Reminds them of their youth. Bit in love.

They drive off into the sunset, the fireworks behind them over canberra. the end

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InSpIratIon In a more adult and unfunded by tourism commission version it’d be hilarious to see someone rip a bong Maybe it still is Maybe there’s a chance to mention the porn and the bong in passing but instead include a small FIREWORK here instead. FIREWORKS are annoying to travel overseas with but most other countries you can buy them on the ground anyway. Obviously this would need to be worked out how to do inside OR given it’s the final dish could take place out the front of the restaurant.

Also amusing part of feels like Canberra is the one most at risk/desire of being parodied as a kind of government tourism promo Have you ever seen there’s tourism promo parody online for Canberra?

Drawing on the narration and the inspiration provided, the most relevant aspects taken away were the fireworks, the final meal, Parliament, love, couple, sunset-night, porn and marijuana. Incorporating this into a scene would prove to be a challenge. Parliament, fireworks and marijuana were the key areas of focus moving forward.

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accuracY Accuracy was a key aspect going forward with the scene construction, Detailed buildings were required, along with an accurate representation of Lake Burley Griffin in the middle with the appropriate colour and texture utilised. Observations from above using Google maps saw a landscape covered with several tree variants and it was important to for us to utilise these trees adding to the accuracy of the scene.

The houses were a large part of the scene as this brought all aspects together and it closely resembled a city with the background littered with houses drawing attention to the arterial roads and public spaces in the surrounding suburbs.

In the spirit of accuracy, scale had to be precise, modelling each of our models to the correct dimensions was the first step, resizing them in the scene was the next. We set our scale using our two main buildings, the Australian War Memorial and Parliament House both along the ceremonial land axis. With this axis crossing the river, we were able to accurately scale our models for the scene.

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MarIjuana Canberra’s marijuana laws aren’t very strict, and we drew on this to enhance the neurogastronomy of our dish. As a federal district some loose laws regarding the controlled substance was unusual so we discussed how we could utilise this feature in our scene.

Initially the plan was to have the grass top of Parliament house turn into a crop field for marijuana with large Cannabis Sativa plants placed in a linear fashion over all available surface area. We also wanted to utilise the same Sativa plants in a highly public location and for this we chose City Hill, which has a direct line of sight to parliament.

We felt that by cultivating the marijuana utilising linear plantation of crops, the diner would feel immersed in the environment through the realism of the scene and recognise the iconic plant if visualised in this particular method. To guarantee this feature is recognised, a bong will feature in the scene within the marijuana field symbolising the controlled substance.

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FIreWorkS Legal fireworks add a touch of life to the city of Canberra and make for a spectacular views above the city. We envisioned having fireworks occurring in the background for the conclusion of the scene that lit up the suburbs below. Discussions that ensued saw the fireworks explode directly above Parliament House high in the sky.

Utilising the iconic spire on the top as a launch platform for the fireworks as the spire can be seen from almost everywhere and the fireworks exploding high over the city would bask Canberra and the surrounding country as part of the ACT. As the cannabis coins are the final dish, ending the scene with fireworks was the decision made. This would reflect the history of Canberra, the love mentioned in the script from LĂťmĂŠ and the vibrant flavours achieved in the creation of this intriguing dish. All through a visually pleasing display of exploding colour with sound to accompany the scene.

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cannabIS coInS The primary ingredient in our dish is Cannabis coins and we wanted to incorporate this into our scene. As the main component we thought this would feature at the beginning of the scene informing the viewer of both the ingredient and the location of the scene through an imprint on the face.

With the Royal Australian Mint in Canberra, a sterling silver coin depicting a cannabis leaf on one side and on the other, “Canberra� text across the face with the coin located in the open foyer of the war memorial building.

This information was initially planned to be delivered through a series of coins lying on the ground with both sides visible, however, it was thought to be more impactful to have a singular spinning coin rotating at a speed allowing both sides to be examined.

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abSInthe The main ingredient for the drink is absinthe, a distilled beverage with a high alcoholic content (45%-74% ABV). It is usually distilled a green colour from the natural botanicals used but can also be colourless.

The green of the absinthe ties in well with the scene as Canberra, although a city has a huge amount of greenery in the city centre and inner suburbs and will be visualised through a model of a open top bottle with a dark green tinge to the glass. This will feature alongside the bong and Cannabis Sativa plants located in city hill within the parliamentary triangle.

The bottle used in the scene will be empty representing a couple who have spent the night out in the marijuana topped city hill with a bong, some leftover coinage and bottle left as remnants of a good night in Canberra.

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StorYboard deVeLopMent We wanted to encompass all aspects of Canberra in the short three and a half minutes available and to do so we focused on several things.

The first a cannabis coin making reference to Canberra spinning infront of the war memorial. From this the camera would pan towards the dome in the centre from the open foyer and slowly recede out the front of the building.

Following a cut scene the camera would follow Anzac Parade towards Parliament house across the lake. Once there it will rise up and examine parliament from a slightly elevated view. Another cut scene would see the scene take you over the bridge to city hill, the location of the cannabis field.

Going into this field we find a bong, bottle of alcohol, coins on the ground and a viewpoint to see parliament. Looking back, we see a time-lapse as day turns to night, and fireworks light up the sky over Parliament House.

This scene will be carried out mainly at eye level as we want the diner to be able to fully immerse themselves in the visually depicted environment mapped on the wall and table.

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IMage reFerence 1.

DMCP. (2016). Capital Hill [Website image]. Retrieved from http://dmcp.com.au/portfolio/785/

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2.

Charliekay. (2017). Hyams Beach & Booderee National Park [Website image]. Retrieved from

au/news/image/6167320-3x2-940x627.jpg

https://commons.wikimedia.org/wiki/File:Hyams_Beach_%26_Booderee_National_Park.jpg

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DMCP. (2016). Capital Hill [Website image]. Retrieved from http://dmcp.com.au/portfolio/76/

daysoftheyear.com/days/absinthe-day/

4.

Wilson, A. (2017). Canberra the city to beat for house price growth [Website image]. Retrieved

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from

https://www.allhomes.com.au/news/canberra-the-city-to-beat-for-house-price-growth-20170421-

1b5ed2.jpg

gvpnwq/ 5.

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Parker & Partners. (2017). Australian’s leading public affairs agency [Website image]. Retrieved

Days of the year. (2017). Absinthe Day [Website image]. Retrieved from https://www.

Sf.co.ua. (2016). Wallpaper [Website image]. Retrieved from http://sf.co.ua/15/04/wallpaper-

Aurec. (2017). Aurec Group [Website image]. Retrieved from https://www.aurec.com/media/

AUREC/client/canberra-banner3.jpg

from https://www.p-p.com.au

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com/news/fireworks-law-reminder/article_5c93d1e0-5ba5-11e7-b75d-fb0dbe786e12.html

ABC News. (2015). Royal Australian Mint [Website image]. Retrieved from http://www.abc.net.

au/news/image/6167320-3x2-940x627.jpg

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Sue W. (2017). Flower to Tower Walk- Australian National Botanical Gardens to Telstra Tower

MDJ. (2017). Fireworks law reminder [Website image]. Retrieved from http://www.mdjonline.

SunSentinel. (2017). Medical marijuana rules move ahead in Florida [Website image]. Retrieved http://www.sun-sentinel.com/news/politics/florida-medical-marijuana/fl-reg-florida-medical-

[Website image]. Retrieved from https://www.weekendnotes.com/australian-national-botanical-gardens-to-

marijuana-rules-20170525-story.html

telstra-tower/

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http://www.alabamarentalmanagers.com/2015/06/26/fourth-of-july-in-birmingham/

Thousand Wonders. (2017). Australian War Memorial [Website image]. Retrieved from https://

Alabama Rental. (2015). Fourth of July in Birmingham [Website image]. Retrieved from

www.thousandwonders.net/Australian+War+Memorial

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keywords/cannabis%20coin

Diplomat. (2017). Australian War Memorial [Website image]. Retrieved from http://www.

BazaarBay. (2016). Cannabis coin [Website image]. Retrieved from https://bazaarbay.org/

diplomathotel.com.au/location/australian-war-memorial/

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Outside. (2017). Should You Be Scared of Absinthe? An Unscientific Investigation [Website

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image].

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unscientific-investigation

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Concrete Playground. (2015). Trust the chefs at South Melbourne’s new lume restaurant

[Website image]. Retrieved from https://concreteplayground.com/melbourne/food-drink/food-2/trust-thechefs-at-south-melbournes-new-lume-restaurant/ 12.

Andersen, C.H. (2017). There’s a New Gym for Marijuana Lover Opening In California

[Website image]. Retrieved from http://www.shape.com/fitness/tips/theres-new-gym-marijuana-lovers-

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https://www.outsideonline.com/2058196/should-you-be-scared-absinthe-

Parliament of Australia. (2017). Visit Parliament [Website image]. Retrieved from https://www.

aph.gov.au/visit_parliament

reFerence Born, R., Lenders, R., Groot, W., & Huijsman, E. (2001). The new biophilia: An exploration of visions of nature in Western countries. Environmental Conservation, 28(1), 65-75. doi:10.1017/S0376892901000066

Guttentag, D. (2010). Virtual reality: Applications and implications for tourism. Tourism Management, 31(5), 637-651. http://dx.doi.org/10.1016/j.tourman.2009.07.003

Shepherd, G. (2011). Neurogastronomy: How the Brain Creates Flavor and Why It Matters (1st ed.).

Columbia: Columbia University Press.

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BYRON BAY

Leisa Fields Project Manager

As Project Manager it was Leisa’s responsibility to keep the vision of the project on track and make sure we finished on target. Like a new age parent, she prefers a more contemporary then top down management approach, allowing members autonomy to choose tasks based on interests and skills. Hers have been animating assets, storyboard development, writing and Mudbox. She will arrive late and call you someone else’s name, yet everything still seems to come together in fine form. Who knows how these people operate.

Isabelle Moustra Technical Officer

As chief Technical Officer Isabelle had the labour-intensive role to wrangle the final design program Unreal Engine 4. It’s a testament to her thresholds that her laptop didn’t get thrown out a window or that she didn’t ended up in a jail for a stress related crime. To learn the necessary skills she had to watch countless online tutorials and go through the frustrating trial and error process that is learning a complex program. We are grateful for her technological know-how, for mastering Unreal Engine and for surviving every computer crash.

She’s thinking she didn’t sign up for any of this, she just wants to go out for some Mexican. Post project, we’re going to get this girl a taco.

And some tequila.

Jelena Tomic Creative Director

Jelena, our Creative Director is a very adaptive group member. She was responsible for compiling the folio and getting our final storyboard looking amazing. Her meticulous skills with crafting polys saw her crowned our Maya, Photogrammetry and Substance Painting queen. She’s always been on hand to pitch in her skills, humour and creativity with a smile and snacks. Don’t be fooled by her quiet demeanour, Jelena, Hellena, is here to slay.

CONTENTS

1 8 1 - 1 8 2

1 9 3 - 2 0 2

INTRODUCTION

ASSET DEVELOPMENT

1 8 3 - 1 8 4

2 0 3 - 2 0 4

BYRON BAY

PHOTOGRAMMETRY

2 0 5 - 2 0 8

1 8 5 - 1 8 6

SCRIPT/THEME

TEXTURE DEVELOPMENT

1 8 7 - 1 9 0

2 0 9 - 2 1 8

STORY BOARD

FINAL SCENE

1 9 1 - 1 9 2

2 1 9

RESEARCH

CONCLUSION

2 2 0

REFERENCES

INTRODUCTION

RMIT: The title of our studio, “La Cucina Futurista” translates from Italian as The Futurist Kitchen. It references a satirical and speculative 1930’s Italian cookbook which at the time of its publication was a radical departure from traditional culinary concepts. It plays into the notion of expanding our ideas of what food and the dining experience could be, dispersing the primary focus on flavour to include atmospherics, narrative, texture, tactility and neuroscience name just a few. Celebrity chefs such as Heston Blumental have built upon these ideas producing some of the contemporary world’s most cutting edge food and dining experiences that seek to reconceptualise a meal as a multisensory science.

It’s at this intersection of art, science, food and technology where Melbourne’s prestigious restaurant Lûmé and RMITs industrial design school meet. Chefs, design students, actors, wait staff and theatrical producers have been working collaboratively to create a dining experience centred around the theme of ‘The Great Australian Road Trip.’ This project endeavours to engage the diner on a multitude of senses as they are taken on a dining journey around this amazing country. From Byron Bay to the Margret river it’s our aim to create a fully immersive and truly unforgettable dining experience.

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Lûmé: Melbourne restaurant Lûmé is located in a converted South Melbourne terrace which was formerly a burlesque club. Headed by celebrity chef Shaun Quade, the restaurant takes a theatrical and multidisciplinary approach to fine dining. They seek to honour age old respect for quality of produce and technique while simultaneously carving out new territory.

Lûmé is renowned for producing one of a kind dining experiences. They are passionate about stimulating all senses and pushing the boundaries within the fine dining contest, which more commonly a pretentious and overly formal setting. For Lûmé, one of their main points of difference is pushing back on these conventions. Recent events have involved near nudity, psychological theatre, illicit drug references and mock laboratory experiments. The entire experience of dining with Lûmé has been carefully designed, from the reservation process to the moment you touch your first amuse-bouche. The attention to detail in service they provide is so seamless, one could be forgiven for failing to notice the wait staff have customised your dining experience for if you are right or left handed without having to ask.

Lûmé has recently expanded their narrative capacitates to embrace the emerging technologies of Virtual Reality and projection mapping.

They’ve been engaging the expertise of numerous professionals from a variety of fields to merge these worlds into their dining experience.

This collaboration with RMIT’s industrial design students is part of an upcoming event which will be will a continuation of their quest to redefine conventions and play host to an experience of surprise and possibilities.

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BYRON BAY Byron bay is a beach side town located in north east NSW. It is a landscape of incredible natural beauty, with an abundance of pristine beaches, sub tropical rainforest. Byron and its neighbouring town Nimbin have had a long association with hippy, surf and recreational drug culture. Hallucinogenic mushrooms grow naturally in hills and in particular the township of Nimbin is famous for being a mecca for the promoting the open used and legalisation of marijuana. Annually they hold the ‘Nimbin Mardigrass’ to celebrate all things pot and rally for law reformation. It’s also a region of plenty. Its climate, sunshine and rainfall see the region producing a wealth of organic natural produce from tropical fruits and vegetables to macadamias. It’s in the spirit of this natural abundance and relaxed hippy culture that has inspired our script from Lûmé.

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SCRIPT/THEME

Lûmé: NSW/Byron Bay Maybe there’s a way to make it feel very fast, using uptempo music or text or both so that we get a feeling of the car stopping suddenly for the first dish. And the projection stuff is whizzing by. Then when the dish arrives, it stops. We’re here. Dish one.

Maybe the sound of the sea in the distance. Wind rustling through the forest trees, The vague scent of marijuana smoke. Someone playing a John Butler song. Tobi takes the audience on a foraging adventure. (i.e “Today we’re going to be foraging for fresh vegetables and herbs. We’re definitely definitely not here to forage for magic mushrooms. If anyone finds magic mushrooms, they must be brought to my attention. And then after that, maybe don’t bring anything else to my attention for a good 30 to 45 minutes”

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Adapted: From the Lûmé script we have decided on the following story. A classic VW van is driving along a road in the beautiful Byron bay hinterlands.

The van stops, and as the occupants get out of the van the camera notices the beautiful forest surroundings. As a popular tourist destination, there is a coke can here or there and details such as a few insects and a smouldering joint on the ground. The focus of the adventure turns to a path leading off the road between the trees. Following along this path the person (in 1st person view) can appreciate some of the beautiful flora and fauna of the region along the path. Bright flowers, subtropical trees and ferns of the region. Suddenly they see a snake on the side of track and they are diverted off the track in fright. The scene cuts to a more overgrown part of the forest, they come across more interesting assets… an old tyre, a lizard, then mushrooms. Lots of mushrooms. The camera focuses in a particular variety of theses mushrooms, Gold Tops, which is a common halogenic species of the region. The camera moves closer and closer to the mushrooms. At the last second, we cut scene to a lake scene.

The walker has stumbled across a beautiful lake. This diversion from the main path has led them on an incredible adventure that has found them at this beautiful setting they otherwise wouldn’t have found. The effects of eating the magic mushrooms starts to take effect, a warping of vision is evident, colours become more vivid and multi-coloured.

The sun begins to set. What an amazing start to their road trip, this has been an incredible day.

This section of the folio will discuss some of the theoretical

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STORYBOARD

The scene begins with a Kombi van speeding its way down the road before coming to a complete and sudden stop. The Kombi van stops right near a walking trail where the passengers exit the Kombi van and begin there journey down the track. Walking done the track the passengers notices the forests beautiful surroundings. They come across various wildlife, beautiful plants and flowers. The person then decides to take an alternative path which is off track. This path is difficult to walk through with overgrowing plants, rocks and trees getting in the way. However the person stumbles across a tyre which then directs their focus to the gold top mushrooms on the ground. The person notices a whole bunch of these mushrooms scattered around everywhere. This is when the magic mushroom tip begins. The scene starts to change; it becomes distorted and very colorful giving the effect of the person being high on the mushroom. The person then comes down from the trip and finds that the mushrooms have led them to a beautiful lake where they enjoy the gorgeous and peaceful scenery and end their little adventure.

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RESEARCH

considerations we have referenced during the course of our project.

The underlying theme of our intent could be summarised by the word Biophilia. This term was first coined by the American biologist Edward Wilson in his 1984.

He believes humans possess a tendency to affiliate and seek connections with nature and other forms of life which is a fundamental product of our subconscious and evolution. (Wilson, 2003) Many examples of Biophilia are expressed in architecture and design.

‘Green architecture’ is one such example. Some of the principles of Biophilia include a visual connection with nature, dynamic and diffuse lighting, thermal and airflow variability, presence of water, biomorphic forms and patterns to name just a few. (Terrapin, 2017) The reasons we seek this connection with nature is not simply due to emotional affiliations. Studies have made links between biophilia, our built environment and numerous other psychophysiological and cognitive indicators. They show a clear relationship with physiological and psychological benefits.

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These include reduced stress, greater positive emotional functioning, improved concentration, quicker recovery rates, lowered blood pressure, reduced fatigue, less anger and aggression and improved overall happiness. (Barton & Perry, 2010) Some of these benefits can also be achieved by technology simulating the natural environment. (Fayemi, P. et al, 2017) As the world population continues to urbanise, it is becoming increasingly important to provide people with access to biophilic and natural opportunities. We believe technology has a role to play in providing these environments and these principles have been adopted into our project.

We’ve been able to use computer programs to reconstruct the experience of observing the natural world and creating the feeling of beingimmersed in it It was necessary for us to make detailed form studies and field trips

into the natural environment.We developed and applied understanding of the concepts of variance, biomimicry, the golden ration and Fibonacci’s patterns in nature. We complied these observations in order to recreate a forest with plants and animals that look somewhat realistic. It’s our intent that this feeling of being in a natural environment that plays into the narrative of the food people are eating this will enhance the dining experience and even flavour of the food as several studies have demonstrated that the multisensory atmosphere can influence the experience of taste and flavour. (Sester, et al, 2013)

and behaviours through the marriage of food and drink with the latest in digital technology. (Spence and Piqueras-Fiszman, 2013)

‘The sound of the sea’ a signature dish at Heston Blumenthal’s, The Fat Duck restaurant is one such example of a restaurant putting this theory to action. Diners listen to a recording of ocean sounds while they eat a seafood dish. Other similar studies show us that people believe wine tastes better when they’re told it’s expensive. (Spense, 2016) The brain is a powerful influencer and the neurogastronomy field is still only just scratching the surface of understanding these relationships.

His research has provided the scientific rational behind Heston Blumenthal’s famous dishes, and also forms a wealth of theoretical content for establishments such as Lûmé to inspire their boundary breaking dining events.

Food scientist Professor Charles Spence believes that there is tremendous scope to revolutionise our eating and drinking experience

He is a specialist in the field of researching what effects the sensory perception of food and multisensory dining experiences. His book ‘The Perfect Meal’ explores topics in depth such as waitstaff/ guest interactions, menu design, haptic assets of the cutlery and plate ware, cognitive neuroscience, surprise and sensory incongruity to name a few.

The multisensory dining experience and how this enhances flavour and experience is an exciting and emerging field bringing together a cross section of expertise. As designers in this movement, we’re proud to have been involved at the forefront of developments and we look forward to discovering how technological advances unfold their influence in the future.

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ASSET DEVELOPMENT The Coca Cola crushed can was built firstly in Maya using a basic cylinder tool and inserting and tweaking edge loops. It was then taken into Mudbox where it was refined further and smoothed down to get rid of any rough edges. The can was then taken into Substance Painter where by using a photo of a Coca Cola can we were able to turn it into a texture and paint it over the can making it seem more realistic.

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This lizard was inspired by an eastern water dragon lizard that is very commonly found in Byron Bay. The lizard was also firstly made in Maya. It started of as a basic cube and after several hours of working with the shape a base model of a lizard was created. This was then taken into Mudbox where all the detailing was done, all the scales added, the eyes and any fine features were very carefully sculpted on.

The lizard was then taken into substance painter where numerous techniques were used to achieve the end result. First basic colours and textures were added, this created the base layer. Then again by using an image of the lizard we were able to create a texture and paint over it to make it look more realistic. Multiple texture layers using various images were created and then combined and painted over one another.

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The snake asset was firstly introduced into Maya where a base mesh was made using a cube and multiple edge loops. The snake was then taken into Mudbox where the details of the snake were added such as the scales and the eyes. The snake was then taken into substance painter to be textured. Substance designer was also used to create a specific texture which we were not able to achieve just through painter.

After the snake was textures it was then taken back into Maya. Using the animating tools the snake was then animated to allow it to move its body and make it more realistic in unreal

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The gold top mushroom is one of the most important assets in our scene as a huge amount of the story line is based around it. The gold top mushroom which is also very common in Byron Bay was first made in Maya. Using a basic cylinder and sphere shape the basic mesh was made. The mushroom was then taken into Mudbox where it was made to look realistic and all the little details that weren’t able to be added in Maya were sculpted in. The mushroom was then taken into substance painter where it was painted using multiple layers and textures to achieve the end result.

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The fern was developed by first taking it into Maya and building the mesh. From there a lambert file is applied to the mesh after which a UV is wrapped around only one leaf from the texture file. The fern is then exported as an obj and taken into unreal. The material is then created in unreal using the base color and a wind animation is added to make the fern leaves look as though they are swaying in the wind.

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PHOTOGRAMMETRY The photogrammetry process involved first going on a field trip to find assets which we believed would benefit our scene. We went up to the Dandenong Ranges and picked any items we felt were necessary for our scene. This is where the photogrammetry process begins. We had to photograph each item all the way around from the top, middle and bottom angle using a 50mm DLSR camera. We used a lazy Suzan and divided it up into 16 parts and placed the model in the center and then began with the photographing. Once all the photos have been taken the images were then taken into a program called Agisoft where they are combined and created into a 3D model. Once that is complete the model is then taken into Maya where it is cleaned up and any unnecessary components are removed. It is then taken into Mudbox where the texture is reapplied and then exported.

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TEXTURE DEVELOPMENT In order to make the landscape texture the material is first set to PN tessellation setting. The material function is then created with texture layers, base color, normal etc. After this the values then need to be plugged into the material function and then they are blended using the landscape layer blend. The height maps need to be blended separately and then placed into the displacement map. The Create tessellation set then needs to be plugged into the displacement and tessellation node. Using this setup, develop into 4 simple material functions with texture sets. These are then blended with the landscape layer blend weight setting. This is then plugged into the break material attribute and a full tessellation set and shortened displacement set is plugged into both break material attribute and output.

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The water was put together by using a simple river plugin. The pivot points are then made to frame the curvature of the running water.

The waterfall was made by creating the particle effects and then placing and layering them to form the waterfall.

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FINAL SCENE The landscape is made using Terrain Party. We used the protestor falls location and took a height map of it using the program. In unreal a 31X31 map is then made on which the map is generated onto. After this you are able to smooth the landscape to your liking.

The scene was created by first laying out the cubes as a path. The area was then split into three different maps by duplicating and deleting unused landscape. The rocks, logs and basic foliage were then placed along the path and the landscape sculpture was then fixed to ensure it goes with the path. Models are then imported and added into the scene and the foliage placement is then refined. After this the river and waterfall particles effect is then introduced and the trees are placed along the path and wherever necessary. The landscape textures were then applied.

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CONCLUSION The journey to create the content displayed in this folio has taken us many painstaking hours of trial, error and frustrations. Over the semester we gained a working knowledge of 5 different design programs which was a steep learning curve for us all. It has been an incredible opportunity for us as students to work on a live project and to collaborate with a prestigious Melbourne restaurant. The skill set we’ve developed is relevant to a range of emerging job opportunities and this has positioned us to be highly employable when leaving university. We would like to thank LÝmÊ for their incredible hospitality and giving us the opportunity to work with them. And finally to our teacher Marcus who has invested an incredible amount of dedication and energy into this course. His belief we were capable of achieving so much in a short amount of time has seen us rise and meet this challenge. Thank you, and croquembouche :)

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REFERENCES Barton, J., & Pretty, J. (2010). What is the Best Dose of Nature and Green Exercise for Improving Mental Health? A Multi-Study Analysis. Environmental Science & Technology, 44(10), 3947-3955. http://dx.doi.org/10.1021/es903183r

Fayemi, P., Wanieck, K., Zollfrank, C., Maranzana, N., & Aoussat, A. (2017). Biomimetics: process, tools and practice. Bioinspiration & Biomimetics, 12(1), 011002. http://dx.doi. org/10.1088/1748-3190/12/1/011002

Sester, C., Deroy, O., Sutan, A., Galia, F., Desmarchelier, J., Valentin, D., & Dacremont, C. (2013). “Having a drink in a bar”: An immersive approach to explore the effects of context on drink choice. Food Quality And Preference, 28(1), 23-31. http://dx.doi.org/10.1016/j. foodqual.2012.07.006

Spence, C., & Piqueras-Fiszman, B. (2013). Technology at the dining table. Flavour, 2(1), 16. http://dx.doi.org/10.1186/2044-7248-2-16

Spense, C. (2016). The Perfect Meal: The Multisensory Science to Food and Dining (1st ed.).

Wiley Blackwell.

Terrapin. (2017). Fourteen patterns of Biophilia. Retrieved 9 October 2017, from https://www. terrapinbrightgreen.com/reports/14-patterns/#visual-connection-with-nature

Wilson, E. (2003). Biophilia. Cambridge, Mass. [u.a.]: Harvard Univ. Press.

Morris, A. (2014). Byron Bay: a Photo Essay. Beyond Blighty. Retrieved 9 October 2017, from http://beyondblighty.com/byron-bay-a-photo-essay/

CARR, M. (2017). Paramedics’ snake, spider warning. Newcastle Herald. Retrieved 9 October 2017, from http://www.theherald.com.au/story/2601933/paramedics-snake-spider-warning/ Psilocybe cubensis. (2017). En.wikipedia.org. Retrieved 18 October 2017, from https:// en.wikipedia.org/wiki/Psilocybe_cubensis

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DARWIN

Sara Kiew Wan Fan Project Manager

Assign a right task for each team member

Motivate and inspire team members to achieve goals

Communicate with team members

and tutor in order to run the task

Assist Creative director and TOs to complete the tasks

Aron Narasinha Shrestha Pei Jee Ng Technical Officers

Communicate with project manager

and creative director

Create 3D models using Maya and Mudbox

Create set of landscapes on Unreal Engine 4

Create textures for 3D models and landscape

Animate models and film by

following the storyboard

Khym Sarochinee Teerasin Creative Director

Know and understand the expectation of the project

through the given brief.

Interpret the narrative to team members

Research and find inspiration, resources, and

references for the team

Create a high detailed storyboard and strong folio

Assisnt TOs in creating texturing and materials

CONTENTS

2 2 1 - 2 4 0

2 6 5 - 2 7 2

INTRODUCTION

DEVELOPMENT

2 4 1 - 2 5 0

2 7 3 - 2 7 6

CONCEPT DESIGN

ANIMATION STORYBOARD

2 5 1 - 2 6 4

ROADTRIP

2 7 7 - 2 8 4

SCENES

NT l Darwin EUCALYPTUS + TEA TREE Smoked crocodile, mushroom broth, warrigal greens Narrative Ideas Violent Tropical Storm occurs. Just short of cyclone. Projection makes the room spin. Like the movie twister a crocodile is definitely whirling around in the winds and rain and chairs. So, even a weird kind of mash up of bits of the restuarant. We’re in the reality of the place where both are flying around. So, it’s a bit meta. And we go to the eye of the storm and keep driving. It’s safe here, for now. It’s just pouring and blowing all around them.

Inspiration It seems like if we are going to use crocodile as some kind of ironic and very dry referencing of how everyone thinks aussies all wrestle crocodiles is in order.

Maybe a tropical storm. The room grows warmer. The sound and the smell of rain and lightning. There is a poem type list speech that is basically starts with ‘ Did you ever...’ Then pushes that sentences form using cliches and subversions. Eg. ‘Did you ever spend a lazy day in Katherine’, ‘ Did you ever fall in love with the red centre’ and so on.

Getting more absurd and poignant until one very long detailed one and then it’s over. It’s a chance to list a whole lot of strange an unsual and also very familiar Australian place names.

EXIST Logistics Driving back down to home via the red centre. (Uluru etc.)KgTdd

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‘ Did you ever... ?’ Did you ever wonder why it is called Yellow Salt Lake?

Did you ever be as salty as the lake?

Did you ever aspire to have a clear sense of direction as Florence falls?

Did you ever want to slide down the waterfall?

Did you ever be inside the jaw of Saltie?

Did your ever want to walk a crocodile or westle these crocodiles?

Did you ever smile as big as they do?

Did you ever want to sit in the eye of the storm?

Did you ever be isolated as Ayers Rock?

Did you ever be as red as Urulu Did you ever fall in love in the red centre?

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DARWIN Darwin is located on the far nothern coast on the edge of the imore Ssea. It is the largest city of Northern terrritory, yet the smallest capital city of Australia. Darwin is where there is a fascinating mixture of cosmopolitan city and Australian outback. They have strong Aboriginal culture as the languages speoken on the streets and Aboriginal art fills an entire city. The Darwin region had a tropical climate with both wet and dry season. The tropical waether, beaches, and ocean are perfect for outdoor lifestyle There’s a common phase among locals says “ if you don’t like sunsets and markets, you won’t like Darwin”.

That is the reason why Mindil Beach Sunset Markets will be the first thing they will tell you about. Since you can have a crocodile burger while watching the sunset acrosss the ocean. There are a long list of activities that you can enjoy during your stay at Darwin such as beaches, national parks, waterfall. And definitely, you cannot miss their ancient animals, saltwater crocodiles, from everywhere to go in NT. Driving in Darwin is a joy since traffic is fee flowing and nobody seems to be in a rush. People are often told that it is only place that you can cross the main street with blindfolded of anytime of the day

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Yellow Water Billabong A yellow water cruise is a must do experience during your stay in Darwin. This wetland is located in Kakudu National Park. The beautiful Billabong is a remarkable scenery and wildlife brimming with native flora, fauna, and sunsets. It is arguably Kakadu’s most famous water way, a home to bird species and a population of salt water crocodiles.

Florence Falls Litchfield It is claimed that Florence Falls is a gateway to Litchfield Nation Park. It is a spectacular double waterfall set amid the monsoon forest, which cascade from a sand stone plateau called the Tabletop Range, intriguing magnetic termite mounds. There is a 260 step of staircase down to the swimming area.

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Ayers Rock Ayers Rock is one of the most well known landmarks in Australia, It is a giant sandstone and a true monolith, resides in Uluru-Kata Tutu National Park. Ayers are located down toward the southwest of Northern Territory of Australia. They believe that it goes by Aboriginal name of Uluru Aboriginal tribes who were living in this area 10,000Â ago.

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< MOODBOARD

What Violent tropical storm, crocodile Where Darwin, Northern Territory Scence Logic Weather

Fresh

Wet

Place

Nature Park

Dry

Crocodile

Red Centre

Name of Places

Nature Park Litchfield

Florence Falls

Yellow Water Billabong

Crocosaurus Cove Ayers Rock Red Road

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STORY BOARD This animation video represents the uniques weather of Northern Territory of Australia. Starts from fresh, sunny day in Kakudu Nation Park. Crusie along the Yellow Water to see a beautiful scenery of nature. Within a few seconds that audiences find themselves already at the Florence Fall, Litchfield Park, they will suddenly be forced to jump off the cliff follow the tide direction. They may expect that they will end up at the pool, but instead, inside a giant salt water crocodile.

The audiences will be released and find themselve be underwater with a population of Salties, fishes, and turtles. While they enjoy exploring the underwater scenery, it seems to be a tropical storm approaching, and it is getting stonger and stronger. Until everything is spun around in the cyclone for awhile, the storm gradually settles down. And it seems like we are brought to the other side of Darwin, where everything is Red. The first, and may be the only thing that poeple can see from this red road is a massive rock by the name of â&#x20AC;&#x2DC;Ayers Rockâ&#x20AC;&#x2122;. The sunset skies implies that it is time to head home...

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BOTANIC GARDEN Botanic garden was the first time we experimented with photogrammetry.

It was a perfect day to venture out since it was cloudy. Therefore, there was not too much contrast in shadows and highlights of the objects.

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MACKENZIE FALLS Mackenzie Falls is located in Grampians Park. It is one of the largest and most specular waterfalls in Victoria, which cascades over huge cliffs into a deep pool. That chractoristic is very close to Florence Fall -- one of our location in the scene. Therefore, we aimed to do the photogrammetry of rocks there to put them in the scene. Surprisingly, there were also heaps of red rocks that is similar to the ones in our red centre scene.

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.... did you ever fall in with the red centre?

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REFERENCES Darwin.nt.gov.au. (2017). City of Darwin | Darwin Council, Northern Territory. Retrieved 10 October 2017, from https://www.darwin.nt.gov. au/ Australia.com. (2017). Guide to Litchfield National Park, Northern Territory - Tourism Australia, Retrieved 10 October 2017, from ttp:// www.australia.com/en/places/nt/nt-litchfield-nat-park.html Uluru (Ayers Rock) Australia. (2017). About Ayers Rock - Uluru (Ayers Rock) Australia. Retrieved 10 October 2017, from http://uluruaustralia.com/about-ayers-rock/ Parksaustralia.gov.au. (2017) Retrieved 10 October 2017, from https:// parksaustralia.gov.au/kakadu/ Australia.com. (2017). Guide to Kakadu National Park - Tourism Australia, Retrieved 10 October 2017, from http://www.australia.com/ en/places/kakadu.html

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MARGARET RIVER

LA CUCINA FUTURISTA: THE GREAT AUSTRALIAN ROADTRIP From the initial studio description, The Great Australian Road Trip began the semester with a touch of mystery. Not giving away too much information, we learned that the studio would be partnering with “Lûmé, a cutting edge, multi-disciplinary and multi-sensory restaurant”, where the projects would require students to create “an interactive projection mapping event.” Teaming up with a real life business was the first win and secondly, given the chance to learn “marketable digital skills within the VR relm was the second win, win. So what ecactly is the experience we are taking part in creating, well im glad you asked. As RMIT Industrial Design students, we have created 6 X 3 minute digital animations of locations around Australia. Each with its own story, the diner is taken to that location visually but also through their tastebuds as they are presented with food from the region simultaneiously.

Using the first half of the semester as skill building, the second half was where the true action began. Splitting up into groups of 3 and 4 we perpaired ourselves for the MAMMOTH task ahead. (Mammoth... like the Mammoth Cave... ah you’ll see, just stay tuned!) We received a Location script with running thems directly from Lûmé where we could take their general direction and just run with it. Our group received the ‘Margaret River’ region along with a dark story which boosted our excitement levels. Finally a time to be creative through narrative. Immediately the group was throwing ideas around of how the story should flow, it was safe to say that we hit the ground running.

Pioneering a VR experience for diners, Lûmé too is reeking benefits from this partnership. Setting up 3 large projector screens accompanied by an interactive circular table, the scale of this project carried emmense pressure for the students.

wvMaddison Ryder Maddison Ryder Project Manager Project Manager

DesireeRiny Riny Desiree Technical Officer Technical Officer

Vikram VikramKalidindi Kalidindi Creative Director Creative Director

Marcus Cher Marcus Cher Mentor Mentor

CONTENT CONTENT

2 9 5 - 2 9 8

LOCATION 1 - 2

LOCATION

2 9 9 - 3 0 4

STORYBOARD 3 - 8

STORYBOARD

3 0 5 - 3 0 6

RESEARCH 9 - 1 0 RESEARCH

3 0 7 - 3 1 2 1 1 - 1 6

THE THEBOTANICAL BOTANICAL GARDENS GARDENS

3 1 3 - 3 2 2

MODELS

1 7 - 2 6

MODELS

3 2 3 - 3 3 2 DANDENONG 2 7 - 3 2

RANGES DANDENONG RANGES

3 3 3 - 3 5 4 3 3 - 4 8

UNREAL 4 ENGINE UNREAL 4 ENGINE ANIMATIONS ANIMATIONS

3 5 5 - 3 5 6 4 9 - 6 0 CONCLUSION

CONCLUSION

MARGARET RIVER Found on the West Coast of Australia, the Margaret River Region is a popular destination to see the beauty of this land. Attracting thrill from the waves to the caves, Margaret River is home to a seemingly endless list of adventures. Starting on the beautiful coast, lay with white sands and crystal blue waters people swarm to watch the Margaret River Pro Surfing Competition. Athletes from all over the globe come to compete for the title of Champion, drawing hundreds of spectators. However this isnâ&#x20AC;&#x2122;t all that this location has to offer. Heading inland from the beach, the region is filled with hiking and mountain biking tracks.

However one of the main attractions are the limestone caves, resting beneath the Naturaliste Ridge. With an abundance of over 150 caves, Margaret River is truly an explorers dream.

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BIOPHILIA

1

Biophilia is the way in which we connect ourselves with the natural world. Image 1 is a representation of a visual connection with nature, as the living area is encapsulated by nature and thus allows the occupier to be immersed in it. The second image demonstrates the presence of water. This biophilic statement acts to calm anyone who encounters the body of water. Thirdly the presence of diffused light sets the mood for a particular space through soft movement. These motions and visuals enforce a sense of calm the people surrounding.

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FIBONACCI SEQUENCE The Fibonacci sequence is a list composed of numbers that are the sum of the two pervious numbers in the list. This sequence has a direct link to The Golden Ratio, which is said to be a formula for what we as humans find beautiful or attractive. Occurring in nature, the golden ratio is displayed in each of the images 1,2 and 3. The patterns expressed in this way are alluring to the eye and has been borrowed in many other forms of human life, such as photography and the rule of thirds.

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THE BOTANICAL GARDENS Getting out of the classroom and immersing ourselves into nature was the perfect way to become inspired by the natural world around us.

With the mission of photogrammetry this photography session was a big learning curve and we didnâ&#x20AC;&#x2122;t end up using any image in the making of assets. However we did gain knowledge about how to set up for photogrammetry along with lighting tips and tricks and was therefore able to carry out a road trip soon after resulting in success.

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MODEL DEVELOMPENTS The following highlights three separate model developments varying from organic shapes to man-made. Each group presents the base model at increments of its creation with an adjacent fully rendered hero shot. The programs used were Maya, Mudbox, Substance Painter and Substance Designer. Building up from one to the other, these programs have supported each other quite well and thus have enabled detailed and hyper realistic models to be fabricated.

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SHARK BITE SURFBOARD

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SPELUNKING HELMET

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CAVE ARCHWAY

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PHOTOGRAMMETRY Photogrammetry is the act of turning real life objects into 3D digital models by taking multiple images from different angles of the item.

Then by inserting these groups of images into programs like Agisoft PhotoScan, the software calculates the fully textured model from the data in the images. To get the best results, images without shadows on the object was key, and therefore we needed to have a killer studio set up. Naturally, by being students we sourced the cheapest way to this photogrammetry studio. Vikram sourced all parts from Ikea, which consisted of a laundry basket (turned light diffuser), a wooden Lazy Susan (to rotate the model) and two white light lamps with clamps.

All we needed was some furniture we found around the house to fix the lights too and camera equipment and we were set. As you can see on the following spread, the set up was successful and the model imported into Unreal Engine 4 translated all details perfectly, to give us an awesome beach rock.

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DANDENONG RANGES Venturing out of the city, we wanted to understand the environment similar to the forests found in the Margaret River Region... therefore a road trip was on the cards. Heading up to the Dandenong Ranges we were able to immerse ourselves into the feel of the forest as well as pick up some small assets such as rocks and twigs that we could translate into logs and boulders/cliffs. On our adventures we also performed some in situ photogrammetry of larger rocks or tree stumps, these proved quite difficult, as the lighting wasnâ&#x20AC;&#x2122;t ideal as it was too bright and therefore cast shadows on the objects resulting in unusable images. This journey was a very positive experience both in terms of progression in the assignment and team bonding, cemented over lunch in a small cafĂŠ in Sassafras.

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UNREAL 4 ENGINE Unreal has been a large challenge four Margaret River group. The vast abundance of plugins and additional elements to the program makes time with Unreal lengthy when often playing a game of trial and error. However in saying that, the skills Technical Officer Desiree and also Vikram have built through these experiences makes any new challenge in the program easier and easier to overcome. Practise truly does make perfect.

In the following section you will see progression from one element to another and decisions made as a team to better suit the aesthetics and ease of building each landscape.

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BEACH SCENE The beach scene is situated after the Margaret River Pro Competition where the winner and a few friends and family still remain at the site. The atmosphere it light and brigjt like a warm summers day with only light white clouds filling the sky. Images to the right were references while creating the landscape. When modeling the length and width of the beach as well as the positioning of rocks (some in the water and some out) was taken into consideration to achieve a reastic environment.

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LAND

Initally to shape the land, landscape auto terrainwas used. However it didnâ&#x20AC;&#x2122;t look realistic and made shaping the land difficult. We came to the conclusion that starting on a new landscape with the ocean already working was the best way to move forward.

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OCEAN

The top two images display the initial ocean in the beach scene.

Unhappy with the transparency of the water and its lack of interaction with the land, we decided to switch to the Ocean Shader.

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SAND TEXTURE

The image above displays a sand texture that Desiree has created with maps from Crazy Bump. In contrast to the top left image, tessellations were increased through the landscape coordinate component to achieve a random and more natural look.

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This map shows the bump the material has gained over the sands surface, adding to the realistic affect.

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FOREST/RIVER SCENE On the right are two of the inspirational images used to simulate the aesthetic of the river scene. The calm water against mangled trees jutting out over the bank has been interpreted in a similar way to highlight continuity within our modelling and the Margaret River Region in Western Australia. The river has been created in sweeps and bends to add interest into the animation to give a hyper realistic and adventurous feeling. The following images are snapshots of the forest river scene, leading up to the Mammoth Cave.

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We tried not to take ourselves too seriously...

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...but we knew the importance of team work and to achieve great things we had to work as a solid unit... and that we did.

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CONCLUSION... BUT ALSO AN INTRODUCTION

La Cucina Futurista: The Great Australian Road Trip has been an incredible journey that has allowed us to enter the world of Virtual Reality and also Mixed Reality. Working with a restaurant to the status of Lûmé has also been a once in a lifetime opportunity and opens up many doors for future collaborations. The five programs along with the mentorship of Marcus has equipped us with not only industry standard skills that will help us stand out from the sea of designers, but also social skills to help us do the same. Confidence has been built within the Margaret River team, where the responsibilities we have faced within these assignments can be reflected upon the ‘real’ world.

So here it is not a conclusion. Not a completion of an assignment, rather the beginning of another that will be even bigger than what we have just experienced.

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REFERENCES Caves Margaret River | Mammoth Cave Margaret River. (2017). Your Margaret River Region. Retrieved 17 October 2017, from https://www. margaretriver.com/attractions/caves/ 14 Patterns of Biophilic Design. (2017). Terrapinbrightgreen.com.

Retrieved 16 October 2017, from https://www.terrapinbrightgreen. com/reports/14-patterns/#non-rhythmic-sensory-stimuli La Cucina Futurista: The Great Australian Roadtrip. (2017). RMIT Upperpool. Retrieved 18 October 2017, from http://upperpool. rmitidsites.net.au/studio-3-ind/ How the golden ratio manifests in nature. (2017). MNN - Mother Nature Network. Retrieved 18 October 2017, from https://www.mnn. com/earth-matters/wilderness-resources/blogs/how-golden-ratiomanifests-nature

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