IMMERSIVE by Rihan

Immersive INTERACTIVE DESIGN PLATFORM THESIS PROJECT BY AHMED RIHAN

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This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/.

IMMERSIVE Interactive Design Platform by Ahmed Rihan

Studio Material Performance SS15 Krassimir Krastev Second Advisor Andrea Rossi

Dessau International Architecture School Anhalt University Department 3 ÂŠ 2015

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ACKNOWLEDGMENT

I would like to express my special gratitude to my parents, my sister and friends who have supported me throughout this experience, as well as to my studio master Krassimir Krastev for constantly supporting and guiding me through the project during the whole year, without his insight the project wouldnâ&#x20AC;&#x2122;t have been possible. Aswell for my second advisor Andrea Rossi for his help and support and the DIA program that have given me the opportunity to research and develop. Special thanks goes to Daria, Mahmoud, Karim, Dimitar, Shady, and to all my studio group and DIA students, and special thanks for MDLab team in Munich for their generous help and support.

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CONTENTS

Chapter 1: Introduction 1. Abstract Chapter 2: Preconditions 1. Introduction Chapter 3: Background 1. From Cyberspace to virtual reality a. Cyberspace a. Virtual reality b. Types of VR c. Applications of VR 2. Architectural CAD Interfaces a. Modeling interfaces b. Structural analysis interfaces c. Environmental analysis interfaces 3. Collaborative design

Chapter 6: Experiments 1. Proposed design tasks 2. Users output/result 3. Case study experiments Chapter 7: Future development Chapter 8: Software documentation 1. Beta version tutorials Chapter 9: Appendix 1. Bibliography

Chapter 4: Design platform prototype 1. Main user Interfaces a. Modeling interface b. Structural interface c. Environmental interface 2. Real-time link with other platforms Chapter 5: Architectural Case study 1. Forte Portuense a. Background b. Existing situation

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INTRODUCTION

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Introduction

In this new century, we are forced to re-examine certain aspects of the education and practice of architecture, as well as what constitutes our notion of three-dimensional spaces designed for the human experience. As the digital world expands, we find that the study and practice of architecture become more complex. A rigorous investigation of the possibilities of architecture in a digital space requires an understanding of cyberspace and of the different tendencies of three-dimensional calculation. You can predict, without any doubts, an era of complexity in the education and practice of architecture. All of the rules of digital design will change, forcing a re-evaluation of the architect’s role in the digital era. The architects of this new century need to keep up with technological advances in order to make the most out of the practice of architecture by taking advantage of the new design tools at their disposal. Currently many architects see visual computation of architecture as a simple representation and they ignore its potential. They need to see beyond this notion and start seeing it as the architecture itself. Due to the introduction of the computer into the architectural environment, this question has arisen: is the object created in the computer only a representation? Certainly not. In fact, a complex model generated by the computer, more than a representation or an idea that we have formed of the external world or of a certain object, is a simulation, that is to say an appearance of something that is not, and it is more near the reality of what can be imagined. To this point, Nicholas Negroponte states “the real thing is not an expression of itself, it is itself.” (Negroponte, 60)

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“Audra Magermans”

INTRODUCTION

â&#x20AC;&#x153;It is clear that our ability to imagine architecture leads to our ability to build it. In the most advanced disciplines, the ability to build marks the difference between the application and the pure investigation, and the value of the same one cannot be discussed.â&#x20AC;? (Novak,248)

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1. Abstract

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Many contemporary architects have already accepted the notion that architecture is affected by the user. They have paid attention to the acts of the users and they have witnessed how their design is modified by their activities. Meanwhile in this research itâ&#x20AC;&#x2122;s been introduced a different perspective on the design process, which is the user point of view (POV), where the architect/designer can telepresence in real time, to another place, where he can act on behalf of the user, through the use of the powerful technology of the virtual reality and gaming industry techniques. The research is presenting a working software prototype called IMMERSIVE, an interactive design platform providing the architect/designer with a different perspectives for the design object, which enrich how the designers perceiving the design problem while walking through the designed space in a fully immersive environment. It also provides a collaborative three-dimensional environment for design and review between architects and different experts from other disciplines, this collaborative virtual environment enhance the communication and encourages co-operation, overcoming the barriers of space and time constraints. Through the use of virtual reality designers can explore a different layers of building information on the building as they can see through walls and fro example see stress lines from structural analysis or some color maps from environmental simulation, which makes the design process more intuitive. A shared world of virtual reality offers a more sophisticated, interactive stimulating and engaging environment for architects and professionals alike- to communicate. Therefore itâ&#x20AC;&#x2122;s a prototype that facilitates this kind of collaboration.

INTRODUCTION

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PRECONDITIONS

PRECONDITIONS P 15

Precondtions

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The ongoing research address to the following particular limitations in the existing (CAD) design tools for practicing and implementing architectural tasks. Apparently, this influences on educational and professional practices, it focus on the contemporary new technological and architectural capabilities for specific uses in the design processes of architectural objects.

Existing tools interface, allowing design from only some predefined viewports

1. The existing design tools (interfaces) lack the abilities to design from the users point of view (POV), meanwhile the immediate visualization, in real-time and in real scale; applying realistic materials and lighting.

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User perspective with real scale, realistic materials and lighting.

2. Most of them doesnâ&#x20AC;&#x2122;t support the incorporation of more than one expert from other disciplines as an active users on the design decision process.

ARCHITECT

CLIENT

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ARCHITECT

STRUCTURAL ENGINEER

Collaborative design diagram, Professional Scenario

ENVIORNMENTAL EXPERT

3. Also no support for virtual reality technologies from the initial phases in the design process. Meanwhile the use of virtual reality nowadays in the architectural field, just limiting all its potentials in a visualization tool for an end product presentation.

Layers of environmental simulations showing daylight analysis

Wall

Layers of structural simulations showing stress lines

Wall

VR headset

Diagram showing the proposed use for virtual reality in architecture, through visualizing the building information.

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Design space

STUDENT

TEACHER

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STUDENT

Collaborative design diagram, Educational Scenario

STUDENT

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Background

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1. From Cyberspace to virtual reality a. Cyberspace

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“Cyberspace” definition by — William Gibson, Neuromancer ; “A consensual hallucination experienced daily by billions of legitimate operators, in every nation…A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the non space of the mind, clusters and constellations of data. Like city lights, receding…” . The concept of cyberspace can be restricted to that of a digital space in which we are momentarily present. Cyberspace is accessible to anyone who is able to consciously project their presence inside of it. Its shape is based on our own visions of form in the digital, visual, or imaginary space. This means that cyberspace is not an isolated and inaccessible world; but rather this world is within reach of everyone; the only requirement is to have the equipment (computer and tools) and simple directions to follow. According to Peter Anders, “in cyberspace, all objects are symbolic. On a different scale they make reference to the physical world alluding to it often through metaphors. This connection is necessary to help the user guide itself inside the symbolic space. Our scale of abstraction helps us to understand the connections to our physical world, showing forms to classify the objects of cyberspace and to understand its meanings.” (Anders, 47)

Cyberspace in architecture. Case studies. The case studies selected for the development of this project are an excellent examples and base of meaning of the ‘cyberspace‘, as value and qualities of the forms, or qualities applied to physical objects and forms. Concern the notion, data and transmission of forms, were designing through interpretation and vision of cyberspace, as digital space, with the present inside of it. This means that cyberspace is not an isolated and Inaccessible world; but rather this world is within reach of everyone; the only requirement is to have the equipment (computer and tools) and simple directions to follow. [Audra Magermans]

UNSTUDIO. Ben Van Berkel

Any object in cyberspace can have one or more meanings and its characteristics can be variable. A cyberspatial architecture is definitively a semiotic type of architecture, but the simbology can be infinite. The task of the cyberspace architect is to insinuate the semiotic codes that produce meaning so that the user won’t get lost in a world of many symbols that are very difficult to understand.[]

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Venice, Italy, 1998. The competition entry for the new architecture faculty of the University of Venice. This project is consists of particular amount of spaces: auditorium, twelve lecture rooms, public functions, a bookshop and so forth. What is a cyberspace according to vision of UNStudio, one of leading architectural studio in Amsterdam? The proposal is based on a three-fold spatial concept. The building is conceived as the continuation of the embankment. Secondly the proposal takes up the notion of the absence of an end perspective by basing its distribution system on an elliptical core. Thirdly it is based on the public/private distribution of the Venetian palace. The ground floor, where the public functions are situated, is lifted up from ground level. The second and third floors house all educational facilities. The façade system consists of a structural layer, followed by a layer of three types of perforated concrete panels. Finally a steel mesh covers the facade and picks up the reflection of the surroundings.

Cyberspace in architecture. Case studies.

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Guggenheim Virtual Museum .  Asymptote Architects   Entering the Atrium The Solomon R. Guggenheim Museum has commissioned the New York firm Asymptote Architects to design and implement a new Guggenheim Museum in cyberspace. As envisioned by Asymptote and the Guggenheim, the Guggenheim Virtual Museum will emerge from the fusion of information space, art, commerce, and architecture to become the first important virtual building of the 21st century. This is a new architecture of liquidity, flux, and mutability predicated on technological advances and fueled by a basic human desire to probe the unknown.   The inevitable path for both these architectures, the real and the virtual, will be one of convergence and merging. Interactivity coupled with 3D modeling and the effects of image, sound, movement and light achieve a fluid and fluctuating environment that unlike physical space can respond to the navigation path of the user as well as adapt continually to its changing contents. The museum not only houses art but allows the user to simultaneously navigate the web as well as experience real-time collective events. Computer-aided design methods and new mathematical models in the natural sciences have been making possible a new complex form of architectural production. Not only can complex forms and shapes be generated by computer, but that same computer can present the exact dimensions of each section of a complicated fractal form ready for production. Jencks reports, for instance, that in the construction of Frank Gehry’s Guggenheim Museum in Bilbao (Pic. 7) (1997), the fractal curves added only 10-15 per cent to the basic costs. [Charles Jencks, “The new paradigm in architecture”, Datum 22, 2002, p. 13.]

Cyberspace versus Virtual reality

● virtual world, creates electronic personalities

● can be explored and interacted with by a person with the space

● existing within computer systems and networks

● three-dimensional, computer generated environment

● information source

● augmentative perspective

● consist of four sub-concepts: place, distance, size and route, but composed of computer codes with no material existence

● personal experience with additional sensory input, e.g. sound or video (Multi-sensory experience)

● concept used to describe a virtual reality

● ‘near-reality’ , both ‘virtual’ and ‘reality’, reality emulation

● person can not control or regulate actions on cyberspace

● person is able to manipulate objects or perform a series of actions, personal experience

● a space that is difficult to comprehend and mentally visualize, held a dialectal relationship with the physical world

● virtual environment should provide the appropriate responses – in real time to the person

● existing within other communication devices

● has two types of virtual environments : Semi-immersive VR, CAVE VR

● the digital realm interaction

● presents a conception of reality BACKGROUND P 27

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b. Virtual reality Virtual Reality, as a concept, found first form at the University of Utah over twenty years ago in the fecund cranium of Ivan Sutherland, the godfather of computer graphics and the originator of about every Big Computer Idea not originated by Alan Kay or Doug Englebart. In 1968, he produced the first head-mounted display. The idea of Virtual Reality has been around since the 1950s. Cinematographer Morton Heilig imagined a theater experience that could stimulate the senses of his audience. An experience to draw them into his stories in a more effective manner. In 1960 Heilig developed Sensorama. This was a single-user console that included stereo speakers, fans, stereoscopic display, a moving chair, and odor emitters. This allows users to watch television in 3D. ‘‘Virtual reality’’ term was emerged from Jason Lanier in 1987. Virtual reality is the term used to describe a three-dimensional, computer generated environment which can be explored and interacted with by a person. That person becomes part of this virtual world or is immersed within this environment and whilst there, is able to manipulate objects or perform a series of actions. Some systems enable the person to experience additional sensory input, e.g. sound or video which contributes to their overall experience. After that in 1984, Michael McGreevy, a computer scientist started to experiment with VR technology as a path to advance human-computer interface (HCI) designs. HCI still is a domination factor in VR research. It further led to the media picking up on the idea of VR within a couple of years.

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Types of VR

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Head-mounted display (hmd) Virtual reality HMD. Since 1961 engineers had the first device with a tracking system and a video screen , which was worn , as helmet. Today, HMD is already being used in a variety of applications, such as in the military, aviation, and government. As well as for commercial purposes including sports, medicine, and video gaming. Here are already several affordable HMD devices that individuals can use in various entertainment applications such as playing 3D video virtual reality games. Window on the world (WoW) - a major distinction of VR systems is the mode with which they interface to the user. This section describes some of the common modes used in VR systems. Some systems use a conventional computer monitor to display the visual world. This sometimes called Desktop VR or a Window on a World (WoW). This concept traces its lineage back through the entire history of computer graphics. In 1965, Ivan Sutherland laid out a research program for computer graphics in a paper called «The Ultimate Display» that has driven the field for the past nearly thirty years. This VR system is ideal to be used in the medical field. It can help in performing different kinds if medical visualization procedures. Moreover, it can also be used in the stimulation of various medical procedures. Immersive Systems Immersion into virtual reality is a perception of being physically present in a non-physical world. The name is a metaphoric use of the experience of submersion applied to representation, fiction or simulation. This is a helmet or a face mask that holds the visual and auditory displays. The helmet may be free ranging, tethered, or it might be attached to some sort of a boom armature. A nice variation of the immersive systems use multiple large projection displays to create a ‘Cave’ or room in which the viewer(s) stand. An early implementation was for the ability to create the impression of an immense environment, within a small physical space. This system can also provide quality 3D visual images, without being expensive.

Head-mounted display (hmd)

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An Immersion VR system adds some type of immersive display system: a HMD, a Boom, or multiple large projection type displays (Cave). An IVR system might also add some form of tactile, haptic and touch feedback interaction mechanisms. Telepresence is a variation on visualizing complete computer generated worlds. This a technology links remote sensors in the real world with the senses of a human operator. The remote sensors might be located on a robot, or they might be on the ends of WALDO like tools. Fire fighters use remotely operated vehicles to handle some dangerous conditions. Surgeons are using very small instruments on cables to do surgery without cutting a major hole in their patients. The instruments have a small video camera at the business end. Robots equipped with telepresence systems have already changed the way deep sea and volcanic exploration is done. NASA plans to use telerobotics for space exploration. There is currently a joint US/ Russian project researching telepresence for space rover exploration. Mixed Reality Merging the Telepresence and Virtual Reality systems gives the Mixed Reality or Seamless Simulation systems. Here the computer generated inputs are merged with telepresence inputs and/or the users view of the real world. A surgeonâ&#x20AC;&#x2122;s view of a brain surgery is overlaid with images from earlier CAT scans and real-time ultrasound. A fighter pilot sees computer generated maps and data displays inside his fancy helmet visor or on cockpit displays. VR Hardware. Image Generators -one of the most time consuming tasks in a VR system is the generation of the images. Fast computer graphics opens a very large range of applications aside from VR, so there has been a market demand for hardware acceleration for a long while.

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Virtual Reality CAVE A cave automatic virtual environment (better known by the acronym CAVE) is an immersive virtual reality environment where projectors are directed to three, four, five or six of the walls of a room-sized cube. The name is also a reference to the allegory of the Cave in Plato’s Republic in which a philosopher contemplates perception, reality and illusion. On th e picture of Daniel, who showed us all how to use the hand controls, putting on a display of virtual light and shadows. Objects that were never built, reflecting light that isn’t real. The walls of a CAVE are typically made up of rear-projection screens, however flat panel displays are becoming more common. The floor can be a downward-projection screen, a bottom projected screen or a flat panel display. The projection systems are very high-resolution due to the near distance viewing which requires very small pixel sizes to retain the illusion of reality. The user wears 3D glasses inside the CAVE to see 3D graphics generated by the CAVE. People using the CAVE can see objects apparently floating in the air, and can walk around them, getting a proper view of what they would look like in reality. This was initially made possible by electromagnetic sensors, but has converted to infrared cameras. The frame of early CAVEs had to be built from non-magnetic materials such as wood to minimize interference with the electromagnetic sensors, obviously the change to infrared tracking has removed that limitation. A CAVE user’s movements are tracked by the sensors typically attached to the 3D glasses and the video continually adjusts to retain the viewers perspective. Computers control both this aspect of the CAVE and the audio aspect. There are typically multiple speakers placed at multiple angles in the CAVE, providing 3D sound to complement the 3D video.The concept of the original CAVE has been reapplied and is currently being used in a variety of fields. CAVEs are also used more and more in the collaborative planning in construction sector.

Daniel Coming, Principle Investigator of the CAVCaM, manipulates geometries that don’t exist, and we photograph him as he does so.

Virtual Reality Immersion Starting just a few hours from now down at SCI-Arc, on a cloudless 73º day, “seven distinguished architects and theorists” whose designs straddle “the intersection of physical and virtual worlds” will be presenting their work at the Mediascapes Symposium, led by Ed Keller. The bulk of the afternoon’s discussion will encompass “the practice of immersive and virtual architecture, which spans animation and 3D technologies, digital environments, and questions of materiality... asking how these classifications will define our understanding of the relationships between tangible and intangible worlds.” Benjamin Bratton: “ Pervasive computing will make inanimate objects see, hear, and comment on our interactions with them. This experience will, in many cases, be indistinguishable from a psychotic break, or from the rituals of classical Animism.”

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Immersion into virtual reality is a perception of being physically present in a non-physical world. The perception is created by surrounding the user of the VR system in images, sound or other stimuli that provide an engrossing total environment. Immersive Display Experience, an architecture of overlapping stitched projections such that “the peripheral image appears as an extension of the primary image,” and, in the process, the room you’re standing in becomes a game display. This unique combinations where the user can immerse as well interact with the simulations is known as Telepresence. This is devise by the famous computer scientist Jonathan Steuer. Thus the user forgets about his real world scenario, forgets his present identity, situation and life and immerses him in a world of imagination, adventure and exploration. He gets more focused about his newly created identity inside the Virtual Reality world. While a user is using simulations and interaction between the user and the virtual environment takes place then some amount of quality of data are received in the signals. It is also necessary from the users’ perspective to explore the life –sized virtual environment fully and effectively. How could this be used by architects? 2011 announcement that they’d begun constructing “an entirely new class of electronic systems that can meet the demands of dynamic environments.” These would be called Systems of Neuromorphic Adaptive Plastic Scalable Electronics (or SyNAPSE), a “program [that] aims to fundamentally alter conventional designs by developing biological-scale neuromorphic electronic systems that mimic important functions of a human brain.” A strange future of neuromorphic plastic brains illusioneering streets into existence—invisible cities, flickering and disruptive—we humans will try and, haplessly, fail to navigate.

Samsung Gear VR

Oculus Rift

Sony Project Morpheus

HTC Vive

Archos VR Headset

Microsoft HoloLens

FOVE VR

Zeiss VR One

Razer OSVR

Avegant Glyph

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Virtual Reality Headsets Virtual reality is an immersive experience in which your head movements are tracked in a three dimensional world, making it suited to games and even movies. Oculus Rift is the virtual reality headset developed by 21-year-old engineer Palmer Luckey, the Rift plugs into your computer’s DVI and USB ports and tracks your head movements to provide 3D imagery to its stereo screens. HTC unveiled the HTC Vive, a Steam VR headset made in a collaboration with Valve at MWC 2015 - and it’s due to hit the shops before the end of the year. The Gear VR is an Oculus Rift powered device that uses a Samsung Galaxy smartphone as its processor and display. The Galaxy handset simply slots in front of the lenses, into a Micro USB dock, and uses its Super AMOLED display as your screen. Microsoft HoloLens is half virtual and half augmented reality. The device merges real world elements with virtual ‘holographic’ images, meaning you can look at your Minecraft world on your kitchen table, or walk around the surface of Mars in your living room. Using Kinect-style tech to recognize gestures and voice commands, the headset has a 120 degree field of vision on both axis, and is capable of ‘high definition’ visuals. FOVE VR differs from the likes of Oculus Rift and Project Morpheus because it offers interactive eye-tracking. Inside the headset is an infrared sensor that monitors a wearer’s eyes; offering both a new control method and an edge on its competitors when it comes to realism. With FOVE, simulated depth-of-field is possible, due to the system knowing exactly what you’re looking at and, as a result, the virtual should appear more real. Avegant’s Glyph uses an array of micro mirrors to reflect an image directly into your retina. While it’s limited to a 45 degrees field of view, the micro mirror array is said to reduce motion sickness and eye fatigue.

Virtual Reality Headsets Google cardboards

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The Archos VR Headset works with any smartphone with a screen sized 6-inches or less, and the French company claims it will work with iOS, Android and Windows Phone - although you’ll be hard pressed finding any developers knocking out VR apps and demos for Microsoft’s mobile platform. Zeiss branded headset packs a media player for the likes of pictures and videos and an AR app for augmented experiences, open source Unity3D SDK.

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Making virtual reality accessible to a wider audience, google has released a DIY, folding paper product they call ‘google cardboard‘, which attaches to smartphones and transforms them into a personal, lowcost VR headset. The headset can be made from everyday items. Accompanying open software toolkit allows writing VR software as simple as building a web or mobile app. With the tech-cum-craft venture, google ‘hopes to encourage developers to build the next generation of immersive digital experiences and make them available to everyone.’

Virtual reality in fashion

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d. Applications of VR Many people are familiar with the term ‘virtual reality’ but are unsure about the uses of this technology. The approach on the presented examples in this chapter towards implication of virtual reality, through the use of various tools was as in past, as well nowadays. The concept behind virtual reality is the one of transmitting a sensation of ‘being there”. The effect of virtual reality is achieved when disconnecting the person of its physical atmosphere, substituting it completely for a virtual one, electronically built , where the geometry of the space allows a projection free of obstruction, which has an important effect in architectural perception.[] Variety of uses, therefore there are in fact, a wide variety of applications for virtual reality which include: architecture, sport, medicine, arts, entertainment, fashion, business, engineering and healthcare. Virtual reality can lead to new and exciting discoveries in these areas which impact upon our day to day lives. There are many more uses of VR than first realized which range from academic research through to engineering, design, business, the arts and entertainment. Irrespective of the use, virtual reality produces a set of data which is then used to develop new models, training methods, communication and interaction. In many ways the possibilities are endless. Gaming is an obvious virtual reality application as are virtual worlds but there are a whole host of uses for virtual reality – some of which are more challenging or unusual than others. Healthcare is one of the biggest adopters of virtual reality which encompasses surgery simulation, phobia treatment, robotic surgery and skills training. One example of this is the Humanism system which enables doctors, nurses and other medical personnel to interact with others in an interactive environment. This is an immersive experience which measures the participant’s emotions via a series of sensors. noa raviv

Applications of VR

Virtual reality in military

4D virtual reality theme park

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Resuming, currently we are more attached towards digital world, and developing different contemporary ideas in a close relationship with it. We are observing nowadays this approach in practices of more complex sciences. Moreover, this complexity, has widespread implication of virtual reality. Letâ&#x20AC;&#x2122;s review more in details examples and highlight virtual reality not only on architectural examples, as well around in other fields. Virtual reality has gotten much better in recent years - it conquer mobile uses by virtual reality simulations for medical training; broadcast live theatrical performances; art installations; NASA, the Department of Defense and the National Science Foundation funded much of the research and development for virtual reality projects; virtual reality has been adopted by the military â&#x20AC;&#x201C; this includes all three services (army, navy and air force: flight simulation, battlefield simulation, medic training (battlefield), vehicle simulation, virtual boot camp) â&#x20AC;&#x201C;where it is used for training purposes. This is particularly useful for training soldiers for combat situations or other dangerous settings where they have to learn how to react in an appropriate manner. Virtual reality is also used to treat post-traumatic stress disorder. Education is another area which has adopted virtual reality for teaching and learning situations. For example, astronomy students can learn about the solar system and how it works by physical engagement with the objects within. They can move planets, see around stars and track the progress of a comet. This also enables them to see how abstract concepts work in a three dimensional environment which makes them easier to understand and retain. This is useful for students who have a particular learning style, e.g. creative or those who find it easier to learn using symbols, colours and textures.

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The Spacemaker Virtual Reality software by Digital Physical. Image courtesy of Digital Physical.

Daniel Steegmann Mangrané in collaboration with ScanLAB Projects to fully immerse viewers into “Phantom,” the first virtual reality exhibit at New York City’s New Museum for Contemporary Art.

Virtual reality in car design

Virtual reality in cultural heritage and museums

NASA experiments

Virtual reality in healthcare and diagnostic

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Virtual reality in healthcare and diagnostic

e. Virtual reality in architecture. Case studies.

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Spacemaker VR by Digital Physical One of recent and worth to mention achievement in virtual reality is Spacemaker VR tool that creates an immersive digital experience for designers, architects and clients alike. This project resemble my personal research, though it is still not enough information is provided to really know what is Spacemaker, how it is made and which functions it will obtain. Extract from article: “Enter Digital Physicals Spacemaker VR, a new tool that takes 3D design files and turns them into virtual worlds. Say you’re an architect. You can bring a headset to your client (one of the great benefits of the product is its portability—it can easily fit into a backpack), and she puts it on. Immediately, she has a 110-degree view of the project making it feel “like you’re in it for real,” says Robert Miles Kemp. “The architect can be there with them, driving the keyboard and taking them around the space, talk to them and ask questions.” As an added bonus, other viewers can watch on-screen in mono-view, creating a unique forum for backand-forth on the d sign and putting the architect and client on the same page. There’s even an option that allows jpgs to be made and annotated later. The response has been enthusiastic, to say the least. “Every architect has freaked out,” says a delighted Kemp. “They love the idea of being able to use it as a daily design tool.” The new software accepts 25 different formats. From there, it will automatically create a 3D file. “It’s easy for me to design a space, take my model file, go into my design and look at it.” It’s a great addition to the architect and designers’ toolbox, allowing ideas to be tested and refined in real-time, saving time and money. For Kemp, this iteration of the project is an entry-level product. “We’re just at the beginning of seeing what a real time design tool can do,” says Robert Miles Kemp.

The Spacemaker Virtual Reality software by Digital Physical. Image courtesy of Digital Physical.

Spacemaker demo. Image courtesy of Digital Physical.

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2. Architectural CAD interfaces

Computer-aided design (CAD) is the use of computer systems to assist in the creation, modification, analysis, or optimization of a design.[1] CAD software is used to increase the productivity of the designer, improve the quality of design, improve communications through documentation, and to create a database for manufacturing.[2] CAD output is often in the form of electronic files for print, machining, or other manufacturing operations.

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CAD is an important industrial art extensively used in many applications, including automotive, shipbuilding, and aerospace industries, industrial and architectural design, prosthetics, and many more. CAD has been proven to be useful to engineers as well. Using four properties which are history, features, parameterization, and high level constraints. The construction history can be used to look back into the modelâ&#x20AC;&#x2122;s personal features and work on the single area rather than the whole model. Parameters and constraints can be used to determine the size, shape, and other properties of the different modeling elements. The features in the CAD system can be used for the variety of tools for measurement such as tensile strength, yield strength, electrical or electro-magnetic properties. Also its stress, strain, timing or how the element gets affected in certain temperatures, etc.

a. 3D Modeling interfaces Autodesk 123D Design Autodesk 123D is a suite of hobbyist CAD and 3D modeling tools created by Autodesk. As well as the more basic drawing and modeling capabilities it also has assembly and constraint support and STL export. Available for the software is also a library of ready-made blocks and objects. 123D Design is a free, powerful, yet simple 3D creation and editing tool which supports many new 3D printers. You can use wide a variety of tools to draw sketches, modify objects, build, construct new structures and create objects in a fast and simple way. The 123D Design is simplified program to create 3D models;

Tinkercad Tinkercad is an easy, free, browser-based 3D design and modeling tool for all. Tinkercad allows users to imagine anything and then design it in minutes. Shapes are the basic building blocks of Tinkercad. Any shape can add or remove material, and you can also import or create your own shapes. Create vector shapes, then import and extrude them into 3D models. Additionally, you can import external 3D files which become editable Tinkercad shapes. The geometry kernel performs all your editing operations in a large computing cluster with lots of machines.

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Autodesk 123D Design

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3DTin is a pioneer in browser based 3D Modeling. It started the development in bustling city of Mumbai, India, in March 2010. Later in the summer, 3DTin introduced the first 3D Modeling solution that ran in browser. Over a course of 3 years it amassed a user base of more than100,000 users. The users have built one of the largest repository of Creative Commons 3D models using 3DTin. The simple user interface of 3DTin has made it very accessible to 3D modeling beginners. This has helped many young students and enthusiasts who want to create 3D models for 3D printing. 3DTin is used in many schools for this purpose.

The Mecube Software At Mecube, we have built an easy-to-learn 3D design mobile app. Our goal is to teach everyone to be a 3D DIY designer to make 3D designs into solid objects using 3D printing. Mecube offers two ways to engage with and learn 3D design and printing: Mecube FreePlay With Free-play, anyone may use their creativity to make whatever they wish on an iPad or IPhone. Once completed, designs are saved as full color 2D and 3D files. 3D prints of the designs may be ordered directly from an iPad or IPhone. The Mecube Game (coming soon). The Mecube Game uses a fun fastpaced puzzle game to engage people in 3D design and 3D printing. By achieving a high level of skill, players can win free 3D prints.

Honeycomb Kenan O’Keefe developed his own CAD software due to his expired AutoCad education licenses. With this software he wants to make 3D modeling accessible for everyone. Honeycomb is a free, browser based software and is available in open bates at the moment. Further Honeycomb especially focuses on 3D printing. Created models can be send to Shapeway, shared on Thingiverse or exported to your own 3D printer.

Beautiful Modeler Created by Karl D.D. Willis, Beautiful Modeler is an iPad and Desktop open-frameworks application for gestural sculpting using iPad as a multi-touch controller. Each finger is used to control a single touch point in the model, with multiple layers working to build up 3D volume. As the controller is connected over the wireless network, it can be moved freely to change the viewing angle of the model using iPad’s accelerometer. The model itself is presented on the main display rather than on the controller itself; this prevents occlusion of the model when sculpting with the whole hand. The controller screen does not need to be viewed while sculpting, meaning the controller can be rotated or flipped to sculpt from a range of angles. Currently the model is constructed using metaballs (thanks to Golan‘s code), but this is

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b. Structural analysis interfaces Millipede Grasshopper

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Millipede is a structural analysis and optimization component for grasshopper. It allows for very fast linear elastic analysis of frame and shell elements in 3d, 2d plate elements for in plane forces, and 3d volumetric elements. All systems can be optimized using built in topology optimization methods and have their results extracted and visualized in a variety of ways. In addition millipede implements a few basic geometric features [extraction of iso surface meshes from volumetric scalar fields or and extraction of curved contours over any mesh] and a few numerical analysis tools.

The new version of millipede includes the surface re parameterization module that enables the generation of vector field aligned patterns over any mesh. This functionality is particularly useful for the creation of principal stress aligned grid shells and reinforcement patterns.

Ahmed Rihan at Joris Laarman Lab. Topological optimization experiment.

Karamba 3d karamba is being developed by Clemens Preisinger in cooperation with Bollinger-Grohmann-Schneider ZT GmbH Vienna. karamba is fully embedded in the parametric environment of Grasshopper which is a plug-in for the 3d modeling tool Rhinoceros. This makes it easy to combine parameterized geometric models, finite element calculations and optimization algorithms like Galapagos.

karamba provides accurate analysis of spatial trusses and frames, and is easy to use for non-experts, tailored to the needs ot architects, specifically, in the early design phase.

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b. Environmental analysis interfaces Ladybug + Honeybee

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Ladybug and Honeybee are two open source plugins for Grasshopper and Rhinoceros that help explore and evaluate environmental performance. Ladybug allows you to: import and analyze standard weather data in Grasshopper; draw diagrams like Sun-path, windrose, radiation-rose, etc; customize the diagrams in several ways; run radiation analysis, shadow studies, and view analysis. Ladybug imports standard EnergyPlus weather files (.EPW) into Grasshopper and provides a variety of 3D interactive graphics to support the decision-making process during the initial stages of design.

Honeybee connects Grasshopper3D to validated simulation engines such as EnergyPlus, Radiance, Daysim and OpenStudio for building energy and daylighting simulation. These plugins enable a dynamic coupling between the flexible, component-based, visual programming interface of Grasshopper and validated environmental data sets and simulation engines.

Geco GECO a new interface for Grasshopper, which offers a direct link between Rhino/Grasshopper models and Ecotect. Ecotect is a highly visual software for architects to work with environmental performance issues. It is designed for early stages of conceptual design, and encourages play to understand environmental factors and interactions. The Plug-in allows to export complex geometries very quickly, evaluate design in Ecotect and access the performances data, to import the results as feedback to Grasshopper. This could be done as single process or loop to improve performance and the design of a building in the context of its environment. The single results of the process could be saved inside Rhino in the vertices of the analysis mesh to store data for later use inside different design approaches.

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Mr.Comfy. Spatial Thermal Data Visualization for Rhino3d

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Mr.Comfy is a Grasshopper3d component, written in Python, that allows designers to visualize, temporally filter and spatially analyze thermal and climate-based daylight building simulation results data in Rhino3d design models. Currently any external simulation software running Energy Plus and Daysim can act as the data source; however Mr. Comfy does *not* perform simulations itself- it is a visualization suite only. Instead of using charts or tabular data, energy consumption, comfort, luminance and any other available report variable are directly displayed through color-coded surfaces (and numeric values) where they occur â&#x20AC;&#x201C; in the individual spaces of a design. By color-mapping and visually reinforcing differences between zone behaviors, designers can thus more easily diagnose which parts of a building use more energy, how this is related to daylight performance and make appropriate morphological changes.

DIVA-for-Rhino The DIVA-for-Grasshopper assembly extends the DIVA-for-Rhino tools to the generative modeling program Grasshopper. DIVA components for Grasshopper : ●Daylight Components; ●Thermal Components; ●Solar Tools; DIVA-for-Rhino is a highly optimized daylighting and energy modeling plug-in for Rhino and Grasshopper. The plug-in was initially developed at the Graduate School of Design at Harvard University and is now distributed and developed by Solemma LLC. DIVA-for-Rhino allows users to carry out a series of environmental performance evaluations of individual buildings and urban landscapes.

DIVA includes these simulations: Radiation Maps; Photo-realistic Renderings including HDR file Point-in-Time Illuminance; Daylight Autonomy; Continuous Daylight Autonomy; Useful Daylight Illuminance; Daylighting analysis with or without shading routines; Electric Lighting Use calculation based on daylighting; Glare Analysis - Annual or Point-in-Time; LEED and CHPS Daylighting Compliance; Single Thermal Zone Energy and Load Calculations;

formats;

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3. Collaborative design

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BIM definition. Case studies. Building Information Modeling (BIM) is a digital representation of physical and functional characteristics of a facility. A BIM is a shared knowledge resource for information about a facility forming a reliable basis for decisions during its life-cycle; defined as existing from earliest conception to demolition. The term collaborative design was introduced almost at the same time as the first reports about virtual design studios were made. (Sasada 1994) and (van Bakergem et al. 1993) count among the earliest implementations of architectural design tools to support collaborative design. Virtual design studios and systems for supporting collaborative design have been present in research and teaching since this starting period, and have become more and more sophisticated, adding new technologies such as VRML, e.g.(Yeung 1997), rapid prototyping, e.g. (Simondetti 1999), and incorporating various tools such as annotating and sketching on shared 3D models, e.g. (Jung et al. 2001) and documentation and retrieval systems, e.g. (McCall 1999). In contemporary situation, while we are talking about architecture and design we can not avoid implication of design-users collaborative sessions with the specific computer-based tools. In 2002 took place a design collaborative process, involving multidisciplinary users for purpose to make a design of experimental office. As well for this collaborative process, users approached various tool, including interactive digital VR visualization. For example, VR is being used to create virtual prototypes in which designers and others can immerse themselves. Once again, the trend toward earlier and rougher prototypes can be seen in the virtual domain (Sanders, 2005). Complexity of task and amount of design information made collaboration within VR environment more sufficient for particular cause, as well helping with difficulty in finding, organizing, and processing design information.

2D Drawings 3D Visualization

Analysis

Bills of quantities

Project manager Fabrication Details

Building Management

BIM Software structure for collaboration between disciplines.

BIM definition. Case studies.

(Left) BIM Software consist of collaboration between experts of different disciplines.

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Most authors, who report on collaborative design and virtual design studios, note that the quality of the design process importantly influences the contribution of each participant to the design. Also a meaning of our approach may consist one of two different terms - cooperation and collaboration. Albeit their close meaning, letâ&#x20AC;&#x2122;s zoom to it : in cooperative design, participants get such parts to solve and later integrate in partial solutions that are again integrated in a whole design; in collaborative design, the participants are not strictly bound to solve assigned partial problems, but are encouraged to engage in solving design problems from other participants as well or to contribute to their design work. Recent developments in hardware, software as well as telecommunication networks have resulted in an increased number of collaborative design tools accompanying the phenomenal growth of the Internet. This in turn prompted several schools of architecture to setup design studios based on digital collaborative environments (or virtual design studios). For the professionals involved in a project, BIM enables a virtual information model to be handed from the design team (architects, landscape architects, surveyors, civil, structural and building services engineers, etc.) to the main contractor and subcontractors and then on to the owner/ operator; each professional adds discipline-specific data to the single shared model. This reduces information losses that traditionally occurred when a new team takes â&#x20AC;&#x2DC;ownershipâ&#x20AC;&#x2122; of the project, and provides more extensive information to owners of complex structures.

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DESIGN PLATFORM PROTOTYPE

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1. General interface

ZONING INTERFACE

MODELING INTERFACE

ENVIRONMENTAL ANALYSIS INTERFACE

STRUCTURAL ANALYSIS INTERFACE

IMPORT

EXPORT LASER POINTER

MAIN MENU DRONE PERSPECTIVE WHITE RENDER

WIREFRAME FIRST PERSON PRESPECTIVE

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VIRTUAL REALITY

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FIRST PERSON PRESPECTIVE

VIRTUAL REALITY

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DRONE PERSPECTIVE

WIREFRAME

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WHITE RENDER

MAIN MENU

Go to Main Menu to switch between projects Save session Exit software

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MODELING INTERFACE

TRANSFORM

MOVE

PACKING BLOCKS

ROTATE CUBE

TETRAHEDRON

DELETE

HEXAGONAL PRISM

RHOMBIC DODECAHEDRON

SCALE SLIDER

DESIGN PLATFORM

BLOCK COUNTER

TRUNCATED OCTAHEDRON

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STRUCTURAL ANALYSIS INTERFACE

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STRUCTURAL ANALYSIS INTERFACE

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ENVIRONMENTAL ANALYSIS INTERFACE

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ARCHITECTURAL CASE STUDY

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Forte Portuense a. Background

Rome. Few other metropolis in the world can evoke an unconscious as rich and ancient as the one of the â&#x20AC;&#x153;eternal cityâ&#x20AC;?. With over than 3000 years of history, Rome is an incredible layering of heritage, architecture and human culture. Despite many centuries of studying and debate on how to enhance such patrimony, Rome still retains unveiled treasures - forgotten architectures and monuments longing for a chance of being brought back to life and to the community. This former military architecture belongs to a series of nineteenth-century fortifications. Forte Portuense is becoming a topic of discussion among several public and private players, who wish to establish here the first element belonging to a network of facilities for entertainment, culture and wellness.

P 90 CASE STUDY

This peculiar architecture stands at the gates of Rome between Tiber River and via Portuense, surrounded by thick vegetation and a deep fosse. It used to be active between 1877 and 1881, period in which it had to defend a strategic area of the city â&#x20AC;&#x201C; this feature relates Forte Portuense to a fascinating historical belonging. Although the building might go almost unnoticed from the outside, beyond its gates emotional and aesthetic features are overwhelming and offer a perfect background for hosting high-quality proposals.

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b. Existing situation

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Territorial features (macro scale): Rome city population used to count 200,000 people in1877, while today it counts almost 3 million people living in this complex urban aggregate - which is widely interlaced to the suburban hinterland. Such rapid urban expansion has hit and transformed the surrounding countryside and the fortifications as well - generating different outcomes in terms of urban integration. Forte Portuense, Boccea or Prenestina for instance have been totally surrounded by the built-up area - although they lack of integration with the urban fabric and everyday life. Forte Bravetta, Appia Antica or Monte Antenne have been put to system in historical / environmental networks on the contrary. Forte Ardeatina or Casilina still stand in open field instead - despite the surrounding urban sprawl. In synthesis macro scale would allow the fortifications to become an organic system for culture, sport and civic services. Redevelopment opportunities shall blend with the intrinsic nature of the architectural objects, matching with the different preservation conditions and environmental relationships. Reuse shall focus on sustainable criteria, aiming to strengthen the role of Rome being the capital for culture and tourism - by creating a unique and remarkable system focused on sports and culture.Morphological features: Forte Portuense is among the smallest but oldest forts in Rome and follows a typical Prussian layout. Similarly to the other forts, itâ&#x20AC;&#x2122;s composed by a rational sequence of underground spaces, surrounded by a polygonal perimeter and a dry fosse. There is an only access - protected by an embankment. The core of the fort hosts the parade ground, which is interlaced to upper and underground levels through ramps and stairs. The be mentioned: the presence of two spring-water wells and the partial destruction of the fosse - due to road works related to Via Portuense.

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EXPERIMENTS

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1. DESIGN TASK

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This chapter is highlights the process of experiments with the different users, who agreed to take part in first trials of this software. For particular participants was given the tutorial and application. Tutorial is guiding through the all elements of interface with precise description, and guiding tips for basic modeling with personal case study. The task for users was to try the software by doing a simple design task. During the task participants was writing comments concern the suitability of the software and overall impression. Afterward results were collected, as screenshots with their design and obj files.

DESIGN TASK

1. CANOPY / PAVILION / INSTALLATION NUMBER OF BLOCKS*

[ 50 - 350 ]

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* YOU CAN CHOOSE ANY BUILDING BLOCK!

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User 1 / Munich, Germany / Cairo, Egypt

User 2 / Leuven, Belgium

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User 2 / Leuven, Belgium

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User 3 / USA, LA

User 4 / Rotterdam, Netherlands

User 6 / Dessau, Germany

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User 4 / Rotterdam, Netherlands

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User 6 / Dessau, Germany

User 7 / Qatar, Doha

User 8 / Kyiv, Ukraine

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User 7 / Qatar, Doha

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SOFTWARE DOCUMENTATION

DOCUMENTATION P 107

1. PLEASE ADD YOUR NAME \ YOUR CITY

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2. CHOOSE FORTE PORTUENSE CASE STUDY

2. CHOOSE NEW PROJECT!

MAIN CONTROLS

HOLD RIGHT MOUSE CLICK TO ACTIVATE CAMERA CONTROL

DOCUMENTATION P 109

KEYBOARD FOR NAVIGATION THROUGH THE SCENE

FIRST, CHOOSE A BLOCK BY USING LEFT MOUSE CLICK .

P 110 DOCUMENTATION

USE MOUSE MIDDLE CLICK TO ADD THE FIRST BLOCKS ONLY [GREY COLOR].

USE MOUSE LEFT CLICK TO START ASSEMBLING BLOCKS, MOUSE POINTER TO CHOOSE WHICH FACE TO START BUILDING FROM. DOCUMENTATION P 111

P 112 DOCUMENTATION

YOU CAN ADD AS MUCH BLOCKS AS YOU WANT!

MOVE PRESS ON THE MOVE ICON AND THEN SELECT AN OBJECT TO MOVE USE SLIDER OR ENTER THE MOVEMENT DISTANCE IN METERS ROTATE PRESS ON THE ROTATE ICON AND THEN SELECT AN OBJECT TO ROTATE USE SLIDER OR ENTER THE ROTATION ANGLE IN DEGREES

DOCUMENTATION P 113

USE DELETE BUTTON NOTE! YOU HAVE TO REALSE THE DELETE BUTTON AFTER DELETING TO START ADDING MORE BLOCKS.

P 114 DOCUMENTATION

USE SLIDERS FOR SCALE THE BLOCKS BEFORE ADDING THEM.

AFTER FINISHING YOUR CREATIVE DESIGNS!!

YOU CAN EXPORT YOUR DESIGNS AS OBJ FILES TO SAVE THEM FOR LATER USE OR FOR FABRICATION.

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FORTE PORTUENSE EXPERIMENTS

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APPENDIX

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P 130 APPENDIX

References

1.Bermudez, Julio (1994) “Architectural Visions: Non-Verbal Essays on Cyberspace”; in Collected Abstracts of the Fourth International Conference on Cyberspace. The Banff Centre for the Arts. Banff, Canada, p. 19 2.Sadeghipour Roudsari M., Pak M., 2013 3.Benedikt & Novak at the University of Texas School of Architecture at Austin 4.Benedikt, M. (1991). Cyberspace: Some Proposals; M.Benedikt (ed.): Cyberspace, First Steps. Cambridge, MA: The MIT Press. (pp.119-224) 5.Cross, N. (1982). Designerly Ways of Knowing. Design Studies 3:4, pp.221-227 6.Cross, N. (1986). Understanding Design: The Lessons of Design Methology. Design Methods and Theories 20:2, pp.409-438 7.Gibson, W. (1987). Neuromancer. New York: Ace Books Kellogg 8. W., Carroll J. & Richards J. (1991). Making Reality a Cyberspace; 9.M.Benedikt (ed.): Cyberspace, First Steps. Cambridge, MA: The MIT Press. (pp.411-431) 10. Krueger, M. (1991). Artificial Reality II. Reading, MA: Addison-Wesley Publishing Company. 11.Krueger, M. (1983). Artificial Reality. Reading, MA: Addison-Wesley Publishing Company. 12. Laurel, B. (1991). Computers as Theater. Menlo Park, CA: Addison-Wesley Pub. Company 13.Lawson, B. (1980). How Designers Think. London: Architectural Press 14.Novak, M. (1991). Liquid Architectures in Cyberspace; 15. M.Benedikt (ed.): Cyberspace, First Steps. Cambridge, MA: The MIT Press. (pp.225-254) Pruitt, S. & Barrett, T. (1991). Corporate Virtual Workplace; 16.M.Benedikt (ed.): Cyberspace, First Steps. Cambridge, MA: The MIT Press. (pp.383-408)

17.Rheingold, H. (1991). Virtual Reality. New York: Simon & Schuster. 18.Rowe, P. (1987). Design Thinking. Cambridge, MA: the MIT Press Walser, R. (1990). Elements of a Cyberspace Playhouse; Proceeding of National Computer Graphics Association 1990. Anaheim, CA: (March) 19.Zuboff, S. (1989). In the Age of the Smart Machine. New York: Simon & Schuste 20.Audra Magermans. “Architecture and Cyberspace” 21.Hani Rashid “The Museum as a Digital Experience” [Madrid]: Museo Casa de la Moneda, [2001] 543 p. (Multilingual) pp.30-32 22. Atlas of Cyberspace by Martin Dodge & Rob Kitchin 23.Gerard Cesar Gabriel “COMPUTER MEDIATED COLLABORATIVE DESIGN IN ARCHITECTURE: THE EFFECTS OF COMMUNICATION CHANNELS ON COLLABORATIVE DESIGN COMMUNIATION” 24. Nils Becker, Architecture of Cyberspace © Mach Architektur GmbH 2015 25.Haresh Lalvani in Cyberspace 26. Seungho Kim, Seung-a Seo, Insook Lee” Essential Characteristics of Cyberspace and Analysis of Cyber Educational Institutions” 27.Sanders, E. B.-N. (2002). From User-Centered to Participatory Design Approaches. Taylor & Francis Books Limited. 28. ”Frequently Asked Questions About the National BIM Standard-United States - National BIM Standard - United States”. Nationalbimstandard.org. Retrieved 17 October 2014.

Web References

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1. http://www.designboom.com 2. https://www.optitrack.com 3.https://www.pinterest.com/virtualrealityx/virtual-reality-headsets/ 4.https://bimassistblog.files.wordpress.com/2015/01/collaboration-diagram. png?w=739&h=571 5.http://blogs.bcu.ac.uk/bsbe/files/2014/07/2013-09-openbim-illustration.jpg 6. http://www.karamba3d.com 7. http://www.food4rhino.com 8.http://www.wareable.com 9. http://bldgblog.blogspot.de/search?q=virtual+reality 10.http://www.macharch.ch/insight/nils-becker/ 11.http://www.oma.eu/projects/2000/prada-in-store-technology/ 12.http://openbuildings.com/buildings/guggenheim-virtual-museum-profile-2437/media?group=image 13.http://www.vrs.org.uk 14. http://www.vrs.org.uk 15. http://digitalphysical.com 16. http://thesocietypages.org/cyborgology/2012/02/08/between-reality-cyberspace/ 17. http://www.ime.gr/fhw/ 18.http://www.interactivefabrication.com/projects/beautiful-modeler/ 19.http://www.creativeapplications.net/openframeworks/beautiful-modeler-ipad-openframeworks/ 20.http://www.grasshopper3d.com/group/millipede 21.http://diva4rhino.com

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