Capture – Process – Produce

Above is a screenshot of the selection of images I took of a corner of the William Mitchell sculptures under Hockley Flyover (right hand side of screen). The 3D model you see (left hand side of screen) is the object generated by Autodesk Recap. As you can see the textures are accurately captured on the 3D model. The more images taken of an object the more complete the model will be. Processing the images in this way has enabled the group to discuss key features of the sculpture in greater detail that would otherwise be limited if we were to use photographs alone.
Sample 2 Textured Reverse
Above is an example of the limitations of capturing the sculpture in this way, due to me not being able to photograph the back of the solid object, the software has processed the rear of the object with gaps in it, resulting in an incomplete inverse of the object. I will look at how these gaps can be filled to help generate a more complete 3D Object.
Sample 2 Shaded
In order to make use of the 3D Model beyond the confines of the screen, Autodesk Recap gives you the option to display the model in a 3D Mesh. This mesh can then be exported for use in other programs, something which is yet to be explored.
Sample 2 Shaded Reverse
As you can see the 3D Mesh setting fills in more of the gaps in the model which could not be captured in the photographs. This gives a more complete model which can be utilized in other programs.


This exercise has revealed elements of the sculpture which are not immediately obvious to passers by. It has raised questions about how these features were produced and what processes were required to generate the finished piece. Discussions about William Mitchell’s work have covered processes such as casting concrete in place, creating inverses of the final pieces and fixing them in place, using foam and timber to hold poured concrete in place whilst the sculpture sets and how a team of people may have been used to create the sculptures under the Hockley Flyover.

The sculpture itself could be a testament to how interdisciplinary practices can be used to achieve a broader goal, which was to humanize the pedestrian experience in the shadows of the surrounding roads and flyover. Disciplines which may have played a part in the production of this sculpture include planners, councilors, engineers, local artists who may have supplied labour, engineers, carpenters and craftsmen who may have worked under the guidance of William Mitchell.

In an ever changing urban environment where distinctive buildings and road networks are being demolished and adapted to pave way for a new Big City Plan, questions must be asked as to how much longer this recreational sculpture will be present, and how do we capture the experience of the sculpture in its surrounding context for future generations? Over the coming weeks we will be exploring methods of representing the experience of being under the flyover and looking at ways this can be archived.


Michael Conner

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