INTERACTIVE VIRTUAL MODELS

AN EMERGENT REPRESENTATIONAL
MEDIUM IN ARCHITECTURAL PRACTICE
STEPHEN DREW MANCHESTER SCHOOL OF ARCHITECTURE
STEPHEN DREW STUDENT NUMBER:10977839
DISSERTATION BArch ARCHITECTURE
MANCHESTER SCHOOL OF ARCHITECTURE
ACKNOWLEGMENTS:

I would like to thank the following people, communities and organisations who have helped,
supported, influenced, encouraged or contributed towards this dissertation: Dr Albena Yaneva,
Danny Richards, Vikram Kaushal, Ronen Bekerman, Sally Stone, Jon Brouchoud, Dr Jennifer
Whyte, Peter Fishwick, Jason Balls, Richard Barrett, Andrew Florio, Stella Kamba, Robert
Glass, EPR Architects, iCreate3D, Motiva, Enodo, Zero Fractal, Daegen Limited, Dewi Evans
Architects, Nvidia, Unity Technologies (Unity3D), KA-RA (Twinmotion), Act-3D (Lumion/Quest
3D), Swansea City and Council, AutoDesk Education Community, CGarchitect community.
CONTENTS

WHAT IS AN INTERACTIVE VIRTUAL MODEL?

6-7 Introduction

CHAPTER 1 - VIRTUAL REALITY

8-9 The relevance term and meaning

10-13 Characteristics of a Virtual Environment

CHAPTER 2 – VIRTUAL REALITY / SYSTEMS AND MEDIUMS

16-17 Virtual reality as a system

18-19 Components of a VR system
20-21 Virtual reality as a medium

CHAPTER 3 – INTERACTIVE VIRTUAL MODELS / A REPRESENTATIONAL MEDIUM OF A VIRTUAL

ENVIRONMENT

24-27 Representation
28-29 Implementation of virtual environments
30-31 Differences between real and virtual space

CHAPTER 4 – 3D GAME ENGINES / SUPPORTING VIRTUAL ENVIRONMENTS

32-35 Introduction
36-41 Benefits of using game engines to develop and support
interactive virtual environments
42-43 Case Study 1 – Enodo / Crytek Engine
44-45 Case Study 2 – iCreate3D / Unity 3D

CHAPTER 5 – INTERACTIVE VIRTUAL MODELS / USE WITHIN THE DESIGN AND PRESENTATION
OF ARCHITECTURAL PROJECTS

47 Demonstrating technical proficiency

48-49 Use within the Design Review
50-55 Use as a marketing and communication tool
56-57 Integration with architectural practice / outsourcing models
58-59 Issues, limitations and obstacles

CHAPTER 6 – SOFTWARE DEVELOPMENT / THE ARCHITECT AND THE SOFTWARE SUPPLIER

60-61 Introduction
62-63 Dedicated real-time interactive/rendering software
64-65 Advantages and limitations of using TwinMotion
66-67 Project Newport

CHAPTER 7 – SUMMARY AND CONCLUSION

68 The emergent use of Interactive Virtual Models

69 The future development of real-time visualisation software and its role in
architectural practice

BIBLIOGRAPHY
70-72 Bibliography
73-74 Figures

SUPPLEMENTERY DOCUMENTATION
76-79 Interview with Enodo
80-81 User Testing – Architects office
82-88 Interactive Virtual Models – Personal testing and evaluation
WHAT IS AN INTERACTIVE VIRTUAL MODEL;
HOW CAN IT BE USED AS A REPRESENTATIONAL MEDIUM
WITHIN THE ARCHITECTURAL INDUSTY?
Figure 1:
An interactive virtual model made by iCreate3D,
displayed on a computer monitor.

6
INTERACTIVE VIRTUAL MODELS / INTRODUCTION

"The way in which we visualize architectural design, its component parts, how it works and
how it might be used, has a strong bearing on the built environment we create and inhabit.
Emerging tools for design visualization are changing the practice of design itself." (Whyte,
2002)

Architectural visualisation communities consisting of 3D modellers, architects and even

computer game enthusiasts are agglomerating both on-line and off-line to discuss the
creation of new interactive virtual models and their potential role in the architectural
design process. As awareness has grown the CG Architect 3D Awards in 2008 opened
a new award category for the emergent technology known as ‘Real-Time 3D Models’ or
‘Interactive Virtual Models’. Since 2008, the technology behind interactive virtual models
has been moving at an extremely fast pace.

Interactive virtual models share attributes associated with virtual reality and digitally
created environments. Much like a computer game, the viewer can interact and move
around a model of a building. Interactive virtual models are currently being designed to run
on a desktop computer, allowing the user to experience architectural proposals from a first
person perspective using a mouse and keyboard to navigate the virtual environment.

There is a rise in awareness and demand of interactive virtual models as computer hardware
and software that is used to operate a model is widely available at a low cost. Clever
use of existing 3D development tools which were originally designed to create virtual
environments in computer games has enabled new ways of making interactive architectural
visualisations at a lower cost and in quicker time. The utilization of 3D game development
tools allows interactive models to be used by a much wider audience of people, anyone
who has access to a computer with the Windows operating system is able to engage with
an interactive model using a keyboard, mouse and a computer monitor.

In this dissertation we aim to examine and understand how interactive virtual models (IVMs)
can be used as part of the design, production and marketing of the built environment.

We will evaluate how efficient they are as design tools and graphic mediums within the
cognitive process. In the process of evaluation we will establish the benefits and limitations
of using 3D modelling to create virtual environments for use within the industry of
architecture.

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 2

CHAPTER 1 - VIRTUAL REALITY

8
THE RELEVANCE, TERM AND MEANING

An interactive virtual model allows us to exhibit and explore an architectural proposal in a

three-dimensional virtual reality. The meaning of ‘virtual reality’ (often abbreviated as VR)
was first established in 1987 by Jaron Laner, one of the early founders of the technology.
Oxford English Dictionary (OED) defined Virtual Reality as:

“Virtual reality is not a computer. We are speaking about a technology that uses
computerized clothing to synthesize a shared reality” (OED 1989)

The use of the term ‘Virtual Reality’ has changed over the years, technology has advanced
and it is being used by wider audiences. The American Heritage Science Dictionary cites
‘Virtual Reality’ as:

“A computer simulation of an imaginary or real world or scenario, in which a user may

interact with simulated objects or living things in real time.”

Virtual Reality has various descriptions in academic circles and industries as it has become
prevalent in recent years as part of research and commercial events. As a result the
term Virtual Reality is currently used when describing interactive 3D virtual environments
that allow us to interact with objects or data instantaneously. As new technologies have
developed and diversified Virtual Reality has become associated with other key terms such
as: ‘virtual environments’, ‘3D visualisation’, ‘Interactive 3D (i3D), ‘Interactive modelling’,
‘Digital prototypes’, ‘simulation’, ‘urban simulation’, ‘real-time modelling’, and ‘4D-CAD’
(Whyte 2002).

Benjamin Lok (2004) defined virtual reality as “immersive virtual environments made of
systems that allow participants to experience interactive computer generated worlds from
a first-person perspective, instead of pre-rendered movies, videos or animations.”

Lok’s opinion coincides with Foley’s (1987) description of ‘virtual reality’ where the
objective is to “place the user in a three dimensional (3D) environment that can be
directly manipulated, so the user feels the interaction with the environment rather than
the computer”

The National Research Council expands on their definition of virtual reality giving practical
examples of a virtual reality system and how they are used in popular culture:

“Simple VR systems include home video games that produce three-dimensional (3D)
graphical displays and stereo sound and are controlled by an operator using joystick or
computer keyboard. More sophisticated systems – such as those used for pilot training
and immersive entertainment experiences – can include head-mounted displays or large
projection screens for displaying images, 3D sound, and treadmills that allow operators to
walk through the virtual environment.” (NRC, 1999)

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VIRTUAL REALITY / CHARACTERISTICS OF A VIRTUAL ENVIRONMENT

Burdea and Coiffett (2003) state that a person’s experience within virtual realities comprise
of three main characteristics: “The three l’s of virtual reality: immersion, interaction and
imagination”. Sheridan (1992) suggested that presence is an important characteristic in
creating an engaging virtual environment. With a sense of presence, users are physically
immersed in the virtual environment, and receive sensory information in a similar experience
to the real world. Gigante (1993) argued that a strong feeling of presence and immersion
are detrimental for a true virtual reality.

Immersion

“Immersion as a state where one sees oneself as being enveloped by, included in,
and interacting with an environment that provides a continuous stream of stimuli and
experiences” (Witmer and Singer 2002)

Immersion is an important characteristic of a virtual environment as it determines how

successful a system engages with the end user. IMAX theatres and simulated rides can
create experiences that attempt to “immerse” one’s sense.

According to Banerjee (2003) immersion is considered to be one of the essential conditions

to experience a sense of presence within a virtual environment. A more immersive
experience within a virtual reality may create a greater sense of presence, where the end
user’s experience is heightened to a feeling of ‘being there’. If a person experiences high
levels of presence one can replace the physical world with the virtual world and regard it
as their own reality, even if only for a temporary moment.

Another example of immersion is in computer games (also known as video games). In recent
years computer games are continuing to create increasingly realistic virtual environments,
as the game industry is constantly developing new game engines that are more powerful
and able to facilitate bigger and richer visual surroundings for the gamer to experience.

Interaction

Virtual reality has to be presented to the end user through an interface. The term interactivity
refers to the communication between a computer and a person which takes place through
the changes of location views, instructions in the form of typed or vocal commands, mouse
movements and clicks, or other means of interfacing (Shiratuddin 2008).

Interaction in virtual reality is provided through spatial input devices (Lok 2004, Bowman
2001). Interfaces found in virtual reality are able to understand ‘direct’ and ‘implicit’
interactions created by the user (Bowman & Hodges 1997). “Implicit style interactions
allow more natural and easier to use human-computer interactions by allowing arm, hand,
head or eye movement based interactions. Implicit style interactions are more complex to
design compared with direct style interaction” (Shiratuddin 2008). Usually an interface will
support directional commands input from a user through use of a keyboard and mouse to
navigate or point to objects in a virtual environment.

10
 3

3: 3D glasses used in a cinema to highen the audience’s sense of immersion

4: An immersive virtual reality system
5: nVidia’s recent product 3D vision pro is aimed at providing a stereoscopic 3D
environment that will enable designers to share and see their work in 3d.

11
Witmer and Singer (1994) suggest that the higher level of control and interaction an end-
user has within a virtual environment, the greater the reported level of presence. The level
of control is established by how quickly a system responds to the user when engaged, as
well as how fast the correspondence is between user and the system.

Presence

Presence can be defined simplistically as “the subjective experience of being in one place
or environment, even when one is physically situated in another.” (Witmer & Singer 1998)
.Witmer argues that presence is comparable to the experience described by technical
support employees in a call centre, who sometimes feel as if they are working in the
remote location with the end-user solving the problem instead of being in the operator’s
present location. In a virtual environment the term presence refers to the feeling a person
has when they are removed from their physical location and are completely immersed in
the virtual environment on the computer. In essence the highest level of presence would be
when a person is completely convinced they are physically within the virtual environment.

There are three different criteria which attribute to a person’s sense of presence in a
virtual environment (Heeter 1992). Personal presence is the amount the user feels like they
are inside the world of a virtual environment. Environmental presence is the extent that a
virtual environment seems to identify and engage with an end user. Social presence is the
sensation when a person is in the same virtual environment as other people (for example
an online multiplayer games such as Second Life).

Stanney (1998) states that there are six variables shared by the individual and the virtual
reality system that will have an influence on the level of presence:

• Pictorial realism – a high level of realism of the visuals within a virtual environment
results in a higher level of presence. Convincing visuals of objects the user recognises from
the ‘real world’ contribute the virtual environment being perceived as a genuine.

• Length of exposure – the longer a user spends time within a virtual environment
may cause heightened levels of presence as the level of sensory adaption has heighted,
and the user has now accumulated a familiarity with the world.

• Ease of interaction – if a user’s experience in moving throughout a virtual model

is difficult then the user will perceive that the model is unnatural, therefore feeling less
presence. If navigating throughout a model is easy or feels natural then the experience is
far more believable, heightening presence.

• User-initiated control – the higher the level of control the user has within the
environment, the higher the level of presence.

• Social factors – when there is more than one person in a virtual environment it
can contribute to a higher level of presence.

• System factors – how convincing the system replicates the real world equivalent
is a large influence on the levels of presence. Other system factors include how the user
interacts with the virtual environment as well as the way in which information is presented
to the user.

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 6

6: Conceptual image of nVidia’s 3Dtv.

7: A VR CAVE system for a university research project called Crayoland
8: Virtual car simulation used by Peugeot Research and Development department

13
 CHAPTER 2 - VIRTUAL REALITY
SYSTEMS AND MEDIUMS

When discussing ‘Virtual Reality’ we can be talking about

virtual reality as a medium or virtual reality as a system.
If the term is used to refer to virtual reality as a medium
the focus is around the virtual environment and the
model created on the computer. When people are talking
about virtual reality as a system they are speaking about
the hardware and software setup that hosts the virtual
environment (White 2002).

9 15
VIRTUAL REALITY / AS A SYSTEM

Virtual reality systems are vehicles which facilitate the use of spatial, interactive and real-
time characteristics of the model as a medium. These ‘systems’ include the hardware of a
computer and the software’s capabilities, as well as input and output devices used by the
end user to receive data. Systems can be categorised between immersive, non-immersive
and augmented reality:

• Immersive systems entirely surround the user, providing them with total immersion
of the virtual environment. According to Cruz-Neira (1993, quoted by White 2002)
virtual reality gains its power by captivating the user’s attention to induce the sense
of immersion. A large visual display reacts to the user’s tracked head motion and body
movements, updating visual imagery of the virtual environment in real-time. An immersive
VR environment can be experienced in a standard Computer-Aided Virtual Environment
(CAVE). A CAVE is a cubicle which usually features four to six screens surrounding the user.
These screens allow the user to become fully immersed. Another example would be when
a user wears a head-mounted display.

Immersive virtual reality systems usually incorporate 3D interaction techniques based on

whole-body input (Poupyrev 1996). If a user turns his head/body to the left he will see
what is to the left, to move forward he takes a step forward. These gestures are recognised
by the system which will in turn respond, it is critical that this works as there is limited
space in the real environment to move.

• Non-immersive systems usually run on standard desktop computers or laptops,

therefore sometimes known as ‘Desktop VR’. Desktop virtual reality is usually rendered in
real-time using 3D graphics to display virtual environments on a display device (such as
a television, computer monitor or projector). Desktop systems do not typically use head
tracking devices, however there are exceptions. For example a desktop computer when
combined with a head tracker can allow the user to look around inside the virtual world,
the monitor becoming a ‘window’ into the world. However for the most part instead of
using expensive peripherals in desktop VR systems users engage with the system through
traditional computer input devices (such as the keyboard and mouse).

• Augmented Reality / Mixed Reality - Shiratuddin (2008) suggests that there is a

third VR system known as Mixed Reality. Milgram and Kishino (1994) define Mixed Reality
as the variation between elements from both virtual and physical environments, similar to
Augmented Reality (AR). A current definition of Augmented Reality is “an interactive 3D
environment that blends with our physical reality; the capability to link the virtual world
with the physical world through, for example, superman vision where a video image is
superimposed with a 3D model of the same environment and adding hidden information”
(EON-Reality). Recent examples of augmented reality can be found as applications on
smart phones such as the iPhone

16
 10

11

12

10: Immersive VR system: an interactive CAVE system setup, tracking headmotion and a user’s hand gestures.
11: Non-immersive VR system: A virtual model set up on a desktop computer
12: Augmented reality: Artist’s interpretation of future augmented reality software on mobile phones

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VIRTUAL REALITY / COMPONENTS OF A VR SYSTEM

“The nature of the virtual reality systems through which we perceive interactive, spatial,
real-time representations is changing. There is a trend towards smaller, cheaper or more
flexible systems, which incorporate both sensitive input devices and output devices with
greater resolution” (Whyte 2002)

Typically when we talk about the components of a VR system we are discussing the
hardware and software of computer technology involved, as well as the peripherals and
input and output devices which are used to communicate data between a user and the
system itself. The trend Whyte speaks of has expanded rapidly in recent years; it is now
possible to purchase all of the inputs and outputs needed to operate a virtual reality system
without spending substantial money.

There are three core input and output components that are fundamental for virtual reality
to work effectively. The system must be able to track the user’s body movements using
position tracking devices (input), the user needs to be able to interact with the system
through a control device (output) as well as receive visual feedback (output) on a display
screen (Brooks 1999).

• Position tracking and control devices – the most common position tracking device
used would be a mouse, however joystick, game controllers or trackballs are sometimes
involved as part of a VR system. These devices only allow two measures of position (X and
Y). There are new devices such as 3D controllers which allow three measures of position (X,
Y, Z) as well as the three measures of orientation (pitch, roll, yaw). 3D controllers are much
more expensive than their traditional counterparts.

• Visual – In a VR system, visual outputs can range from desktop monitors (non-
immersive) to head-mounted displays (immersive) that communicate visually with the user.
Virtual environments can be viewed as monoscopic (both eyes seeing the same picture)
or stereoscopic (such as 3D glasses). Immersive virtual reality systems tend to use head-
mounted displays or CAVE systems, non-immersive systems are displayed on projectors,
televisions or computer monitors.

Aural and haptic feedback are not essential in a virtual reality system, however if used
correctly they can heighten a sense of immersion and presence in a virtual environment
(Brookes 1999).

• Aural – aural feedback is experienced through surround sound speakers or

headphones (output). Audio inputs have traditionally been neglected in virtual reality
systems. The Microsoft Kinect has the ability to ‘listen’ to a user when playing a game,
allowing the user to give vocal commands or in some cases engage in a conversation.

18
• Haptic – haptic response is when a vibration, touch or force is felt by the user. A
traditional example would be in a vehicle simulator which might vibrate when it detects
collision with another car.

Most computer systems today allow for the three core input and output systems
mentioned above. Computers and laptop devices used within architectural practice should
be considered as a ‘non-immersive’ system. Since laptops designed as portable devices
they typically feature speakers and monitors that are not very immersive. ‘Non-immersive’
system set ups can be considerably cheaper and take up less space than an immersive
system; however they are not as engaging with the user.

Since interactive virtual models have the potential to be used on immersive and non-
immersive systems, provided a developer has the knowledge and technical ability he can
develop a model that makes use of the different inputs and outputs of data. Traditionally
immersive virtual reality systems were only capable receiving a user’s input and output
data through using expensive hardware setups such as CAVE environments.

In recent years most desktop computer systems allow for the three core input and output
systems described by Brooks. Computers and laptop devices used within architectural
practice should still be considered as a ‘non-immersive’ system. Desktop computers now
have the power to facilitate virtual environments and present them on large monitors or
even projectors.

A person can also busy different tracking and control devices to engage different with a
virtual environment. Since laptops are designed as portable devices they typically feature
speakers and monitors that are not very immersive. ‘Non-immersive’ system set ups can
be considerably cheaper and take up less space than an immersive system; however they
are not as engaging with the user.

13: A desktop computer like above is capable of supporting a

non-immersive virtual reality system.

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VIRTUAL REALITY / AS A MEDIUM

“The aim in using virtual reality as a medium is to gain a better understanding of the built
environment as a product and to show an insight into the process of its construction and
operation” (Whyte 2002)

When the term is used to refer to the VR medium there is a focus on the virtual environment
and the model created on the computer. When the term is used to describe the VR system
the emphasis is on the hardware and software (Whyte 2002).

Whyte (2002) suggests in her book ‘Virtual Reality and the Built Environment’ that the
differences found within examples of virtual reality models are largely influenced by who is
going to use the model (the end users) and how the model is going to be used:

1. Internal use (for users on the project team and associated organisations)
These models are designed primarily for the architects use but can also be shared with
other associated organisations such as engineers and contractors. Models are typically
used internally within the design practice as part of the cognitive process, however they
can be used with other professional organisations associated who are involved with a
project. For example an architect could use an interactive virtual model to explain part of a
structure in a design review to an engineer.

2. External use (showing models to people outside the practice such as clients)
These models are designed for external use with end clients, planners, contractors and
funding institutions. External models are usually quite different in appearance to internal
models as they are often used as marketing tools, featuring a user-friendly interface and
creating a strong visual impression.

The two different groups of end-users will seek a different use in interactive virtual models;
as a result they will be designed differently. McLuhan (1964) states that ‘the “message of
any medium of technology is the change of scale or pace or pattern that it introduces into
human affairs”

When considering virtual reality as a medium, we should focus on the visual impression
created within the medium and consider their effectiveness, as opposed to looking at the
hardware and software of the computer system which facilitates the medium. We should be
concerned with the use of the model as a medium, how the people (end users) engage with
the model and can use it in the design, construction or marketing of the built environment.

20
14: A 3D virtual reality system to discuss an architecture project in a design review. The design team wears
3D glasses while one person operates the position of the camera position in the virtual reality system using a
keyboard and mouse.

Whyte (2002) explains that virtual reality can be measured as a medium in three defining
characteristics:
1. Spatial – models are represented in three spatial dimensions
2. Interactivity – to what extent can users interact with the models
3. Real-time – when feedback from actions is given without noticeable pause

The extent that the above characteristics appear in an interactive virtual model will be
due to the application of the model, which will dictate the extent of interaction and nature
of the virtual environment. Whyte (2002) states that “it is this degree of interaction that
distinguishes virtual reality from animations and walkthroughs, therefore a minimum level
of interaction is required for a medium to be considered virtual reality”. Whyte suggests
that users of virtual reality are allowed the freedom to navigate throughout models, making
decisions about what they engage with by what interests them.

The ability to interact freely with the environment makes virtual reality an interactive
medium. However developers of a virtual reality may limit the interaction with the
environment. A user may or may not be able to create objects or change parameters
within the virtual environment, therefore taking the role similar to a spectator who cannot
engage with the surroundings only navigate freely.

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CHAPTER 3 - INTERACTIVE
VIRTUAL MODELS
A REPRESENTATIONAL MEDIUM
OF A VIRTUAL ENVIRONMENT
15
INTERACTIVE VIRTUAL MODELS / REPRESENTATION

Interactive virtual models allow us to represent an architectural idea or concept in a virtual

environment. However, current virtual environments are not as detailed as their real-life
counterpart. Representations of reality in a virtual world are unable to facilitate all the cues
that we experience in the real world. In the real world a person’s perception is established
through the body and its movement through time and space (Lefebvre 1974). We experience
the world consciously and unconsciously, receiving subtle cues from smells, taste, touch and
hearing (White 2002).

“Our understanding of the built environment is distorted in virtual reality. Yet virtual reality
is useful for representing the built environment and considering potential changes to it
precisely because it is not the same as reality.” (White 2002)

Reality cannot currently be imitated to the level of detail in which we currently experience
the real world; however we can represent the real world to the best of our ability as a
virtual abstraction. There are several methods we can represent the real world through
different mediums, like film and animations we can use virtual reality as a method to frame
the real world by showing the user what we want them to notice.

Representations are a principal tool in architectural profession which allow designers

to explore, manipulate and reach design solutions (Tufte 1997). In the design process
architects use representations to help us explain problems that cannot be explained clearly
by means of verbal description or explanation. A clear and well formulated representation
usually makes an architect’s task at hand easier. McCullough (1998, quoted by Whyte,
2008) argues that architects need representations that allow us to move between free
association and focused reasoning.

How well an architect makes use of a representation depends upon his level of experience,
aptitude and enthusiasm (Stanney 1999). Since a representation is interpreted by an
individual differently, some forms of representation might be more informative and easier
to understand than others:

“Recipients of 2d drawings and specifications will extract the necessary information and
interpret it based on their previous experience, background and knowledge. Each may have
different understanding on how the facility will look like when completed. Misunderstanding
may lead to mistakes which may further lead to additional time and costs.” (Whyte 2002)

As Whyte suggests, some people are more familiar with certain forms of representation
from past experience and as a result may understand it as a medium clearer. ‘Experts’
within the profession have been noted to understand a representation quicker than a
beginner, as they have developed an ability to read, extract and assemble information from
the representations quickly (Simon 1979).

A clear graphical representation that is easy to read and understand can act as a vital
reference point, this reduces the amount of effort needed to solve a problem as the
representation acts as an ‘external memory’ (Whyte 2002). While engaged in the process
of design, the designer often attempts to remember too much information in his short-term

24
memory which could cause the person to forget information which is important (Johnson
1998). External representations act as a vital reference point, reducing the amount of
information that a person needs to retain.

When we are implementing virtual reality in an interactive architectural 3D model, design

decisions have to be made about how content of the model is represented to the viewer.
The purpose of the interactive virtual model’s intended use should have a large influence
on how the information is presented to the user.

Like many representation methods used in the production of architecture today virtual
reality can be represented in two dimensions (2D), two and a half dimensions (2.5D) and
three dimensions (3D)

16: 2D plan of an
architectural project.

Two-dimensional (2D)

“To see a map is not to look from an imagined window but to see the world in a descriptive
format” (Henderson 1999).

Two-dimensional (2D) representations are the most common method of representation

currently used throughout architectural practice. Plans, sections and elevations of building
proposals, site locations and façade detailing drawings provide a medium where we can
see information that is too large to be shown at its actual scale (Macheachren 1996).

2D representations can be a fast and effective method of gaining an understanding of

the structure within an existing environment, giving us the ability to explain a whole
environment instantaneously from one vantage point (White 2002). Architects use different
scales which are universally understood within the profession, each ranging in resolution to
accommodate different types of information the architect wants to convey. For instance,
drawings of a master plan scheme at a large scale (1:2500) tend to shift focus to the
spatial arrangement and methodology of the scheme and less attention on the detail of
specific buildings.

25
Two and a half dimensional representation (2.5D)

2.5D representation is when an object that has three dimensions is represented on a 2D

plane (Marr 1982). In architecture 2.5D representation is quite common place, frequently
architects use perspectival techniques as the basis of hand drawn or computer generated
representation.

Architects regularly use parallel projection representations drawn in axonometric or

isometric perspectives. Several architects have argued that perspectival representation
only plays a supporting role in explaining a project whereas 2D representation is essential
(Henderson 1999).

Three dimensional representations (3D)

Three dimensional representations in the architectural profession are models that explain
a proposed project in three spatial dimensions. A model might demonstrate anything from
existing conditions of the site or the size of a proposed building in context of its surroundings.

Models that are built on a computer are often considered as three dimensional
representations, this is a misconception. While it is true that models designed on CAD
software (such as 3D Studio Max) in three dimensions, the models are either viewed on a
computer monitor or printed out physically on paper. As a result the models are represented
in 2.5D usually in the form of perspective, axonometric or isometric drawings. It could be
argued a virtual environment in an interactive architectural model is predominantly viewed
in two and a half dimensions as the majority of times a model is viewed on a computer
monitor or projector.

Several experts within the industry suggest that scale is redundant when constructing
virtual models (Whyte, 2002). Most models are usually drawn at actual scale (1:1). It should
be noted that the model viewed on screen is in a different scale to the actual dimensions
of the model, zooming in or out will change the scale at which you are viewing the model.
The scale viewed on the screen is usually unknown as it is based on several different factors
such as the size and resolution of the screen you are viewing the model.

Since interactive virtual models are computer generated they are often considered dynamic
models (as they change as time passes). As the models are viewed in real-time they can
be considered a virtual reality.

26
17: An axonometric perspective image generated from a 3D
model of an architectural project

18: A 2.5D perspective rendered image from a model which had been designed on a
computer in three dimensions.

27
IMPLEMENTATION OF VIRTUAL ENVIRONMENTS

We have now established that virtual reality is a medium that allows a person to interact
with a model of a virtual environment in real-time. In the previous chapter we have
acknowledged that the platform has at least three dimensions, however as a medium
virtual reality is largely represented in two and a half dimensions. Edgar and Bex (1995)
state that by updating static visuals of a 3D model at a fixed rate we can create an
interaction that is real-time. Interaction in a virtual environment can be achieved while
allowing the user to view the model in different viewing perspectives called ‘viewpoints’.

Viewpoints

Interactive virtual models are capable of viewing a virtual environment from different
viewpoints which allow the user to experience the virtual environment differently.

• An Egocentric view allows the user to experience a virtual environment in

perspective (Whyte 2002). This is also known as ‘first-person perspective’ in video games
as it is similar to how a person visually experiences the real world. Egocentric viewpoints
can be attached to an avatar, so if a second person is in the virtual model and is looking
where you are standing they will see a virtual avatar (usually in the form of a person).

• Exocentric views allow a user to see a virtual environment from a viewpoint which
is unattached to the user’s avatar (Whyte 2002). This is called a ‘third-person perspective’
in video games and is very popular in online social games such as Second Life. In some
cases an exocentric viewpoint can be from a static viewpoint which allows the user to
spectate virtual environment. This is very common in video games such as ‘Sim City’ where
the viewpoint is elevated in the sky as the game requires the user to manipulate the virtual
environment.

When a user in a virtual environment makes an estimated guess of a distance they are
usually inaccurate (Ruddle 1997). However, Ruddle observed when a user in a virtual
building model tried to judge distances and directions from an egocentric viewpoint they
improved over time with increased exploration, similar to the way in which a person learns
in a real building. It is therefore suggested that designing space using egocentric views
exclusively is unsuitable as it is likely to result in inaccuracies caused by misjudgement.

28
 19

20

19: Egocentric view / First person 20: Exocentric View / Third person
perspective viewpoint of virtual city at pespective of a person viewing a gallery
street level. in a virtual environment (Second Life).

29
21: A technical demonstration created by Enodo of the Bellagio’s entrance sign recreated in a virtual environment.
The current state of technology allows us to recreate real space in virtual environments effectively.

DIFFERENCES BETWEEN REAL AND VIRTUAL SPACE

Whist a virtual environment can emulate a real world quite convincingly (as shown in the
example above) it would be naïve to think we can create an exact replica of reality. As a result,
the way in which we experience a virtual environment can be described as a distorted view
of the real world.

There are many ways a virtual interactive model can distort a person’s view of reality which
can be intentional and unintentional when developing the medium. Distortions can be the
result of intrinsic qualities, limitations in the current technology (such as hardware and
software capabilities) and implementation errors (human errors) (Drascic and Milgram 1996).
Distortions are similar to looking to the world through a different pair of tintes glasses as
they usually have an effect on our experience throughout the system. Distortions can have an
adverse effect on a person’s experience in a virtual environment as they can become a large
distraction, reducing the sensations of presence and immersion.

30
There are three main differences between the real and virtual world. Interaction in a virtual
environment is not the same as an action in real life. ‘Real-time’ is not the same as time.
Virtual space is different to place in the real world (Whyte, 2002).

In a virtual environment our movements and actions are constrained, we are limited in our
actions by the limitation of the hardware and software of a VR system. While inputs such as
motion detection can help a system understand commands from the user, our body is still
disconnected. Whyte (2002) argues that our “experience is disembodied” as our bodies
do not move in the environment as our bodies move in the real world, instead the virtual
environment moves relative to our body.

In an interactive virtual model we have the ability to move around the virtual environment
instantaneously, we can jump between set viewpoints in different perspectives with a click
of a button. Interactive virtual models are often referred to as ‘real-time models’ however
this largely refers to the system being able to react immediately to a user’s commands,
it does not refer to the time it takes to perform a task in a virtual world compared to a
real-world. For example in an interactive virtual model, or a computer game such as ‘Sim
City’ we might be able to change the environment by building houses and roads instantly
whereas in the real world this would take considerable time to build.

The speed at which a person can move throughout a virtual environment might be a lot
faster than they would be able to in the real world, this could be seen as an advantage as
it allows the person to interact with the environment faster than they normally would in a
real world situation however it could also be considered unrealistic.

Whyte (2002) suggests that the biggest difference between a virtual environment and
the real world is that “virtual space is not the same as place”. As we have discussed
previously, models can be constructed at their actual scale (1:1), however the scale at
which representations of buildings are presented is in a different scale to how it would exist
in actuality. Within the framework of software such as Autodesk 3D Studio Max Design
(Industry standard integrated 3D modelling) the model is constructed in three spatial
dimensions, however as we have discussed in the previous chapter a virtual environment is
usually viewed in two and a half dimensions.

31
CHAPTER 4 - 3D GAME ENGINES
SUPPORTING VIRTUAL ENVIRONMENTS

It is hard to imagine today with the current state of science and technology how we could work without
the help of computers. Today more people are increasingly using computers for their professional and
personal life, the use of computers has become pervasive throughout our lifestyles. Computers are now
essential platforms for social, personal, entertainment and educational purposes.

It is now common place to find a computer within a person’s home. Computers that have been built within
the last few years usually have graphic cards which can range in capabilities from low-end (usually in the
 22

form of on-board graphic processors on the motherboard) to high end gaming graphic processors which
are capable of rendering state-of-the-art 3D visuals within the latest computer games.

Encyclopaedia Britannica defines computer games as “any interactive game operated by computer
circuitry. The machines or platforms on which electronic games are played include the general-purposed
shared and personal computers, arcade consoles, video game consoles connected to home television
sets, and handheld game machines”
In the past virtual reality has only been possible with the use of expensive, state-of-the-art
high-end computers, however current computer graphic cards are capable of visualising
extremely immersive and convincing visualisations at an affordable price . One could argue
that when a games developer is designing a computer game he shares many of the criteria
we have discussed that is associated with virtual reality, as 3D computer games today are
commonly set in virtual environments that must reach high levels and presence with the
gamer. Recent computer games have become more focused on improving the textures and
forms and physics of their virtual environments to heighten the sensations of a realistic
environment.

Computer games that feature 3D environments use a ‘game engine’ to generate and display
images in real time on the display device (Shiratuddin 2008). Every computer game has
an ‘engine’ that works in the background that renders 2D or 3D pixels, essentially 3D game
engines are the core of computer games. Game engines provide most of the important
features of a virtual environment in a game, such as 3D scene, rendering, networking,
graphics, scripting and physics. Game engines can encapsulate real-world characteristics
such as time, the effects of gravity, motion as well as natural physics laws (Finney 2007).

Due to the nature of the gaming industry new hardware such as graphic card processors
are released by developers on a monthly basis as the technology continues to advance.
As a result computer game developers are constantly creating new 3D game engines
that are able to facilitate high quality visualisations based on the rendering capabilities
of new graphic card processors. The cost of licensing 3D game engines can range in
price from free (open source) to an extremely high cost (For example CryEngine’s Crytek
engine reportedly varies in cost from £200,000 to £1,400,000 to use as the platform
for developing a computer game). There is a middle ground of affordable engines such as
Torque, Unity 3D, DX Studio, C4 Engine. The target market for affordable game engines are
hobbyists, independent (indie) developers and small companies (Shiratuddin 2008).

Even though the name of ‘game engines’ sounds specific they are often used as a platform
to develop interactive programs such as training simulations, architectural visualizations,
marketing demonstrations and modelling virtual environments. These platforms collectively
are known as ‘Serious Games’ (Shiratuddin 2008).

34
23: An advertising image for Square
Enix’s new computer game ‘Just Cause
2’ and nVidia’s current 3D gaming
technology.

24: An example of a recent graphic

card processor for a desktop computer
(nVidia geforce 8800 gtx)

35
 25

ADVANTAGES OF USING GAME ENGINES TO DEVELOP AND SUPPORT INTERACTIVE

VIRTUAL MODELS

Real-time Rendering

Campbell and Wells (1994) suggest that if the virtual environment replicates a realistic
environment a user will feel more familiar to his surrounding atmosphere. The feeling
of familiarity in a user allows for an immediate, direct and more intuitive control while
interacting with a virtual model. High levels of immersion and presence can be achieved by
adding realistic lighting, shadows, textured materials and colours. Rendering is the process
of calculating the mathematics and physical appearance of a 3D model and converting it
into an image that can be displayed on a two-dimensional screen (Finney 2007).

3D game engines are partially responsible for the performance of a virtual environment.
Sufficient hardware requirements are also vital for enabling highly detailed models and
the environmental parameters set within the game engine (such as physics, light and
shadows). The overall performance of the game engine on a computer’s hardware setup
can be benchmarked by measuring the number of images generated in frames per second,
abbreviated as FPS (Mullen 1998). Increasing the complexity and detail of a model will
cause the FPS during a real-time walkthrough to decrease; this is because the model is
more demanding on the computer’s hardware to process. If the frame-rate drops below
30 frames per second then it causes on-screen delays which can make the experience of
the virtual environment uncomfortable, becoming difficult and disorienting (Miliano 1999)

36
Real-Time Walkthrough

Virtual environments created by game engines are capable of letting the user move
throughout the model, viewing the environment from a first-person perspective (or
in some cases a third-person perspective). Interactive walkthroughs give the user a
sense of being present in the space by allowing them to walk through and engage
with the environment, for example the user could walk up a proposed staircase
in a building to a window where they could view out to the surrounding site. As a
result the viewer’s impression of the final proposal will be much more realistic. It is
important that the spatial quality and detail feels rich and genuine in order to bring
a virtual environment close to reality.

In the AEC industry, the client of a construction project would be able to inspect the
building proposal earlier. The model might be used to convince third parties that the
building would not have a noticeable effect on the surround environment, allowing
the users to view the building from different perspectives on the site. The owner can
make informed practical expectations on the final product, as opposed to viewing
static representations in the form of 2D drawings, static image rendering or fixed-
path animation (Shiratuddin and Thabet, 2003)

Interactivity

The ability to engage with the environment creates a feeling of realism that can
convince users the model is realistic and is a replica of the real world (Milano 1999).

The facility for the user to interact successfully with his surroundings in a virtual
environment is very important. If the user cannot interact with the model easily it
has a large detrimental effect on his experience. Game engines have the capability
to understand the user’s actions by monitoring input devices and respond to the
user activity in real-time at 30 FPS (Frames-per-second)

Interactive controls can be either assigned to keyboard or mouse buttons (allowing

the user to execute specific commands when pressed) or a user’s movements can
be tracked by the system. For example, to move forward the user might need to
press the upward arrow key, to pan his viewpoint in a direction the user might
be required to move the mouse in the direction he desires to face. Complicated
requests from the user can be entered in edit boxes; however this should be avoided
as it can distract the user, reducing the feeling of immersion.

37
Lighting

The majority of 3D game engines include different methods of lighting a virtual environment
based on real world lighting. There are two types of lighting; dynamic and static (Shiratuddin
2010). Static lighting as the name suggests are lights which do not move, a static light
is commonly used to provide the overall lighting condition in a virtual environment. In an
architectural model a static light could be the day light that shines through a window in
the model. Dynamic lights on the other hand are situational, for example in a model of a
rock concert dynamic lighting would be the stage lights randomly turning on and off. The
dynamic nature of these lights means that the environment has to respond, casting light
off on near walls and recreating the rock stars’ shadows on the wall. Dynamic lighting is far
more demanding than static lights as they require more processing power to render, this
causes the FPS to drop.

High quality lighting and shadows dramatically increase levels of realism, but require a
powerful computer to render. High levels of lighting might not be required for Virtual Design
Review Systems (VDRS) where the design review process is not concerned with lighting
conditions; however lighting levels might be pivotal for showing the best qualities of the
design of a building in a marketing tool.

Collision Detection

Collision detection is when the game engine detects if two or more objects come in to
contact with each other (Maurina 2006). Collision detection improves interactivity in a
virtual environment as it creates a realistic experience for the user. When there is no
collision detection it is possible for a person to walk through walls or stairs. With collision
detection people interact with objects in the model naturally as there is the experience of
‘bumping’ into an object just like in real life (Shiratuddin and Thabet 2002). By default most
3D game engines enable collision detection automatically; however an interactive model
can be designed so the user has the option to turn it on and off. This can be advantageous
in certain circumstances, such as a design review where people want to manoeuvre around
the model quickly to discuss as much elements of the design in as short amount of time
possible.

38
 26

27

26: An example of Enodo’s work in the CryTek 27: Another example from Enodo of an architectural
3D game engine showcases realistic lighting and proposal from the outside. Collision detection prevents the
shadows in an interior environment. user from walking through the floor and walls in this virtual
environment when enabled.

39
Avatars and multi-participant collaboration

One of the main strengths of a game engine is in its multi-participant networked ability
(Sweeney 1999). In computer games there has always been a large demand for playing
games with other people (labelled multiplayer games); as a result most game engines
have the technology to connect players together in a virtual environment. Typically game
engines connect ‘clients’ to a server over an internet connection where a game is hosted.
Using this technology it is possible to host virtual worlds for other uses such as socialising.
For example, Second Life (SL) allows people to buy and sell land which they can build
structures they can inhabit.

In a virtual world an avatar is a user defined geometry form that can have intelligent
characteristics (such as artificial intelligence characters, also known as bots) (Shiratuddin,
Kitchens, Fletcher 2008). An avatar can also be virtual representation of a person controlled
by the user’s input (Shiratuddin, Kitchens, Fletcher 2008). Avatars can physically represent
the user’s presence in the virtual environment; in some cases an avatar can be customised
in physical appearance to resemble what the user choses.

An avatars primary purpose is to act as a physical representation of a person in a virtual

world, irrespective of their geographical location in the real world. It is common on online
games that the game engines support real-time voice conversations through microphones
(audio input) so that two or more individuals can talk to one another (just like a conference
call on VOIP programs such as Skype). Vocal conversations and body-gestures such as
waving have been used in Second Life as means of expression thoughts and opinions
between individual users.

The advantage in of hosting virtual environments over a network to the AEC industry would
be the possibility of multiple people working together in real time. Users can synchronise
together in a single environment. Current CAD systems do not allow for synchronous
collaboration, only asynchronously. Typically this has been accomplished up until now
through text annotation and design mark-ups similar to post-it notes (Shiratuddin 2008).
There have been attempts into making online platforms which are designed for architectural
practices to communicate but such platforms have not been successfully implemented,
however there have been some examples of architectural interventions in online virtual
worlds such as Second Life (as shown in adjacent images).

40
 28

29

28/29: Avatars gather to spectate and discuss an architectural exhibition in a virtual environment (Second Life).
Second Life has been used by architects to share projects with the general public and create architectural
exhibitions, seminars and even host design reviews.

41
CASE STUDY: ENODO/CRYTEK ENGINE

In 2009 at the Emerging Companies Summit (ECS) a company called Enodo gave a
presentation about using gaming technology to develop interactive virtual models and
immersive 3D virtual environments for architecture, urban planning and industrial design.
Enodo is a start-up company that was established in 2004 by two architects situated in
Nice, France. While being qualified architects the two founders have also admitted to being
computer gaming enthusiasts. When playing computer games the architects noticed that
3D game engines combined with GPUs (graphic processing units) enabled the 3D rendering
of virtual environments in real-time. They believed that this technology could be applied to
other industries.

Using their architectural education and their understanding of gaming technology Enodo
can build immersive environments from technical drawings, GIS, documents or even
conceptual sketches. Once Enodo have made a model they can then digitally synthesize
the project using NVidia’s hardware technology (GPU) and a cutting edge game engine
(Crytek CryEngine 3). As mentioned previously, NVIDIA technology and the CryEngine
are considered state-of-the-art gaming technology which requires an expensive license
to operate. The results on the other hand are spectacular, allowing Enodo to realise an
architectural project in a virtual environment that is photorealistic and rendered in real-time
three dimensions.

Since 2004 Enodo have worked with several architectural practices to realise architectural
projects in interactive virtual models at different stages of a project. Enodo collaborated in
2008 with Foster+Partners on the winning competition proposal for the New York Library.
There were 30 candidates, the Library Board of Trustees were very impressed by the
architect firms visual presentations claiming they “created a knock out proposal”

In the competition’s presentation an interactive virtual model was used as a communication

tool to help answer any questions while being reviewed by the potential clients. The model
was a success, proving an aid to the conversation that took place and helped secure
Foster+Partners in winning the project. One of Enodo’s staff remembers a member of the
board while reviewing the model saying “Ah, now I understand how it will work.” Enodo’s
involvement on the New York library project was not restricted to the creation of an
interactive virtual model for presentation media, they were also involved at the inception
of the project to recreate various design options digitally so they could be visualised and
evaluated.

42
 30

31

30/31: A virtual representation of Foster+Partners New York Library design proposal. The interactive virtual
model was used to communicate the competition proposal in a presentation with the client. The model was
an important medium that helped explain the complexity of the project successfully.

(All information in this case study has either been sourced from the Enodo’s website listed in the bibliography
or sourced from my interview via Skype with Laleh Sahri and email conversation with Jean-Baptiste Reynes)

43
CASE STUDY: ICREATE3D / UNITY3D

iCreate3D is an architectural visualisation company based in the South of Wales, UK. Since
being established in 2003 iCreate3D have developed a reputation delivering high quality
3D images (such as static renderings of 3D models) and animations.

In recent years iCreate3D have been offering a third product targeted at the AEC industry
which they have branded as ‘iViewer 3D Interactive Walkthroughs and Virtual Worlds’,
claiming to be a revolutionary way to presenting architectural projects in 3D virtual reality.
Using past experience from employees in the computer game sector iCreate3D has been
able to produce architectural proposals in a virtual environment:

“We’ve combined advanced computer gaming expertise with our lengthy experience of
3D architectural visualisation to enable dynamic interactive presentations of buildings and
locations, ideal for marketing, master planning, community engagement and exhibitions”
Dawn Lyle, iCreate3D.

The framework behind the ‘iViewer’ has been completely developed by the architectural
visualisation team at iCreate3D using the 3D game engine ‘Unity 3D’. ICreate3D suggest
on their website that the aim of the iViewer platform is “to deliver interactive virtual worlds
that are detailed, realistic and immersive, whilst offering an intuitive and straightforward
user experience”

In 2010 iCreate3D was given the ‘Best 3D Real-time Project’ at the CGArchitect.com
Awards for an iViewer demonstration model of Dubai High Rise accommodation (as shown
in the adjacent images).

One of strongest assets of the iViewer’s platform is in its intuitive and simple graphical user
interface. It is very easy to manoeuvre throughout the virtual environment within the model
as the controls are very simple and are clearly explained on screen. The iViewer platform is
optimised to run effectively on computers with very low graphic processing power, meaning
it can be viewed on very basic computers and laptops. This allows the model to be shared
and used by people who may not have access to powerful computers or laptops, such as
planning officers.

44
 32/33: Exterior views of the large
residential complex in iCreate3D’s
iViewer platform can be rotated and
zoomed in or out using a mouse or
keyboard.

When the user double-clicks the

mouseon different level of the building
the model changes to show the
floorplan of the residential apartments
on that level (as shown on the next
page)

(All information sourced in this Case Study has been sourced from hands-on experience with the interactive
model, speaking to iCreate3D via emails and phone conversation as well as information sourced from the
CG Real-time Award 2010 and iCreate3D website. Please see Bibliography for more details)

45
CHAPTER 5 - INTERACTIVE VIRTUAL MODELS
USE WITHIN THE DESIGN AND PRESENTATION OF ARCHITECTURAL
PROJECTS

Different forms of virtual reality are being used in the design and construction of large
projects, which include airports, hospitals, shopping malls and laboratories. Virtual
environments showcasing an architectural project using 3D game engines are increasingly
being designed to operate on non-immersive virtual reality systems which are commonly
found in the business sector, such as desktop computers and laptop devices.

Architectural practices who are working on small and large projects are beginning to
recognise how these interactive virtual models can be used as a new medium in different
parts of the design process. In this chapter we will outline different types of interactive
virtual models which can be used in the design process across architectural practice.

The main reasons identified by architects and ArchViz studios to use interactive virtual
models are to demonstrate technical ability, act as a communication tool, market a project
and use in a design review. We will look at these identified reasons in this next chapter and
also consider if interactive virtual models can be used in the creative process of a project,
instead of being used only as a medium that allows for the evaluation and presentation of
a project.

DEMONSTRATING TECHNICAL PROFICIENCY

Architectural visualization specialists such as iCreate3D and Enodo have argued that
interactive virtual models can play just an important a role for winning a competition bid
as they can useful part of the design process. Interactive virtual models suggest that the
architectural practice has a high level of technical proficiency as it is able to communicate
the different facets of a building proposal using an advanced form of digital representation
which can be considered ‘cutting-edge’.

Interactive virtual models are starting to be used as a medium to communicate with

a client at the inception of a project, competition entry or bid proposal. New forms of
representation and demonstrations of projects can make an architect’s proposal stand out
in a competition entry as the presentation is unique.

Architectural practices who usually work on large building proposals are more likely to
show interest in using new forms of technology as they feel a need to demonstrate their
technical proficiency to prospective clients who might have high expectations from an
architect (Whyte 2002).

46
34
35
34: Interactive Virtual Models can demonstrate a level
of technical proficiency from an architectural practice.
iCreate3D’s interactive floor plan communicates
spatial information of a proposed apartment which
can also be walked through in first person (as shown
in Image 1 at the introduction of this dissertation). The
model allows the client to advertise apartments to
customers and promote sale.
35: External elevation of an interactive virtual
model by Enodo as a competition entry for a
project. Detailed interactive virtual models are
often used by large practices in competitions as
they are visually impressive.
Interactive Virtual Models can be quite detailed
and atmospheric, however they will require a
more powerful computer to operate (as they
need a robust graphic processing unit to run
smoothly.
47
IN THE DESIGN REVIEW

“The current methods of design review are still heavily relying on 2D paper-based format,
sequential and lack central and integrated information base for efficient exchange and
flow of information. There is thus a need for the use of a new medium that allow for 3D
visualization of designs, collaboration among designers and design reviewers, and early and
easy access to design review information.” (Shiratuddin 2011).

Architectural practices identified design reviews as a place where interactive virtual models
are potentially very useful. Design reviews are used as a way of consulting the design
proposal with different parties who have a keen interest in the project, such as the client,
managers and investors. In some projects, even when there has been a clear start ,client’s
needs or expectations may change over time. This could be due to the fact that the client
did not know what they wanted in the first place, or that as the project has continued to
develop they might realise that their original idea is not the best approach (Kodama 1995).

In the Architecture, Engineering and Construction sectors (AEC) design reviews are
meetings which are conducted between two or more parties. In the AEC a design review
process is important as it allows the design of a project to be checked on a recurring basis
for inconsistences, inaccuracies and aspects of the design which do not coincide with the
intended user (East 1998).

Design reviews can either be used to include clients at the design stage in making key
decisions together with the architect, or a client’s participation might be limited in making
changes, reducing the amount of influence they have over the outcome of the project. It
should be important to involve the end-user of a building into the design process as they
look at the built environment different from architects (Martin and Zimmerman, 2001).

Clients, managers and end-users should be included in the design process as much as
possible by keeping them up to date with the decisions that are being made. Interactive
models should be considered as a new form of representation that can be used in a design
review as it allows us to show current design proposals, as well as showing options and
changes that can be made to the current schemes.

“Walking through a virtual building or zooming into any nook and cranny is a lot more
useful than taking one of those roller-coaster ‘fly-throughs’ that make you feel sea sick as
you watch them inside some developer’s executive suite” (Glancey, 2001)

As Glancey suggests, we can use interactive virtual models as a medium to communicate a

project to external parties quickly and enable discussion of the proposal. One of the main
reasons an interactive virtual model can benefit a design review is due to the flexibility
to move around a project quickly to answer queries made by a client as the meeting
progresses.

Reported uses of interactive virtual models used in later design stages still offer considerable
benefits in a design review. Models used in later stages tend to have more detail; as a result
they can often be used in a design review or as a marketing tool.

48
 36

37

38

36/37/38: Examples of interactive virtual models made by Enodo for use in a design review.
What is interesting is that each model’s appearance is different. The level of detail might change
based on what stage the project is at in the design process. Models can be either diagramatic
or contain information at a large master plan scale as shown in the Image 36, or full rendered
as shown in Image 37. In Image 38 we have a model that was created like a physical model to
demonstrate the shadows and lighting of a space when walking through the public circulation
routes such as the stairs.

49
AS MARKETING AND COMMUNICATION TOOLS

Within recent years we have seen the emergence of new interactive virtual models designed
with the sole intention of being a strong marketing tool for an architectural proposal.
Architectural visualisation studios who previously specialised in flythrough animations and
CG images are now offering a new product to the market, often entitled as ‘real-time’ or
‘interactive’ models.

One of the main advantages in using interactive virtual models as a marketing tool is in
their novelty. When a person sees an interactive model they are usually interested enough
to want to interact with the model and see what it can show. Examples of new virtual
models are often used at an office or showroom using a computer and a screen, or even
on a laptop. For instance, one of iCreate3D’s commissioned interactive models is featured
in the reception of their client’s office. The model demonstrates their newest project and
can be used by anyone who enters the lobby and is interested. Interactive models tend
to attract many people’s attention including customers, press and investors as they are
visually and technically impressive tools.

A form of an interactive model often changes in appearance and size based upon the type
of project, which can be categorized into small, large or extra-large.

Small (bespoke projects such as residential housing)

Currently interactive virtual models are commonly being designed for housing developers
in the UK. Typically a housing developer will commission interactive models for different
housing options. Interactive models can be designed from plans when there are no existing
houses already built, which is appealing for a housing developer as it allows them to
sell houses before they are even finalised Models can be made which show a variety of
viewports of a house’s layout, including axonometric floor plans and can enable the viewer
to walkthrough the layout of the house. The 3D model of the house could be fully furnished,
proving visually to be a powerful market tool that can entice prospective buyers to make
a sale.

50
 39

40

39: Interactive display of 40: Unity3D game engine interface

iCreate3D’s iViewer in an office while developing an interactive virtual
of a client. model for a small housing proposal

51
Planning approvals

“Presenting traditional drawings such as plans and sections is usually stressful for us. Our
biggest concern is that the planning commission won’t fully understand the project as they
are unable to picture the development from sketches and drawings.” (A client quoted by
Whyte regarding the planning approval process in architectural practice, 2002)

Since the early 1990s there have been examples of architectural models built in 3D virtual
environments as a communication tool with the intention of gaining planning permission
from local authorities. Dewi Evans Architects situated in Swansea recently commissioned
iCreate3D to build an interactive model of a new housing development with the main
intention of communicating the project to the planning authorities. Compared to level of
detail in iCreate3D’s typical interactive models this one was very simple, showing only the
size of the houses and their location as well as neighbourhood properties such as new
roads with minimum detail.

The model proved a success as all parties found the model clear and informative; it enabled
members of the planning authority who had not recently been to the site to understand the
building in context of its surroundings and engage with further discussion. The model also
allowed neighbours in the surrounding area to see how the size of the proposed building
will have an effect the view from their property.

In this example the planning authority was impressed by the use of the technology to
develop an informative model, however not every planning authority is as embracive
of interactive models. Even from my experience I have had planning authorities reject
submissions because CAD drawings and 3D visualisations looked too regimented, or as my
former boss used to say ‘too set in stone’.

Large (residential complex, banks, shopping malls)

Interactive virtual models are frequently used in large projects to show how the building
would look in context of its surroundings from neighbouring streets, main roads, popular
parts of the city or even as part of the cities skylines. As a result models can be used as a
method to communicate the building to the local community and council for approval, as
well as a way to reassure current investors or interest new financiers. Interactive models
can raise the profile of a project as it can gain the attention of the media, in some cases a
project’s interactive model can gain enough acclaim to win awards for technical proficiency
and visual appeal (for example, the CG Academy Award for real-time models).

52
 41

42

41: of iViewer 3D model of small 42: Interactive virtual model of the future proposal of Birmingham City Library
housing developments for Dewi Evans in Second Life. The model is going to be released on Second Life to the public
Architects used in obtaining planning shortly, to allow people to engage and experience the future proposal before it
permission has even been built.

53
Extra-Large (Projects such as airports or master plans of urban cities)

Interactive Virtual Models are also being used in demonstrating large scale proposals, such as
master plans of regeneration within city centres and large housing schemes.

CASE STUDY - iCREATE3D / COASTAL HOUSING GROUP

Planning permission of a regeneration scheme in Swansea’s city centre has been granted by
the City and County of Swansea for the development of a £25 million urban village on the
High Street, Kings Lane and the Strand Row. In the urban village there will be new shops,
offices, retail outlets and affordable apartments.

The Coastal Housing Group has commisioned iCreate3D to develop an interactive virtual
model showing different schemes for the affordable apartments as part of the City and
County of Swansea’s large regeneration of the city centre.

iCreate3D has been involved with the planning negotiations between the Coastal Housing
Group and the architects of the project, Holder Mathias. They were instructed to design an
interactive virtual model based on several proposals of different apartments, models have had
to be generated from 2D CAD drawings. The final version of the interactive model produced
shows several architectural proposals in context of their urban surroundings on High Street
and Strand Row in Swansea. In the model the user has the ability to highlight individual
buildings and select different options suggested by the architect as part of their proposal (as
shown in the adjacent images). Using advanced GPS technology iCreate3D has been able to
recreate Swansea’s City Centre surrounding the site accurately in three dimensions.

“For a project such as this, which will have such a massive impact on our city centre, it’s crucial
that everyone can understand the vision. Planners need reliable information on which to base
their decisions, and Coastal Housing needs interactive visuals to help generate excitement
and support for the project.” (Dawn Lyle, 2010, iCreate: Visualising the Ongoing Regeneration
of Swansea City Centre)

Due to the significance of the regeneration scheme it was vital to accurately portray the
size of the new housing apartments to illustrate the visual impact the proposal would have
in relation to surrounding area. Currently the finished model is being used with contractors,
consultants (such as engineers) and the local Council to demonstrate the new housing
proposal in the regeneration scheme.

“Whether we are talking to the planners, the press or to our own board, the interactive 3D
produced by iCreate is a huge help in communicating our proposals. The recent visuals and
model of the Urban Village scheme have helped us secure planning permission as well as
gaining positive press coverage” Development Director, Coastal Housing Group
(iCreate3D, 2010, testimonials)

The interactive virtual model is currently on show by the Coastal Housing Group in their
reception area of their office to explain the scheme to people who are new to the regeneration
plan and to demonstrate the companies’ technical proficiency.

54
43: Masterplan model of housing development plan in Swansea City Centre. The model allows for
free navigation around the proposed site and their surrounding area. In this model the architect
(Coastal Housing Group) wanted to show different proposals in real-time. Clicking the buttons ‘A’
to ‘F’ show different schemes. The model can also overlay a 2D plan of the local area (from google
maps) or floating labels which explain different parts of the proposal.

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OUTSOURCING MODELS / INTEGRATION WITH ARCHITECTURAL PRACTICE

OUTSOURCED

Most of the examples we have discussed so far in this dissertation are interactive virtual models
which have been developed by an architectural visualisation company, working together with an
architectural practice.

Outsourcing models is an appealing option to architectural practices as it reduces the amount

of risk involved. There is no large investment of time and money involved in implementing the
technology within the practice and training individuals to build virtual models effectively. Instead
an architectural practice can commission an expert in the field (such as Enodo or iCreate3D) to
develop a project in a virtual environment and package it as a model.

Outsourcing allows a practice to be more flexible in their presentation and design techniques as
they are not committed to one form of technology such as virtual reality (Whyte 2002). Using an
outsourced service also allows an architect to benefit from the expert’s previous experience within
their field of expertise.

INTERNAL TECHNICAL DEPARTMENTS IN LARGE COMMERCIAL PRACTICES

Interactive virtual environments that are realised using 3D game engines have started to emerge
in the research and development departments of some large commercial architectural practices
who are able to financially support research in new technological advances.

Large practices are interested in using new technologies to demonstrate technical proficiency to
potential clients as discussed at the beginning of this chapter. They are in a position where they
can invest the time and cost required to develop and implement the technology throughout the
practice on a series of different projects.

Research and development departments can offer their services to other architectural practices
as a service. For example, HKS Architects have a technical department called ARCHengine who
develop interactive virtual models built using the ‘Unreal technology’ 3D game engine. When the
ARCHengine team are not working a project internally they can offer their services to competing
practices at a premium rate.

56
44: Images captured of iCreate3D and
HKS ARCHengine’s websites which
illustrate the range of services offered by
both companies.

57
KEY ISSUES AND LIMITATIONS OF INTERACTIVE VIRTUAL MODELS

USER INTERACTION

Interactive virtual models may be very easy to use for people who are confident and sophisticated
in using new technologies, such as users who are experienced with playing computer games on a
desktop computer. However, people who are not familiar to these new forms of technology might
struggle to engage with a model on their own or without any guidance. This could be the result
of a number of factors, such as an unfamiliar or unintuitive user interface that may confuse a
user who is not familiar with using computers, or a lack of understanding of the capabilities and
functions within the interactive virtual model.

Differences found between the real world and a virtual environment can cause a user to struggle
with performing basic tasks such as navigation throughout a model (Satalich, 1995). Some users
can become easily confused how to navigate within the environment, struggling with operating
the orientation and location of their position. As a result this can cause a user to focus on the
effort required to operate a command instead of concentrating on their original objective (Darken,
1993). Considerable effort and time should be made by a developer to create a user interface
within an interactive virtual model which allows a person to operate within the environment
effectively by being simple and easy to understand.

INFLUENCE OF ARCHITECTURAL BUSINESS DRIVERS WITHIN A VIRTUAL ENVIRONMENT

When designing a virtual environment within an interactive virtual model, like many traditional
mediums of representation in architectural practice a designer has to decide what elements of
real-life are to be excluded in the virtual world.

The individual who is developing an interactive virtual model will usually manipulate the surrounding
environment to help support the architectural proposal and accentuate its best characteristics.
For example, usually an architectural building looks most flattering in sunlight, as opposed to an
overcast and grey environment. There are no business drivers for many of the objects we encounter
in real life to be replicated in interactive virtual models. It would make no sense to show litter on
a pavement, dirty vehicles parked outside a street or homeless people in a marketing proposal, as
these factors can have a detrimental effect to a person’s perception of the architectural project.

On this basis we could argue that interactive virtual models in architectural practice are usually
biased forms of representation, showing a utopian virtual environment which can influence our
impression of a proposal.

58
45: Captured screenshots of an interactive virtual model developed by Motiva of a residential house.

The commands for a user to interact with the model can be difficult for a person to remember as there are
many buttons required to perform all the functions available to interact with the virtual environment, as shown
above.

In the second image we can see that the exterior facade of the building is represented in a sunny atmosphere,
the virtual environment has been manipulated to show the architectural proposal in a flattering condition.

59
46
CHAPTER 6 - SOFTWARE DEVELOPMENT
THE ARCHITECT AND THE SOFTWARE SUPPLIER

“The technologies on which virtual reality is based are in a state of flux and interactive, spatial,
real-time applications are being developed and refined in response to feedback from major
customers. By working with suppliers, we can make our experience available in commercial tools
for the sector.” (White 2002)

Several practitioners in the early 2000s recorded by Whyte stated that the direction of virtual
reality and its technology is going to be largely influenced by software developers and the people
in the industry who use the software. It has been suggested by many practitioners and theorists
like Whyte that architects and engineers must work with software developers together to make
new technological developments and design the next generation of software applications.

Since 2002 there has been large development in the software we use throughout the profession.
The biggest software developer that has been producing the majority of software packages
designed for the AEC industry is known as Autodesk, the founders of AutoCAD. Even though
Autodesk claim to be focused on producing software for the AEC sector they have accumulated
a vast portfolio of 2D and 3D software that are used widely across several different industries.
Autodesk have developed new software for different sectors such as transportation, education,
government and the media and entertainment sectors. In the process of expansion Autodesk
acquired and developed 3D software called 3DS MAX and Maya which have become industry
standards in their own respective fields.

At the beginning of 2011 Autodesk gave a presentation where they showed interest in establishing
a presence in 3D game development, suggesting the possibility of acquiring the framework of
an existing 3D game engine. As a result several members of computer graphic communities
speculate that Autodesk is interested in using game engines as a new platform for real-time
architecture software, or in order to improve Autodesk Showcase which is currently not built using
a ‘game engine’ but uses basic graphic processing power. Speculation aside this is an indicator
that Autodesk intends to move into entertainment/games sector, which will undoubtedly affect
and strengthen the current production of real-time models in architecture.

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SOFTWARE DEVELOPMENT DEDICATED GPU REAL-TIME INTERACTIVE /
RENDERING SOFTWARE FOR ARCHITECTURAL PROFESSIONALS

INTRODUCTION

In the last quarter of 2010 many people in the architectural visualisation communities have
been following the emergence of architectural 3D real-time GPU rendering software and
debating which software offers a better experience. This new form of rendering software
uses a graphic processing unit (GPU) on a graphic card in computer hardware to render
a scene. The appeal of using real-time GPU software in architectural practices is in their
ability to render a scene much faster than current 3D architectural visualisation rendering
software.

Traditionally 3D rendering software in the industry uses the central processing unit (CPU) on
a computer to process a scene. Depending on the complexity and detail of a scene and the
computer’s hardware available a scene can be rendered in anything from a few minutes to
a few days. The new 3D GPU rendering software has the capability to render an image or
visualisation what could take hours in a few seconds, as well as the ability to easily create a
packaged interactive virtual model that can be opened in Microsoft Windows on a computer.

62
 47

TWINMOTION

KA-RA (Twinmotion’s developers) made a controversial first impression in November

last year within architectural visualisation communities by marketing Twinmotion as ‘the
rendering killer’. KA-RA also released several images comparing real images and rendered
images created in their software to create further attention. Twinmotion boasts about
being developed with architects in mind and claims to have worked with several high
profile architectural practices such as Aéroports de Paris, Atelier Jean Nouvel, Renzo Piano
Building Workshop, Peter Cook, Peter Eisenmann, JCDecaux and Zaha Hadid Architects.

As well as support from architects, Twinmotion is partners with NVIDIA to make use current
technology available in graphic technology. Twinmotion has also collaborated with Autodesk
to ensure that the software is compatible with most existing 3D digital file formats.

63
ADVANTAGES AND LIMITATIONS OF USING TWINMOTION

Stand-alone Interactive Models

One of the main advantages we are concerned with when using Twinmotion is its ability to
generate 3D interactive stand-alone versions of a project. KA-RA claim that the software
can allow an architect to manage the degree of interactivity in the model, by allowing
navigation in an exocentric or egocentric perspective with the option of enabling and
disabling collision detection.

Collision detection is enabled in Twinmotion by using NVidia’s physics engine, which is used
in high-end 3D computer games currently released. Physics are automatically updated
when items in the scene are changed or imported. This ability would not be possible
without KA-RA using the fundamentals of game engines when developing Twinmotion.

Twinmotion boasts that a user can create interactions with an object in the environment
using the physics engine. A user can trigger actions by clicking on an object in a scene or
by pressing a key on the keyboard at a specific time.

Current limitations of the software

Since its release it has been the subject of a mixed reception from professional users. The
main criticism from casual users (such as small architect practices, low-end architectural
visualisation studios and hobbyists) is that Twinmotion requires a high-end system setup
to use the software without slow down or interruption. It is recommended that a high end
graphics card, processor and RAM in a computer is needed. As a result computers that could
run traditional 3D CPU-driven visualisation software cannot run Twinmotion effectively.

Secondly, a large factor that prevents professionals using this software is its high cost
(£3,000) to purchase, when compared to other alternatives. As a result of high cost and
performance requirements several individuals do not believe it is a viable solution, regardless
of the potential savings in cost and time that KA-RA suggest Twinmotion achieves when
compared to traditional software used in producing architectural representations.

64
48: Demonstration of how Interactive ‘stand-alone’ models can be exported from the program to run on a
desktop computer for external use with a client. Alternatively if designing in-house TwinMotion allows the user to
experience the virtual model in real-time by selecting the appropriate command (as shown above)

65
Project Newport / Autodesk Showcase

Since 2008 Autodesk has been developing a new product called ‘Project Newport’. Project Newport
was in production for 3 years before being released to the general public as part of real-time 3D
presentation and rendering software ‘Autodesk Showcase’ as of March 2011. Previously Autodesk
Showcase was designed as a product targeted at professionals in product design allowing them to
promote their product. Showcase wasn’t marketed at the AEC industry at the time therefore it is
relatively unknown in our sector.

As of 2011 Autodesk now claim that Showcase is a real-time 3D presentation and rendering
software that offers people in the AEC industry such as architects and engineers to import existing
3D files of projects (from AutoCAD or Revit) and create 2D imagery, 3D animations or real-time
presentations. Autodesk suggest that Showcase’s real-time presentations can be used in design
reviews and as a marketing tool as we have previously discussed.

Professionals within the industry are starting to use the new software, the general reception of
the software is largely positive. Gedeon Trias from Larson & Darby Group describes Showcase as
“a true game-changer when we present architecture designs to our clients. It brings 3D rendering
to a higher level of interactivity, and provides the ability to explore materials and environments
on-the-fly. I don’t have to come back to the office and press ’render’ every time I want to show my
client another material alternative.”

66
49

50

51

49: AutoCAD Showcase 2012 allows
an architect to navigate throughout
a project freely. Once materials are
assigned to the 3D model of the project
the architect can render images or record
flythrough animations which can be used
in a meeting or design review.
50: An architect can 51: A user can change the scenery
cut through a model to surrounding the imported building in
create sections or plans the virtual environment in AutoCAD
of a project in real-time. showcase. This can range from a
desert, country or dockland setting.

67
CHAPTER 7 SUMMARY AND CONCLUSION

THE EMERGENT USE OF INTERACTIVE VIRTUAL MODELS

Interactive virtual models can be described as vehicles for interaction between a user and a virtual reality
on a non-immersive system, such as a desktop computer. They allow us the ability to experience and
interact with an architectural project in a virtual environment that has been designed in three dimensions.

Throughout this dissertation we have assessed the emergent use of interactive virtual models as a
representational medium for the communication and evaluation of architectural proposals. We have
examined the benefits of using interactive virtual models with external parties such as contractors,
engineers and clients in evaluating an architectural proposal. Interactive virtual models can also enable
groups of designers to discuss various design issues within internal meetings or design reviews.

While interactive virtual models can be a powerful communication and marketing tool it is important to
remember that there are technical issues and social barriers that need to be overcome to successfully
implement the technology. For example, the system that supports the interactive virtual model must
be powerful enough to facilitate the graphic processing power required to produce real-time virtual
environments that are rich with detail and create a high sense of immersion. If the system cannot process
the interactive virtual model effectively in real-time this will cause distortions to the user’s experience in
the virtual environment, reducing the sensation of immersion and presence as the interference distracts
the user.

Interactive virtual models should be considered as a valid representational medium as they allow us to
show architectural project from a different perspective. Unlike traditional methods of representation such
as two dimensional drawings which are static, interactive virtual models allow us to engage with an
architectural project in real-time. However, they should not be considered as a replacement for existing
forms of representation, instead we should think of interactive virtual models as one representational tool
amongst many. Architectural practices such as Fosters+Partners have successfully used interactive virtual
models as a supportive tool in conjunction with traditional forms of representation to help discuss and
evaluate architectural projects in competition bids and design reviews.

In this dissertation we have discussed real-life examples of building proposals constructed in a 3D virtual
environment using existing digital technology which is not normally associated with the construction
sector, such as 3D game engines.

The use of 3D game engines allow us to build architectural proposals in virtual environments which can
facilitate dynamic lighting, collision detection of objects with a scene and multi-participatory capabilities
while keeping a high frames-per-second rate when displayed on a monitor or projector. Depending on the
level of detail required 3D game engines can support interactive virtual models that will run on laptops
and computers with entry level hardware. This is highly advantageous to the construction sector as most
professionals do not have desktop computers capable of rendering demanding virtual environments,
allowing us to share and use interactive virtual models on computers with different hardware capabilities.
Where interactive virtual models are currently being used as part of a building proposal they are usually
outsourced and developed by specialists who understand 3D game engines and how an architectural
proposal can be realised in this different form of technology effectively.

68
Up until the year 2011 there has been no software available to an architect which allows an individual
who has no knowledge of 3D game engines to generate interactive virtual models from an existing
3D model of a building. All the examples of interactive virtual models evaluated in this dissertation are
commisioned by architects and have been built by professionals who have experience in using 3D game
engines to craft together bespoke solutions for each individual project (such as iCreate3D and Enodo).

THE FUTURE DEVELOPMENT OF REAL-TIME VISUALISATION SOFTWARE AND ITS ROLE IN ARCHITECTURAL
PRACTICE

The emerging market for interactive, spatial, real-time software is young and dynamic. Suppliers of game
technology such as NVIDIA and Crytek are beginning to recognise construction as a potential growth
sector. CAD suppliers such as Autodesk are beginning to incorporate real-time presentation as part of
their packages, while new companies such as RA-AD are developing new real-time interactive software
for architects to use.

There is no business model for real-time software at the moment and it is unclear how well these new
platforms will be received by the construction sector. This is partly because the software requires a large
financial investment to buy the licenses of the software as well as purchase a computer which is capable
of graphically processing the real-time environments efficiently. A company would have to invest a lot of
time and dedication in learning new software such as Twinmotion 2; the rewards in the long run could
prove substantial as the software has the potential to produce interactive models, static images and
animations from one software package in a fraction of the time it takes us to realise at the moment.

I believe if Twinmotion 2 and AutoCAD Showcase 2012 are well received within the architectural
community and prove to be a success for the software supplier we will subsequently see more examples
of interactive virtual models used as part of the design process and marketing of architectural projects.

Initial reception of Twinmotion 2 by the architectural community has been mixed as it is complicated and
expensive; it is far more likely that Autodesk Showcase 2012 is going to be seriously considered for use
in architectural practice as architects are familiar with the user interface in the software as it is shared
by Autodesk AutoCAD (the industry standard software for 2D CAD drawings in architectural practice). As
well as incorporating a friendly user interface, the software is designed to work with existing 2D drawings
and 3D models designed using AutoCAD to produce basic animations, images and interactive virtual
models quickly and easy. On the other hand, results produced in Showcase are not as immersive when
compared to the virtual environments that Twinmotion 2 is able to visualise therefore architects who
require detailed interactive virtual models might not find Autodesk Showcase an appropriate solution.

Architects must work in collaboration with industry software developers such as KA-RA and Autodesk
to continue to advance real-time software supported by 3D game engines and make new technological
improvements. Developments in the emergent use of this software will allow architects to make direct
use of virtual environments in new forms of interactive virtual models which can be used throughout the
architectural process as illustrated in this dissertation.

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com/forums/viewtopic.php?id=26446 [Accessed March 04, 2011].
Twinmotion®2 - Real Time Rendering - Home. Available at: http://www.twinmotion.com/ [Accessed April
12, 2011].
3D Architectural Visualisation and Illustration UK. Available at: http://www.icreate3d.com/ [Accessed
January 17, 2011].

FIgures

All images in this dissertation are used in this with permission or have been released for marketing on
the intern

1: Virtual model by iCreate3D, collage made onto image of dell monitor in

Adobe Photoshop. iViewer platform by iCreate3D (www.icreate3D.com)
2: Virtual streetscape in Second Life. (Property of Linden Research)
3: Audience in IMAX cinema. (Property of IMAX)
4: Large Screen Immersive Virtual Environment. Virtual model of the town
Tubingen. (Property of Cyberneum. Retrieved from www.cyberneum.de)
4: nVidia 3D vision pro. Property of nVidia (Retrieved from www.nvidia.com)
5: nVidia 3Dtv. Property of nVidia (Retrieved from www.nvidia.com)

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6: Cave systemfor Crayoland. University Project. (Found at
http://tutorsite.files.wordpress.com/2010/02/cave_crayoland.jpg)
7: Peugeot Driving Simulation. (Property of Peugeot Limited)
9: Cave Virtual Reality System
(Retrieved from http://www.linz.at/images/aec_cave1.jpg)
10: Immersive VR system – Interactive Cave Setup (found at www.3dwalkthrough.com)
11: Non immersive VR system – Motiva Model. Image produced by myself.
12: Augmented Reality – Artists impression
13: Desktop computer. Property of Dell Computing limited.
14: A 3D virtual reality system used in architectural practice
15: 3D Architecture wallpaper (Retrieved from http://all-free-download.com/)
16: 2D plan of architectural project (Retrieved from www.3dwalkthrough.com)
17: Axonometric perspective from a generated 3D model
(Retrieved from www.3dwalkthrough.com)
18: 3D render of exterior building – Personal use.
(Retrieved from www.3dwalkthrough.com)
19: Egocentric View of City XL video game (Property of Monte Cristo ltd.)
20: Exocentric view – screenshot from Second Life.
(Property of Linden Research)
21: Real and virtual space comparison – Crytek Engine. Property of Enodo and
nVidia
22: Virtual environment of futuristic city built in CryTek engine by digital artist.
(Retrieved from http://www.game-artist.net/forums/scene-movie-
competition/9279-scene-movie-submission-thread-3.html)
23: Advertising image for nVidia 3D glasses. (Property of nVidia)
24: nVidia geforce 8800 gtx graphic card (Property of nVidia)
25: Promotional image of Crysis 2 (Video Game) rendered using the Crytek Engine
26/27: Screenshot of interactive virtual model created by Enodo.
(Property of Enodo)
28: Exhibition in Second Life (Property of Linden Research)

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30/31: Screenshot made by myself of interactive virtual model created by Enodo of
Foster+Partner proposal. (Property of Enodo)
32/33/34: Screenshots made by myself of iViewer 3D model of large residential
complex. (Property of iCreate3D)
35: Nvidia 3D glasses advertising and stock image of Graphic Card 8800 GTX
(Property of Nvidia)
36/37/38: Screenshot of interactive virtual model created by Enodo.
(Provided by Enodo. Retrieved from at www.enodo.fr)
39: Image of interactive display of iCreate3D’s iViewer in an office of a client.
(Provided by iCreate3D. Retrieved from www.icreate3d.com)
40: Image of Unity3D game engine interface while developing an interactive
virtual model for a small housing proposal.
(Provided by ZeroFractal. Retrieved from www.zerofractal.com)
41: Screenshots made by myself of iViewer 3D model of small housing
developments for Dewi Evans Architects.
(Property of iCreate3D).
42: Interactive virtual model of the future proposal of Birmingham City Library
in Second Life. (Provided by Daegen Limited)
43: Screenshots made by myself of iViewer 3D model of Swansea master
plan housing scheme for Coastal Housing Group (Property of iCreate3D).
44: Screenshots of iTech IVMs by Motiva, made by myself. (Property of Motiva)
45: Screenshots of ArchEngine website and iCreate website
(Property of iCreate3d and HKS Architects respectively)
46: 2D rendered images of a 3D model built and visualised in TwinMotion
real-time modelling and rendering software. Retrieved from the
TwinMotion official forums. (Property of Twinmotion).
47: Collage of images demonstrating real photography and real-time
screenshots of rendered virtual environments created in TwinMotion
(Property of TwinMotion)
48: Demonstration of how Interactive ‘stand-alone’ models can be exported
from the program to run on a desktop computer for external use with a
client (Property of Twinmotion)
49/50/51: Screenshots made by myself from promotional video released by AutoCAD
demonstrating Autodesk Showcase 2012 / Project Newport
(Property of AutoCAD).

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INTERACTIVE VIRTUAL MODELS:
INTERVIEW / USER TESTING

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INTERVIEW WITH ENODO

Who are Enodo, why should people in the industry care about the work that you are doing?

Enodo specialise in the adaptation of gaming technology into professional and industrial
heavy projects. We basically adapt high end technology to fulfil needs for 3D simulation,
pre-vis or marketing tools in architectural industry.

When we first created Enodo in 2004, our main activity was the production of images
designed for the communication needs of urban and architectural projects. To generate
these images we systematically modelled our projects in 3D. This working method
transformed our communication images into decision making tools, but without reaching
its full potential. We had yet to find the proper technology.

In parallel, I am a gamer and each time I played I thought that it would be really interesting
to use these technologies to help our clients improve their communication. In 2004, Crytek
released the game “Far Cry”, it was a trigger to us. Although stemming from the video-
game industry this technology still allows us to integrate industrial or architectural data
very easily. Our tools are compatible with the market’s standards. To create our models, we
use 2D maps, blueprints, 3D models, satellite photos and even photos taken on location.

We have the capacity of operating on various scales of the project: from very large
territories (Data like GIS) to the highly detailed architectural projects, or elements of a
specific design. This capacity and freedom to go from one scale to the other allows us to
address the project’s entire process. Our technology allows us to have a wide spectrum of
representation, going from the white model to a photorealistic illustration.

Real time induces two levels of interaction. The first level creates a direct link with the
models inception, allowing us to validate all the elements’ coherence with the client. The
second level of interaction relates to the final user, his virtual environment, and the way we
improve his immersion.

This engine’s strength is to leap from a simple interaction to a real simulation. For instance
we can manage particles’ systems simulating weather phenomenon like rain, wind or snow.
A powerful physics engine also allows us to navigate in a 3D environment by walking, or
travelling in a car or boat. The power and capacity of this technology enable us to respond
to very diverse requests. As a matter of fact, the question is not to know if it is possible to
make it, but to offer a coherent answer to the client’s expectations and needs.

Here at Enodo no two projects are the same, each client and each case are truly unique.
Our job is to offer perfectly tailored solutions, fitting the needs and expectations, and
constraints of each client. Whether these are technical, geographical, and financial or
deadline constraints. So 3D modelling is a part of our service and although being the most
visible one, it is not always the most important one.

On the urban project “Les Moulins” we were contacted by the city of Nice in order to create
a 3D model representing the renovation of a neighbourhood and its evolution over the next
few years. To do so we had data from the city hall, which we complemented with a data

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recovered session, collected on site. We offered the possibility to navigate in the model
freely using an Xbox controller. For our clients of the city of Nice, the 3D model became a
powerful decision making tool allowing them to reflect on the conception of a project with
many participants and technicians.

All the subjects we have talked about represent only a small fraction of all the possibilities
offered by new technologies, their growth and usage have evolved in an exponential way
the past years, like stereoscopy for example. We are willing to bet that these innovative
solutions convergence and crossings will completely change everyone’s working method.

From what I understand your solution is built on top of the Crytek engine?

Yes exactly, what we provide is the service and Crytek our partner provide the technology,
the CryEngine. We then adapt this technology for clients that need communication tools
for urban projects, architectural projects, industrial simulation and training tools. So we
build a virtual environment and virtual reality with artificial intelligence, allowing immediate
interactions with 3d elements, light or textures.

So for example, say I am building an office building. How would I use your technology to
help me to do that?

We would take your blueprints and technical data from architects, engineers, the urban
planners, landscapers. We take all the electrical data possible and synthesise it and you
would see your building 5 years ahead, or 2 years ahead, or 2 months ahead before it is
built.

So basically, it would be like operating in a game environment. So because you are using
gaming technology I would be able to walk through an office building, touch things, and
can I break things?

Exactly, you can interact with things, even break things with immediate consequence,
therefore you can accelerate the decision process. It is therefore a powerful tool to reach
your goals in a quick way. For example, the current way people build buildings is using
architectural drawings, so if a client wants a change they have to go back to the architect
and say make these changes, then come back in 2 weeks to see the changes.

So this way we can do it on the fly?

Exactly, this way we can see the changes in the model right away. Not everybody can
read the blueprints from an architect or the technical data from an engineer. Basically you
would be able to communicate and intervene on different aspects of the project and modify
anything.

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You mentioned that this technology can be used for training simulation; can you give me
an example of this?

One of our clients is Total Group which is oil and refinery group; we provided them with
a service where we produced a virtual reality of an oil platform which doesn’t exist. They
use it as a training tool to put the user in a situation of crisis management, so let’s say
that there is an explosion or gas leak they want to use this ‘serious game’, as it’s a
serious purpose, they want to see if people would react properly in relation to the protocol
according to what they should do in the situation.

The advantage here and interest is that you can have multiple people in the same virtual
reality, which can not only react with the virtual reality to ‘control the leak’ or to turn the
explosion, but also interact with your colleague who is also training. An instructor can
manipulate the virtual environment to change the weather, the gas coming to your face, if
your colleague is injured. This then will access what a person does in the situation with the
amount of time, or tasks required. Simulation of real life events is not that easy so here you
can recreate more scenarios etc.

Let’s discuss the GPU required. In order to build and deploy a system like this it requires a
lot of GPU horsepower.

Yes, real time display… The whole company is based on real-time display interacting with
a virtual world. So if we didn’t have powerful GPU’s we wouldn’t be able to do visual
computing. It wouldn’t make sense, like not having water for a human being. It is essential
to the process. The more powerful the GPU results in a better the real-time experience in a
virtual model. The higher the GPU the higher the quality of photorealism can be achieved
in the future

What makes you better than any other company who is in this field?

We are eager and enthusiastic in applying this technology in the architectural process. I
was really surprised; there are a billion ideas a day in between our team. We can apply this
technology for event management, or let’s say we have clients in so many different fields.
Safety, security training, crisis management on the Eifel tower for example, they cannot put
a 100 people on the Eifel tower for training but they can use our software to train. Every
field I can see the use of our application.

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PROFILE: MOTIVA
Motiva is a Spanish an established 3D visualisation
design practice which specialises in 2D
visualisation and 3D animation. They have recently
been developing interactive modelling

TECHNOLOGY: iTECH engine

MODELS: Manhattan (Large scale) /
Hemeroscopium – Small/Medium Scale

PERSONAL ACCOUNT – MANHATTAN

Motiva’s real-time model of downtown Manhattan

is a technical demonstration of the iTech engine
and it’s capability to generate a three dimensional
city at a large scale and allow the user to navigate
freely around the urban landscape.

Articulation - Initial installation

Motiva’s iTech is developed in similar vein to a

computer game; it comes in the format of a large
.exe file (200mb). Once you activate the .exe file
you are presented with a dialog box asking the
user to select quality settings that would influence
how the model performs on a computer.

Display settings / Computer Performance

The user is asked to select the screen resolution

at which the model will be displayed, how large/
detailed the models textures will be and finally
how smooth should the model be displayed. The
higher settings for all of these options will require
a computer than can handle powerful graphical
operations, in theory a large model displayed at
high settings would need a powerful graphic card
such as a game enthusiast’s computer. In this case
the model gives the user a range of options to
change settings to meet the optimal performance
of their computer.

I am familiar with this interface as have played

3D games on a personal computer, which requires
the user to adjust settings based around the
capabilities their computer’s hardware set up. I
suspect this interface would be confusing to
someone who is not accustomed to gaming on
the computer.

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Navigating the model

Motiva have handled the task of navigating

around the model successfully as it feels easy
and natural when I use it as I am very familiar
with the keyboard and mouse. In a similar style
accustomed when moving within a computer
game to move the camera within the model
you use the ‘W’ ‘A’ ‘S’ ‘D’ keys in the same style
as you would normally use the Up/Down/Left/
Right keys. This is considered normal within
a video game as the ‘W’ ‘A’ ‘S’ ‘D’ keys are
more ergonomic for the user, allowing you to
use your left hand comfortably. Again, I suspect
this would be confusing to an outsider of 3D
games on the computer. The mouse is used to
navigate throughout the city, reacting to when
the user moves the mouse rotating the camera
in relation to the directional movement of the
mouse.

Pressing the space bar on the keyboard

moves the camera to locations chosen by the
developers of the software, the direction and
location of the cameras move to chosen views
which are very flattering showing the model
in its best form from a multitude of different
heights, angles and positions.

Form - Visual Impression

The model of Manhattan is impressive to behold

from the first glance, it places you within the
heart of Manhattan and allows use the mouse
and keyboard to navigate around the city. The
model is very large and gives the impression
of vast city landscape. The program gives the
user the choice to choose between 3 times of
day by pressing F1, F2 and F3 on the keyboard.
This successfully creates different atmospheres
impression of the city.

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Limitations of a large scale model Function - Effectiveness / Purpose of model

The textures of the buildings seem rich and
detailed from a distance as shown in the previous
image, however moving the camera close in front
of a building reveals that they are pixelated and
lower in quality than their initial impression (as
displayed in the screenshot below).
There are other faults with the model which
become apparent when zooming in. Some
buildings are jagged, featuring unrealistic and
inaccurate edges at random angles. I am not sure
the reason for this, it leads me to suspect that the
buildings were not individually built and textured;
instead they are the product of a computer
generated model created by data captured from
images. This makes sense as it would take years
to model every building of Manhattan in great
detail.
This model doesn’t pretend to be anything it isn’t;
it is a technical demonstration of Motiva’s iTech
graphical engine (the 3D technology that drives
the model) on a large scale urban environment, it
is not a commissioned model designed for a client
instead it just shows the current state of the iTech
technology and its potential. In this regard I think
it is very successful, it could be argued that there
are nuances with the model (such as low detailing
when viewed closely) but I think it is important
to remember the purpose of this model and the
scale at which it has been designed. As a large
scale model giving a virtual physical profile of
downtown Manhattan I think this model is very
successful.

The second issue I noticed with the model when

inspecting closely is the fact that there is no
attention to the roads, the model feels as if the
buildings have been generated of a large image
of the city. Focusing on the floor reveals very little
detail of the street; this fails to create a feeling
of atmosphere/place. In the image you can see
the park has been left flat, the trees remain on
the ground as only buildings have been extruded,
this is a missed opportunity in adding diversity to
the model as greenery could have been a nice
contrast to the buildings.

The third issue I have with the model is the issue of

scale. In the picture the camera is as close to the
street level as possible, this unfortunately means
in this model you cannot get to the eye level of a
human being, therefore you cannot gain a visual
impression of the city as if you were looking from
the street level.

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PERSONAL ACCOUNT – HEMEROSCOPIUM

Building: Hemeroscopium

Architect: Antón García- Abril

Project Details:
Type: Private Residence
Location: Las Rozas, Madrid, Spain
Size: 400 m2 (4,300 sf)
Date of Project: December 2005
Date of Completion: June 2008

Model Details:

Motiva have been generous enough to release an

interactive model of a completed architectural project.
This model is an example of the iTech graphical engine
being used in an actual project.

Initial installation / Set up

Unlike the Manhattan technical demo the installation

and set up of this model is better structured and
as a result it is much easier to install and run.
Hemeroscopium installs to your hard-drive in a
directory and can be loaded from the start bar which
is a nice improvement. Once selected Hemeroscopium
brings up the same configuration setup as ‘Manhattan
Demo’ which they have refined to be user friendly,
however it still remains complicated to anyone who
isn’t a PC gamer.

85
Real-Time model / Photograph comparison

Here I have the opportunity to compare the

3D model to professional photographs of the
existing building. Hemeroscopium proves to be
a very accurate model of the building; however
it cannot display the extreme wide angle lenses
used in the photographs of the project.

I do not necessarily think this is a bad thing,

because when you are inside the model it
feels more like real life, where wide angles and
perspectives of the building are less dramatic
and create a realistic feel.

In this model the iTech engine has been pushed

further allowing the user to witness the building
from different times of day and featuring
different environmental (cloud/lighting)
conditions. This results in very dramatic and
powerful affect, showing off the best attributes
of the building such as the reflection of the
sunset in the swimming pool.

Here is a view of Hemeroscopium from the rear

of the facade. In this instance I thought I would
highlight the materiality of the building. I think
the developers have done a good job of making
the materials such as concrete, glass and steel/
aluminium distinguishable from one another
I am slightly disappointed with the lacklustre
representation of the light. As you can see in
the photograph the camera has reproduced the
light on the glass and dramatically. The reason
for this is because the dramatic lighting is on
the side of the building; you cannot change the
sun path around the building which means the
shadows stay in the same place.

This is something I believe could prove as a

useful tool for architects to assess a design
project and is a shame that it isn’t included.
Lighting from the front of the house is on the
other hand very effective.

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Here is a comparison of the pool area, as you can
see here the shadows and intensity of the sunlight
in the real-time model are very emotive, really
highlighting the spatial qualities of this outdoor
area. I consider it to be a vast improvement when
compared to the photograph.

The model does a really good job of amplifying the

colours of the furniture featured by the poolside
which work well by contrasting their surroundings

Navigating the model

Hemeroscopium is no different to navigate than

the Manhattan model, involving the user to move
using the keyboard ‘W’ ‘A’ ‘S’ ‘D’ keys. Likewise to
find further key commands the user must press ‘H’
to bring up the help menu where there is a wealth
of commands which allow the user to change the
virtual environment of the model.

Pressing down the ‘1’ and ‘2’ keys allow the user
to scroll up and down the clock. This results in the
environments light changing as it does during the
24 hour period from dawn to dusk. It is unclear
what time it is at as it is not mentioned, however
when holding down the keys the sky shifts between
colours and intensity while the clouds rapidly shift
across the horizon.

87