Since we decided that our first case study would have been the Osaka pavilion, we started researching the project documentation, which was unfortunately lacking in details since the project never made it beyond the competition. In a 3D model for virtual reality, however, nothing can be left to chance. You can’t use tricks or “dark corners” to hide missing information, as you would probably do for a static render or a video. The visitors must be able to explore the pavilion as if they were actually in the physical space. Everything is out in the open. Likewise, we can’t build the scene as if it were the 3D space of a traditional videogame, where volumes and details of objects are simplified with textures.
This thinking therefore guided our work, but it wasn’t our only consideration. We have to admit that Sacripanti has meanwhile become almost a presence in our lab – we couldn’t have disappointed him.
And so, we imagined ourselves as archaeologists unearthing a building that was never built, re-constructing the Osaka pavilion in 2021, 53 years after its conception.*