Extended Architecture: How architecture will strengthen extended reality environments. by Arik_Spaulding

Ex tended Arch itecture

How architectural thinking will strengthen extended reality environments. Arik Spaulding

Thesis Booklet

4.19.22

Synopsis Seeking a more comprehensive understanding of what extended reality or more commonly known as [X]R, is and how it has adapted and evolved over many years. Within this booklet an investigate into what [X]R is as a tool and how it can be adopted within the field of architecture to advance and ultimately give back more control within the design, construction, and post construction/ occupancy phases. Extended Architecture is the term I have chosen to encompass this new way to approach designing architecture of the physical and virtual environments. With a wide variety of emerging technologies and programs, the traditional way we plan for buildings and spaces is going to see a major shift. Within this booklet I work to answer the main question of why architects should be responsible for designing virtual spaces along side and within the physical spaces we inhabit. After looking at how the current terms and definitions that surround virtual space making as well as the history advancements to what the technology it is today. I began to look at the economic, political, and social aspects that should be considered as rapid growth and mass adoption within several industries begin to inform how we will structure how we engage with the virtual worlds we build and how the architecture and the Metaverse can collaborate to plan for the future. Using case studies where [X]R has been utilized in the design or as an intervention for change. Lastly, I outline my personal approach into how and what Extended Architecture (XA) would look like within a architecture firm and a proposed user case study of the integration into the life of a client.

“What interests me is the opportunity for all of us to become something different from what we are, by constructing spaces that contribute something to the experience of who we are.”- Richard Serra II

Table of Contents II Synopsis 2 Acknowledgments Chapter 1: 3 What is Extended Reality: 5-9 Key Terms 10-16 History of XR 17-20 Current Technology/ Programs Related to XR Chapter 2: 21 Virtual Politics: 31-32 Economics of XR 33-34 Politics of XR 37-41 Sociology of XR 42 Past Thesis Proposal Fall 21 Chapter 3: 43 Extended Architecture: 45-46 Literature Review 47-48 Case Study #1 49-52 Case Study #2 53-56 Case Study #3 57 Case Study #4 58-62 Methodology 64-66 Structuring Extended Architecture 67-68 Research Question 69 Glossary 71-72 Bibliography 73 About The Author 1

Acknowledgments My interest in XR started back in 2017 while working on my undergraduate thesis project. One of the main reasons I chose to go back to school to get my masters in architecture was due to my interest in building connections between the virtual and physical spaces we interact with on a daily basis I feel lucky to have had the large amount of support from faculty, peers, and family throughout my independent project. A lot of people that have helped me work to understand this quickly evolving industry. Many people have listened to my ideas, many have also offered input, additional thoughts, and perspectives. All that has led me to this point. Special thanks goes out to my Advisor Philip Horton of ASU’s Herberger Institute for Design and the Arts. Phil has spent many hours to fucus my thinking and engaged with great conversation surrounding XR and how to think about furthering the field of architecture. Thank you Phil for all your patience and dedication to seeing me get to this point, as well as your encouragement to continue forward after graduation. With your help I have been able to achieve my goal in returning to school and offered me an new perspective on how to plan a career in the field of design and architecture. I also wanted to thank my two Co-Advisors Selina Martinez and Rene Corella, both of whom went above and beyond there to encourage, support, and further my interest in point cloud data collection, offering tutorials and answering my many questions. I plan to continue learning and working towards a career in Extended Architecture. I would also like to thank my peers who took the time to listen to my ideas, concerns, and engaged in discussions that benefitted my thought processes and critical thinking of what this topic could include and work to solve. Than you InSeon “Sunny” Lee, Katelyn Opperman, Allison Fernandez, Patricia Molina, Matthew Boylan, Joe DeBenny, and Nikota Litzin. I am grateful for our conversations. Lastly I would like to thank my Parents (Dad) Glenn Spaulding, (Mom) Rose Spaulding, and my God Parents (Uncle) Jim Spaulding and (Aunt) Joan Spaulding for the support and encouragement to pursue my passion and to allow me to focus on my education and work towards achieving my goals.

Wh a t is Exte n d e d Re a l i t y ?

A brief history of [X]R and adaptations of immersive technologies. Looking at the history

and individual qualities of VR, AR and MR. 3

Key Terms

Virtual Reality

Virtual reality as defined by dictionary.com is “a realistic and immersive computer simulation of a three-dimensional environment created using interactive software and hardware, and experienced or controlled by movement of the body.” Today it is most used with a head mounted display that blocks the viewers sight lines of the outside world. This is a fully immersive experience as it takes the viewer out of the physical space they are currently inhabiting and allows them to enter a fully rendered digital world unique to itself without constraining the users to one place. The HMD (Head Mount Display) allows for hand held controllers to help with navigation. Audio is another feature used to better immerse the user into the experience. A gyroscope within the devices similar to that in cellphones aides in determining orientation as well as tracking the direction the user is facing or moving in.

History “Morton Heilig invented the first virtual reality device with his invention “Sensorama” 1957. This multimedia device is considered one of the earliest VR systems. However, the term Virtual Reality was coined much later by Jaron Lanier in 1987 during his intense research on the evolving technology.” - Simplilearn Apr 3, 2020 Pros: • Completely immersive • Independent of location, can work anywhere • Works with smart phone Cons: • Limited mobility • Can cause dizziness or nausea • 100% blocks out sightliness • Needs a head mount device that can be costly

Augmented Reality

AR is a “technology that projects computer-generated augmentations on top of reality. Helping us perform task better and more efficiently. AR which falls between virtual reality and reality is a method to render real-world data and present it intuitively so that virtual elements resemble the present reality to an extent.” - Simplilearn Apr 3, 2020. Sword of Democles developed by Ivan Sutherland in 1968 is the first AR device to utilize augmented reality where users were shown digital graphics of simple wire frame over realworld environments.

History An article from Interaction Design Foundation gives more background into the history of AR “Augmented reality has science-fiction roots dating to 1901. However, Thomas Caudell described the term as a technology only in 1990 while designing to help Boeing workers visualize intricate aircraft systems. A major advance came in 1992 with Louis Rosenberg’s complex Virtual Fixtures AR system for the US Air Force. AR releases followed in the consumer world, most notably the ARQuake game (2000) and the design tool ARToolkit (2009). The 2010s witnessed a technological explosion—for example, with Microsoft’s HoloLens in 2015—that stretched beyond AR in the classical sense, while AR software itself became increasingly sophisticated, popular and affordable.” Pros: • Most accessible • Utilizes smartphone often with multi directional cameras. • Held in hand • Nothing is mounted to your head • Over all vision isn’t blocked • Often interactive with the physical environment and users Cons: • Not fully immersive • Limited field of view • computing capability as strong as wifi and phone capability allow

Mixed Reality

“Augmented reality adds digital elements to a live environment whereas virtual reality implies a completely immersive experience that shuts out the physical world. Whereas mix reality combined elements from both AR and VR where you can interact with both the physical world and the digital elements.” – Simplilearn Apr 3, 2020 Mixed reality has the benefit of allowing hands free interaction with the virtual objects through hand tracking. the use of a transparent viewing device and a HMD means the user is able to see the physical world with the virtual information being augmented over the real world environment. This technology is currently available within the Medical, Education/ training, Industrial, automotive and even construction industry right now. There is major potential for this technology to be incorporated in a wide variety of other industry. The field of architecture could benefit form incorporating this integrated design system into the BIM or Building Information Modeling platforms currently used for design and developing construction drawings.

History In an online article by Microsoft on 04-14-2022 they mention that The term “mixed reality” was introduced in a 1994 paper by Paul Milgram and Fumio Kishino, “A Taxonomy of mixed reality Visual Displays.” https://docs.microsoft.com/en-us/windows/mixed-reality/discover/mixed-reality#:~:text=The%20 term%20%22mixed%20reality%22%20was,the%20taxonomy%20of%20visual%20displays.

Pros: • Combines VR and AR in one • Can physical interact with digital elements • Still connected to the environment • Hands free • Vision isn’t blocked • overlays virtual information over physical world Cons: • Mostly for industrial purposes as of right now • Costly for the technology

Immersive Reality

What is immersive reality? By looking at each word individually, Merriam Webster defines immersive as “providing, involving, or characterized by deep absorption or immersion in something” and reality as “The quality or state of being real”. As described in a video by Simplilearn (The Rise Of Technology-Augmented Reality(AR), Virtual Reality(VR) And Mixed Reality(MR) |Simplilearn, Apr 3, 2020) “Immersive technologies create or extend reality, and this is done by immersing the user in the digital environment having application in different domains.”

Immersive Reality Definition: For it to be considered Immersive the senses must be stimulated and the line of reality and digital must become blurred. Immersive reality is digital system(s) that encapsulates a user with digital forms or information that interact and respond within an environment where digital or 3D forms respond with real time reactions. The difference from AR, VR, or MR is that IR is without the utilization of a head mount display. Physical space can interact with virtual media to produce a new atmosphere that feels realistic through the projection or immersion of senses like sent, audio, spacial, climatic/ temporal, or type of light within a space. Immersive spaces are still not limited to the physical boundaries this type of experience is more connected to the users emotional responses. This could be positive or negative responses. Typically they don’t require headsets to take in this environment. Though the experience can use other forms of [X]R technologies, it is not dependent on them to envoke immersive responses. Common methods would include digital projections, projection mapping, LED screens, and mirrors among other forms and mediums combine to transform spaces. The spaces created are often exhibits within museums or at events. There is no size requirement, as long as those experiencing the space feel fully immersed. Omega Mart, Disney Land and other attractions or theme parks are examples of how an environment is designed with immersive reality. They have spaces designed with a particular aesthetic or story. Physical architecture, often there are characters or products that only exist or function in this environment. The aesthetic, and language is consistent and all works together to build an atmosphere unique to the experience.

Extended Reality

This is an umbrella term that encompasses the broad and various forms of virtual media and interactions someone can engage with or experience. Extended Reality is used to cover the term or use of VR, AR, MR (and would include IR as it is beginning to become more popular as installations and exhibitions grow in popularity.) Social media and phone applications had been a major recourse for sharing and growing the publics exposure to AR through Snapchat and other face augmenting Apps. VR has increased in popularity as video games counsels, and afford ability has made it more accessible to interact. as well as the increased use of social media as a platform for sharing new experiences and travel destinations.

History of XR •

1021 - Ibn al-Haythom is credited with inventing Camera Obscura: Creates a reflected image of the world and allows the viewer to trace and sketch the inverted image.

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(1452-1519) Leanardo devinchi sujested the human eye is like Camera Obscura

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(1535-1615) Giambattista Della Porta: experimented with lenses and mirors to improve the Camera Obscura.

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1838 - Stereoscope: Invented by Charles Wheatstone FRS, the stereoscope allows 2D images to appear as 3D images

Stereoscope - 1838 Invented by Charles Wheatstone FRS, the stereoscope allows 2D images to appear as 3D images

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September 27th 1922 - First 3D movie: The Power of Love, which premiered at the Ambassador Hotel Theater in Los Angeles. The camera rig was a product of the film’s producer, Harry K. Fairall, and cinematographer Robert F. Elder.

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1935 - Pygmalion’s Spectacles by Stanley G. Weinbaum: Through this science fiction story a vision of VR told of a goggle-based contraption that offered users a holistic holographic experience that went as far as to include touch and olfactory elements.

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1939-1940 View master was first shown at the worlds fair. Hand held viewing device with a circular reel that shoed 3D imaes

Sensorama - 1957

“Morton Heilig invented the first virtual reality device with his invention “Sensorama” . This multimedia device is considered one of the earliest VR systems. However, the term Virtual Reality was coined much later by Jaron Lanier in 1987 during his intense research on the evolving technology.”- Simplilearn Apr 3, 2020.

Television Eyeglasses - 1963 Hugo Gernsback’s glasses weighed 5 ounces and were able to show 3D stereoscopic images as each eye had its own screen.

Portable Living Room - 1967 TV-Helmet (Portable living room), 1967 Prototypes, a series of sculptures made in the ’60s by Walter Pichler, explore the overlap of architecture/design/sculpture. The materials (polyester, Plexiglas, PVC, aluminum, inflatable elements) used by the Austrian artist were new at the time.

Sword of Damocles - 1968 The Sword of Damocles was created in 1968 by computer scientist Ivan Sutherland with the help of his students Bob Sproull, Quintin Foster, and Danny Cohen.

First Modern Vr Head Set - 1987 1987 - : First VR google headset by Ivan Sutherland and his student, Bob Sproull:

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1989 - ATARI releases the first VR video game with 3D technology to the public

Quick Time Vr - 1994 After further developing my understanding of all three immersive reality platforms I have concluded that I believe MR is the best way to truly become fully immersed into a space as it is more effective in keeping viewers fully engaged within both the physical and the digital environments simultaneously. There are many different products that are used to help showcase the MR experience and there still are products that are continuing to be developed. I do agree with what the video by Simplilearn Apr 3, 2020 where they state that “The best example of

Virtual Boy - 1995 Developed by Nintendo as a house hold video game headset. it ultimately failed as it was linkes to causing seasures through its display.

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2010 - Google releases stereoscopic 3D version allowing users to view 3D views of the street.

Oculus Rift - 2012 TV-Helmet (Portable living room), 1967 Prototypes, a series of sculptures made in the ’60s by Walter Pichler, explore the overlap of architecture/design/sculpture. The materials (polyester, Plexiglas, PVC, aluminum, inflatable elements) used by the Austrian artist were new at the time.

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2013 - Google releases Google Glass

Project Morpheus - 2014 Playstation released SCE’s prototype virtual reality (VR) system for its PS4 system.

Google Cardboard - 2014 Google Cardboard was a quick and affordable solution to a VR HMD that would allow users to view VR through there phone making it a portable experience in comparison to other VR systems that were tethered or a PC or plugged into a wall.

Pokemon Go - 2015 After further developing my understanding of all three immersive reality platforms I have concluded that I believe MR is the best way to truly become fully immersed into a space as it is more effective in keeping viewers fully engaged within both the physical and the digital environments simultaneously. There are many different products that are used to help showcase the MR experience and there still are products that are continuing to be developed. I do agree with what the video by Simplilearn Apr 3, 2020 where they state that “The best example of

Hololense 2 - 2019 Developed by Nintendo as a house hold video game headset. it ultimately failed as it was linkes to causing seasures through its display.

Valve Index - 2019 this system is manufactured by Half-Life and creators of Stem.

Oculus Quest - 2020 TV-Helmet (Portable living room), 1967 Prototypes, a series of sculptures made in the ’60s by Walter Pichler, explore the overlap of architecture/design/sculpture. The materials (polyester, Plexiglas, PVC, aluminum, inflatable elements) used by the Austrian artist were new at the time.

PlayStation VR - 2021 Headset includes audio, and connects to the conceal of the PlayStation 5 with a 360 view and microphone built in. https://www.playstation.com/en-us/psvr/?smcid=other%3Aen-us%3Ablank%3Aprimary%20 nav%3Amsg-hardware%3Aps-vr

Vive Pro- 2021 Vive Pro meets the needs of high performance PC-VR gaming and can be scaled up to business as well. https://www.vive.com/us/product/#pro%20series

Vive Flow - 2021 Used to help promote mindfulness, and meditation. This series of immersive glasses is different in that it is a personal wellness companion. The VIVE Flow supports peerless graphics with a wide field of view up to 100° , sharp 3.2K resolution, and fluid 75Hz refresh rate. https://www.vive.com/us/product/vive-flow/overview/

BCI (Brain Computer Interface)

EMOTIV INSIGHT 5-channel mobile EEG boasts advanced electronics that are fully optimized to produce clean, robust signals anytime, anywhere. This technology enables users to access the mind to blend the users thoughts and actions to create and interact with [X]R technology to free up the hands and create an optimal experience. Over time more use of the technology would start to connect the desired action with a faster and more accurate outcome. Eventually resulting in thought leading to action without traditional hand mobility being required. This would open up a wide range of users to XR experiences. Making it more accessible for those with audible or tactile different capabilities. 16

What Are Haptics? What are haptics? As defined by Oxford Dictionary. “The use of technology that stimulates the senses of touch and motion, especially to reproduce in remote operation or computer simulation the sensations that would be felt by a user interacting directly with physical objects.” Other names for haptics are kinaesthetic communication, or 3D touch. Whether you know it or not you have been experiencing haptics in your everyday life for quite some time now. Smart phones use haptics to help signal when you have touched a button on your smart phone digital screen. Slight vibration simulates that your command has been registered. This allows the user to know that the input has been completed and that another input can be made. Using haptic gear helps to Immerse the users even more so into the digital environment which they then mentally begin to connect that what they are seeing also is physical and responsive to touch or stimulation. Forms of haptic feedback technologies include force, vibrotactile, electrotactile, ultrasound, and thermal feedback

Existing Products

Hardlight Suite “In early 2017 virtual reality (VR) startup Nullspace VR launched a Kickstarter crowd-funding campaign for an upper body haptic device called the Hardlight Suit.”

HaptX Gloves DK2

133 points of tactile feedback per hand creates a realistic feel that gives shape and form to virtual objects. Haptx Gloves DK2 utilizing Microfluidic skin, Force feedback exoskeleton, Magnetic motion tracking

Existing Programs

Unity This platform is used for development within gaming, Automotive and transportation manufacturing, film and animation, as well as within Architecture, Engineering and Construction. Unity is used by, Microsoft, Hololense, Oculose, Plastation, Xbox, Nentendo

Twinmotion A real time rendering platform, that allows for developing high-quality graphics for architecture, construction, urban planning, landscaping. This is a useful tool for creating spaces within a virtual world. It produces light, shadow and utilizes texture mapping.

Unreal Unreal offers the ability to create realistic Virtual Reality real-time rendered within its complete suite for gaming, design and architecture and world building. Used by Microsoft, PlayStation, Xbox, Apple, IOS, Oculus...

Current Platforms For Virtual Spaces Mark Zuckerberg the founder of face book announced the re branding and commitment that the company would be shifting its image to promote the metaverse. It is currently one of many large companies working to be a leader in developing the Metaverse. However as pointed out in the April 6th, 2022 article by Luke Pearson and Sandra Youkhana “Mark Zuckerberg’s vision for the metaverse is off to an abysmal start” (https://www.fastcompany.com/90738186/mark-zuckerbergs-vision-for-the-metaverseis-off-to-an-abysmal-start) It will be a while for the visual language and Architectural forms of the metaverse to be able to disengage from the physical of the real world. As architects, we can continue to build physical spaces, we can begin to design and construct visual ones. This concept is not far off from what architects currently do while designing BIM (Building information Modeling) models and work within 2D and 3D whin developing construction documents. The care and consideration that goes into designing buildings and public spaces is precisely what qualifies architects to design for those users that choose to engage within virtual environment. An online artical by Arti found on Analytics Insights website from April 7th, 2022 Lists 10 metaverse virtual worlds.(https://www.analyticsinsight.net/looking-for-metaversevirtual-worlds-here-are-top-10-to-explore/) • • • • • • • • • •

Decentraland HyperVerse The Star Atlas (ATLAS) Matrix World Sand Box Somnium Space Crytovoxels NFT World Substrata World Wide Webb

In addition to this list there are additional gaming platforms like Roblox and Blocktopia.The main factor that allows the list of different platforms to

Virt ual Po litics

Economical, political & social responsibilities of [XR] within global markets. Who makes the

discussion on what the future of virtual places look like and do for the users who interact within them? 21

Connection

Artist Nancy Baker Cahill in 2018 during a TEDx Talk, spoke to the audience about her efforts to connect her works out into nature and other public spaces. It was a form of tactical urbanism using augmented reality and its ability to change to fit a space and to interact with the artwork outside of a studio or gallery. Her work became available for free to download through a free phone application. Soon her work started to show up on subways, in classrooms and even through the US and Mexico border. Ultimately creating dynamic unique messages within each context of the individual site. Individuals now were taking smartphone photos and videos and taking art outside it normal realm. The most exciting part of XR technology is the ability to alter a space to the individual experience while still allowing for collaboration, connectivity, and exploration within the same physical environment. Nancy Baker Cahil was able to take her 3D virtual reality drawings and offer them up for the public to appropriate her work and create new works from her content. Individuals were able to place, move through, or record the drawing anywhere on the planet.

Perception

Perceived reality is something independent from person to person. “Clearly, perception and reality have very different meanings. The former occurs entirely in the mind in which mental gymnastics can turn any belief into reality. The other exists completely outside of the mind and can’t be easily manipulated. To conflate perception with reality is to reject the Enlightenment and harken back to the Middle Ages. Perception is not reality, but, admittedly, perception can become a person’s reality (there is a difference) because perception has a potent influence on how we look at reality. Think of it this way. Perception acts as a lens through which we view reality.” - Jim Taylor Ph.D.

How Humans See The way humans visually precoces information is through the eye as a specific rain of light enters the eye it hits the retina (which is located towards the back of the eye). The human retina is a light sensitive to wavelengths of light from 380 to 700 nanometers. Of curse this varies from person to person and even from eye to eye. the light is then transformed by photoreceptors into electrical signally that travel through to optic nerve to the brain. Then once received by the brain, it is turned into an image.

Spacial Perception There are a wide variety of spaces we encounter every day. There is the Residential areas where we live, then there are work or education/school spaces that we also spend a large amount of time in. Then there are a lot of in between spaces that we encounter o our way to and from those main spaces. There shopping spaces, recreational spaces, religious spaces, public and private spaces, natural and human made spaces. There are also so many different ways we can interpret a spaces like a campus. Who uses a pavilion and what for? Shelter, sanctuary, meeting, cafe, theater, lecture, event, exhibition, play... What if...the metaverse was designed more like pavilions? Users would be able to travel between them and the spaces would include elements that continued the language or parameters of that meta space. • • • • •

introduction tent pavilion garden pavilion structural pavilion pavilion of the world

Using pavilions as an architectural method of reasoning will allow for flexibility of spaces within shared worlds. Public places with multiple actions available. This Also allows fr the pavilion to row or shift as needed.

Gestalt Theories of Principles: Principals for how humans group or see things visually for communication. Below are 7 principles that designers should user when creating spaces and experiences. •

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Similarity: Method of grouping like things. Human minds group things based on similar elements, like size, color, texture or even smell taste or weight. When planing for user interactions it is important to take into consideration how similar objects may communicate to help the experience. Continuation: Despite how something actually is being shown our brain chooses the essayist visual representation to make sense of the surrounding environment. We tend follow the simplest path, this is both for navigating physical and mental obstacles. Closure: Filling in the gaps. The brain can work to fill in the gaps of information based off of surrounding or contextual information. Proximity: This principal refers to how close or far of objects are to each other and how they form groups or clusters based off of those proximity relationships. Figure/ground: With this your brain works to fill in information similarly to law of closure. However this principal also uses the negative space our brain is perceiving and object that is in the foreground. Larger areas often represent the foreground while the smaller ones tend to represent the figure. Symmetry and Order: the brian will interpret the information in as simple of forms as needed to create understanding.

UI & UX: Experience Architecture would need to begin to look more into how UI and UX can better assist when building physical and Digital spaces for the client and end users. It would be even more important that as the virtual spaces ar being developed that the designers and architects who build the buildings and spaces we live work and play in are also designing the virtual with the entire experience in mind. Keeping in mind both a users experience as well as there needs through a combination of “Maslow’s Hierarchy of Needs” and considerations from comon factors to consider when designing UI and UX Factors of UI and UX: • personal space • agency • social significance • feedback • affordance • interactions • safety • guides • cohesion

Metaverse Recent conversations around the Facebook’s use of term metaverse has reintroduced the larger conversation of immersive spaces into the public conversation. A lot of concerns focused on how such a large expanse could be governed and who monitors the social aspects within the virtual spaces. Neal Stephenson is credited with coining the phrase “metaverse” in his 1992 science fiction novel “Snow Crash”. There is difficulty in defining the metaverse. In an article by Mike Snider, and Brett Molina of USA TODAY they state that “It’s a combination of multiple elements of technology, including virtual reality, augmented reality and video where users “live” within a digital universe. Supporters of the metaverse envision its users working, playing and staying connected with friends through everything from concerts and conferences to virtual trips around to the world.” While Oxford Languages defines it as “a virtual-reality space in which users can interact with a computer-generated environment and other users.” the difficulty in defining what it is stems from the fact that it doesn’t exist as of right now. Several companies are working to develop their version of the metaverse. However, without a full understanding of what goes into it or what the experiences all include. We will not have a final definition like we do for the other forms of [X]R experiences. The list below was provided by Matthew Ball in his article The Metaverse: What It Is, Where to Find it, and Who Will Build It, Jan 13, 2020. This list focuses on some key attribute and features that will help to define what should be present within a metaverse environment. 1. 2.

5. 6.

Be persistent – which is to say, it never “resets” or “pauses” or “ends”, it just continues indefinitely Be synchronous and live – even though pre-scheduled and self-contained events will happen, just as they do in “real life”, the Metaverse will be a living experience that exists consistently for everyone and in real-time Be without any cap to concurrent users, while also providing each user with an individual sense of “presence” – everyone can be a part of the Metaverse and participate in a specific event/place/activity together, at the same time and with individual agency Be a fully functioning economy – individuals and businesses will be able to create, own, invest, sell, and be rewarded for an incredibly wide range of “work” that produces “value” that is recognized by others Be an experience that spans both the digital and physical worlds, private and public networks/experiences, and open and closed platforms Offer unprecedented interoperability of data, digital items/assets, content, and so on across each of these experiences – your Counter-Strike gun skin, for example, could also be used to decorate a gun in Fortnite, or be gifted to a friend on/through Facebook. Similarly, a car designed for Rocket League (or even for Porsche’s website) could be brought over to work in Roblox. Today, the digital world basically acts as though it were a mall where every store used its own currency, required proprietary ID cards, had proprietary units of measurement for things like shoes or calories, and different dress codes, etc. Be populated by “content” and “experiences” created and operated by an incredibly wide range of contributors, some of whom are independent individuals, while others might be informally organized groups or commercially-focused enterprises

It seems most likely that the true definition of the metaverse lies somewhere between the concepts of Mattew Ball’s and Facebook’s. “The Metaverse is an expansive network of persistent, real-time rendered 3D worlds and simulations that support continuity of identity, objects, history, payments, and entitlements, and can be experienced synchronously by an effectively unlimited number of users, each with an individual sense of presence.”Matthew Ball writer of “Metaverse Primer” Facebook on the other hand has a shorter definition. “The ‘metaverse’ is a set of virtual spaces where you can create and explore with other people who aren’t in the same physical space as you.” Leaders in this industry includes • Facebook Inc. (MVRS) • Microsoft Corp. (MSFT) • Unity Software Inc. (U) • Roblox Corp. (RBLX) • Amazon.com Inc. (AMZN) • Autodesk Inc. (ADSK) • Nvidia Corp. (NVDA)

Its not quite known where the metaverse will go and who will be leading this theoretical space into a fully functioning immersive reality experience. However most conversations taking place now are discussing the social and legal implications of such a venture.

World Building What if there as a donut world. Can you begin to imagine what it would look like. What are the rules or laws of physics that allow this world to function. Keeping in mind this is for a world where users can participate virtually. If you wanted to design a world that worked like a donut with two sun’s that orbit and pass through the center you can do that. Extended Architecture could be used for building a digital twin of the real world or it could be used to build new ones that inspire new thinking. It could be a tool for business development. A brand could have its own virtual world where new products are released. World building is not new to the field of architecture. In this case think of the architect as the master planner. The firm offers services to design the physical store, while simultaneously building a whole world branded around the client. These services go beyond the planning and construction phase. And the product is much more than an interactive website. Its an experience and a opportunity to connect with other users to create a community.

Donut Planet is a world where the core of the planet is hollow allowing for the two suns to pass through without colluding as they act as a positive and negative charged magnet pushing the each other way and creating this unique shaped planet

Ports

Control Panel Front View of Port

Side View of Port

This is an example of a standard public port for users to enter a platform. The base plate acts as the grounding element while the control panel allows for users to make adjustments or locate information needed.

What is a port? A port is where a user would enter the virtual space. It is an anchored location that acts as the starting point for the user when they begin within the virtual landscape. It is where the user controls or maintains there personal assets, and system settings and information. You can think of it as where your avatar wakes up. When it comes to an integrated Virtual experience Ports wold be an anchored place where avatars enter (or exit) the virtual landscape. They would be capable of customizing when it comes to entering your own private space of an extended home. More public ports would most likely be standard and universal for that virtual environment. This would make it quick and easy to access and operate. Allowing users in and out or to travel to different locations quickly in a controlled organized fashion. Why would a port be needed? As described in the novel Snow Crash. If a user was to enter the virtual public space without a port they would just appear out of thin air and this could be jarring and ultimately ruin experiences if not controlled. Imagine login in and suddenly appearing in front of a train or car or even within another user.

Factors of A Metaverse? There are certain elements that combine to build begin to formulate a metaverse. Starting with Blockchain which is how trades and purchases are kept track of. Then you have a Meta-world where a user can enter and participate within. There are many different versions of the “Metaverse” so until they can all communicate and an avatar can transition between the different paces the term metaverse becomes a little misleading. Next we have Assets or NFT’s which are digital products that ar purchased within the virtual space creating a need for an economy. Lastly you have the cryptocurrency where the currency is specific to that virtual world. Other forms of currency can be used as well. However, there is a difference in value based on transferring and what form you are converting to or from. Some virtual platforms decrease the value of “cashing out” of the virtual world. For instance, Roblox allows users to transfer funds from the virtual economy of the game platform to the real world (lets say the USD) that transfer can be reduced by 3 times the virtual value when users are trying to take there own money that was accumulated within the game and want to get US Dollars. This opens a whole lot of issues because that value is not comparable when users pay for virtual assets using USD. There is a disconnect from what the participants are be charged and what they are able to withdraw or transfer. Another may

Block Chain Blockchain is a shared, immutable ledger that facilitates the process of recording transactions and tracking assets in a business network. An asset can be tangible (a house, car, cash, land) or intangible (intellectual property, patents, copyrights, branding). Virtually anything of value can be tracked and traded on a blockchain network, reducing risk and cutting costs for all involved. - IBM This is important as blockchain is a method of securing, preventing, or making it very difficult to hack, corrupt, or change information or cryptocurrency. This is the method of securing value or things within a virtual world.

Economy of [XR] What if the act of buying an item at a store automatically added a digital twin for your virtual avatar to use? Creating a digital twin of your assets you bought in the real world to then trade or use within the metaverse. Would this be a one way street that wouldn’t allow for the virtual items you purchase to appear on your door step? If we have to start purchasing items in our physical world and virtual worlds. What kind of social shift would this mean. Would only the wealthy be able to afford to enjoy the metaverse? How can someone afford to live a virtual life? If it is already difficult to maintain a physical existence, how would it be possible to afford the necessities to maintain a virtual presence? Our social classes are pretty evident within our daily lives. The type of job you have, the types of clothes you can afford, the car you drive if you can afford one. Even the food you can afford to eat or shop for can be used as a social signifier of your economic stability. One might assume that this would be different and not be able to be seen on line. However, as we begin to see the emerging market of NFT’s record sail prices on news headlines. Its clear there is already a shift in who is able to purchase and afford to participate and create. In the world of XR celebrities, artist, and the wealthy have everything to gain and are already buying up as many assets as they can in hopes it would gain value over time. Building their virtual portfolios and treasure troves. Where does that put those who are un able to buy even a small portion of virtual land? Metaverse: The origins. The word “metaverse” describes a fully realized digital world that exists beyond the one in which we live. It was coined by Neal Stephenson in his 1992 novel “Snow Crash,” and the concept was further explored by Ernest Cline in his 2011 novel “Ready Player One.” Within snow crash the author does a fairly accurate job in describing the functional aspects of metaverse and setting up the rules for how one would navigate the virtual landscape. For a time before cellphones were as light as they are or as able to navigate the internet from anywhere. Neal’s depictions guidelines/limits of avatars and the design of the metaverse can be seen in how we are currently showing and think of the metaverse. Though programers are the builders of the metaverse in this book there is an interesting display of equity amongst the avatars. There are base avatars that are fairly affordable generic models that users can use to enter the metaverse. If you have enough money or if you can write code then you can customize or upgrade to a better quality avatar.

A metaverse needs to have its own economy to be able to sustain its self while still allowing participants to flow between real word and the virtual world. This is also why a multiple worlds view is important to allow for systems to communicate and function without taking away from the immersive-ness a user is in. This puts a precedence on the UI of the Metaverse to be interchangeable. Interchangeable Operating Systems Connection of the metaverse across multiple devices and platforms is important. This is important as users with a variety on devices would all be interacting on the same platform so a consistent representation of the media is important to ensure the shared spaces are providing the same information and experience regardless of the device. Types of Operating Systems: • Batch Operating Systems • Time-Sharing OS • Distributing OS • Network OS • Real-Time OS • Mobile OS • Multitasking OS As discussed on page 3 of the article “MetaSocieties in Metaverse: MetaEconomics and MetaManagement for MetaEnterprises and MetaCities”- IEEE Transactions On Computational Social Systems, Vol. 9, No. 1, February 2022, the MetaEnterprise and MetaCitie is something similar to the digital twin where parametric’s can be used to help inform the effectiveness where “virtual elements in MetaEnterprises and MetaCities can be used to analyze and evaluate the decision-making scenarios with computational experiments approach so as to realize the prediction of real enterprises and cities.” Digital Economy: Selling of goods through digital e-commerce, websites, and digital platforms using digital computing technologies Blockchain: Blockchain is a shared, immutable ledger that facilitates the process of recording transactions and tracking assets in a business network. An asset can be tangible (a house, car, cash, land) or intangible (intellectual property, patents, copyrights, branding). Virtually anything of value can be tracked and traded on a blockchain network, reducing risk and cutting costs for all involved. - IBM This is important as blockchain is a method of securing, preventing, or making it very difficult to hack, corrupt, or change information or cryptocurrency. This is the method of securing value or things within a virtual world. NFT: Marrium Webster defines NFT (Non-Fungible Token) as “A unique digital identifier that cannot be copied, substituted, or subdivided, that is recorded in a blockchain, and that is used to certify authenticity and ownership (as of a specific digital asset and specific rights relating to it) “. Being a one of a kind digital asset such as Virtual furniture, a photo, art, music / audio; they utilizing blockchain’s to secure its digital information and acting as a digital leader making it a uniquely identifiable item. Non-fungible means its not able to be exchanged as it is unique. However, they can be bought and sold using cryptocurrency like Bitcoin. 32

Politics of [XR] What if corporations became Governments with political power and had a seat at the united nations due to the new form of sovereignty within the metaverse? What would an embassy for a government entity like the US look like in the metaverse and would the company like Meta become an embassy for the metaverse within our physical world? How would state hood work in a world where we all share a metacitizenship but are born of different nationalities within our physical world? What would war and politics look like if two established nations fought in the metaverse over land and territory? Not all of the questions can be answered right now. However they do bring to light how much still isn’t know how things will function in the metaverse. These questions don’t even scratch the surface of conversations that will be had over the the next few years in regards to virtual politics and the metaverse. Intellectual property: The role of the architect? Architects today are legally responsible for developing legible construction drawings used for the intention of building physical strutters that take into consideration the health safety and welfare of the individuals who occupy them and surround them. Legality and liability: Sexual assault, harassment, bullying within the metaverse is something that is needing to be thought out from the beginning stages of planing. For some it might be hard to think of the metaverse as a dangerous place. The commercials that Meta post highlighted its capabilities are brightly colored animated avatars with smiles and all friendly. Lets not forget this is a virtual platform and much like the internet and social media the metaverse is just as capable of hiding users true intentions. With the vale of being a virtual platform users often say and do things they wouldn’t typically say or do in person. So this then raises the question who is protecting the safety of virtual avatars and the people they are associated with. Are there police in the Metaverse. If you have a complaint or there are hate crimes or sexually explicit interactions and horsemint. Who do you go who takes action. and how do you prove it happened? When virtual spaces begin to enter the home and the content we participate in starts to engage and interact with our lives and personal possessions. who protects us and where is that information going? There could be a server located on site that adds some personal protection. Still there will be data that is sent to locations off site and to other sources. The Architecture of the metaverse is much large than the environment that people interact with. It’s also the way we plan for the system to operate and the maintenance of our information. Who is building metaverse spaces? • Social media and gamin companies. • Graphic designers, • Animators • Game Designers: Programing Who should be included: • UI UX • Architects: Spacial relationships, user relations to space and forms, delighting, materials, experience/ environment • Interior Designers: Materiality, spacial relationship 33

Regionalism in the metaverse: Who has claim over virtual spaces? How can architects use tactical urbanism to give power to the users? There are larger questions at play when we think about how Extended Architecture is structured within a community or outside of one. Building codes reflect the values and culture of that community and are typical meant to protect and create a safe environment. Consider the difference in zoning and building codes in the US to that of places like Mexico, Africa, Sweden, Japan, Afghanistan and India to name a few. All of which have unique history and story. Architecture and the public spaces already work to considered and designed with those individual stories in mind. Why would this not be the same for even when they are virtual spaces. Over time would HOA’s begin to form and red-lining take place to kept areas a specific demographic? Would the architecture be restricted, at least on the exterior, to create a block of “historic” brownstones. Could develop multiple worlds where community feel “safe” and can lead there own way? Or would this lead to segregation of communities and cause more issues in the lon term. The answer is unclear at this time its simply to early to tell what will be the optimal approach. The added fact that ultimately any number of metaverse could exist and be ran at the same time. Which means they may never be one consistent form of virtual language. This can be seen now with the miss information. How we et our news and the increase of Youtubers, podcast and politically driven news platforms that are being released is a great example of how there could be any number of metaverse platforms that tell and show you exactly what you want to hear and see. What’s to stop a person run for political office in the metaverse? Is the user agrement a agrement of being a citizen to that metaverse. Can there be give citizenship from government within the metaverse? Is the a Virtual UN in the metaverse? Virtual politics offers up as much perspective as politics in our every day lives. Ultimately it may come down to one single entity running and monitoring the platform. Until we get further into what it means to develop the metaverse we wont know how to protect it and the people who use it.

Energy from the sun is consumed by organic matter

Alternative methods of energy collection Fuel

Consumption of plants for energy

Hardware for computing, and the heat output from running the systems

Computer, monitor and router Electricity Construction

5G WiFi

Smart City Point cloud scanning of landscape Demo, Material transport, Construction

Architecture

Construction Materials

Point cloud linked to physical and virtual space

Energy Consumption of Virtual Spaces All of our energy comes from the sun in some compensate. We take that energy to then convert into fuel both for our bodies and for transportation, work, and communication. That same energy we need to service is needed to run and sustain the metaverse and virtual worlds. It is important to note that there is also an amount of energy being released from the operations of participation in the virtual world. The heat output from the servers and computers running to continually render the virtual landscape and those who are exploring it.

Brain power

User interaction

User Community connections

Wearable and human to tech connection

3D Software

Virtual world Metaverse cluster

BIM (Building Information Modeling)

Extended Architecture

Sociology of [XR] What if... allowing for public spaces to incorporate immersive technology helped to mitigate social anxiety within public places? This is a question that I have been asking form may years and there is research that addresses how people respond mentally to [XR] as a method of reducing stress. Though it is capable of benefitting users who may feel anxious in particular settings. What are the larger implications of allowing technology so close to our eyes and allowing it to enter our physical worlds through [MR]. This being such a new technology, i cant help but question what are the ethics of [XR] as they relate to architectural space making? Ethics: How safe is the metaverse? Meta (formerly known as Face Book) has already had an incident where a female user reported experiencing sexual assault within minutes of entering the “Horizon World” an open platform space where users can rome and interact with one another by waving, high-fiving, talking, and playing games together thought the use of the Meta Quest (formerly known as Oculus Quest 2) HMD. Another user had started to use there hands to group the women’s avatar, while other users watched and even cheered on. This is one example of a participant being virtually violated in the metaverse. However, this isn’t new. in 2018 a 7 year lod girls avatar was playing a game on the platform when male users began to sexual assault the girls avatar. the article form Today There are many different forms of assault , masoning, and discrimination and the metaverse is still privy to them all. As stated in the online article “The metaverse has a groping problem already by Tanya Basuarchive” “I think people should keep in mind that sexual harassment has never had to be a physical thing,” says Jesse Fox, an associate professor at Ohio State University who researches the social implications of virtual reality. “It can be verbal, and yes, it can be a virtual experience as well.” As we have seen with social media Boundries and protections should be established for the users who chose to enter the Metaverse. A digital avatar is a representation of a real person. Social and cultural behaviors don’t stop just because the platform is a digital landscape. Social implications: Entering the space as a moral act by the user. Architects would have the responsibility to the client to design a physical environment that is safe along side the virtual space. Utilizing the codes and ethics of our physical environment will help to ensure understanding and usability of the virtual spaces we design. This includes designing for secure social and ethical responsibility to those who chose to participate for long periods of time within virtual environments. As well as designing for the development of and mental health of the users. There are a wide range of user groups that extended architecture could reach. That means the it is extremely important that designers are cognisant of the health safety and well fair of those who we are designing the space home and digital twin. Children, to senior adults would be engage with this technology. all with varying tolerances and ability. The responsibility of the architect and UX designers would be to effectively enable people of all walks of life the opportunity to engage on a platform without causing illness, discomfort and to reduce fatigue.

Three main concerns of the architect when designing: 1. Protecting the mind of a user. 2. Protecting the body of the user 3. Protecting the environment/ community of users Different levels of participation in the Metaverse: • Individual/personal: On the scale of the a single person, they are responsible for there actions and for there avatar who represents themselves. • Community/local: this is on the scale of the city or town. • National: This is in regards to the country and government an individual belongs to. • Global: This is in relations to the planet(s) we all inhabit. • Universal: The larger system of networks that come together to allow us to participate in and on multiple scales.

How do we live (Immersively) together? In 2021 the 17th International Architectural Exhibition of the La Biennale di Venezia happened amongst the covid 19 pandemic. Following the year of zoom and other virtual technology, it is no surprise that architects are thinking about moving forward, and what this will look like together after the pandemic. What interest me the most from this past two years surrounding the pandemic and architecture is how we all shifted abruptly to using virtual spaces seemingly overnight. Forcing shifts in social behaviors that seemed like it would take years to affect. That adoption (or lack of ability for adoption in a lot of cases) has forced the creation of alternative place making for connectivity, and community. Remote working, learning and even recreation was needed to mitigate the need for interactions while social distancing was happening, and lock downs were in place. Now a question has been brought forth based on those instances as well as the growing political divides, increased climate change, and the economic gap widens. A question of how do we live together, was presented to 112 participants from over 46 countries. The Exhibition is focused around five scales which include “Among Diverse Beings, As New Households, As Emerging Communities, Across Borders, As One Planet”. The five scales can be found outlined on the Biennale’s website. Method of Reasoning: Focusing on a few exhibits along with the five scales. This essay will utilize those work to answer the question; how will we live together? Starting with “Many Houses/Many Worlds” by Jarzombek et al. Once we start to understand what all goes into making our spaces, we will then be able to better plan for shared immersive spaces moving forward both in real world and virtually; with the inclusion of others in mind (This inclusion extends beyond other humans, animals, other biomes to even the smallest of organism). The transitions from spaces into others is important so we will look at is important. Case Studies: 1. “Many Houses/Many Worlds” by Mark Jarzombek, and Vikramaditya Prakash 2. “Alive” A New Spatial Contract for Multispecies Architecture by David Benjamin (American, b.1974) of The Living (USA, est.2008) 3. “Grove: by Philip Beesley and living architecture systems Group / University of Waterloo School of Architeture

“Maybe the body is the only question an answer can’t extinguish.”-Ocean Vuong,

Including Others within spaces: Before producing the space, we envision living together in its important to consider who is included. That is where the questions “we” is addressed. “We: Is first person plural and thus inclusive of other peoples, of other species, appealing to a more empathetic understanding of architecture.”- Sarkis 2021. This second case study by David Benjamin of The Living “Alive” is an investigation into Microbial life within Architecture. As mentioned within the project video on the Benallie’s website Architects John Locke and Lorenzo Villaggi call attention to the fact that Microbes aren’t only within water, the air and the earth. They exist all around us and even within us. As they are living on surfaces within tour buildings and cities. They are important and much needed resource. The porous material for this exhibition is made from the Luffa plant which is actually a vegetable often found in homes being utalized as a sponge. Often, we speck materials as smooth as possible to reduce microbial reproduction. In some applications that may be suitable (like within healthcare). However, to promote a healthy and flourishing eco system, Architects need to create places for cohabitation for even the smallest forms of life. Alive is an investigation into using highly textured organic forms in the promotion of microorganisms to live ant flourish. As Sarkis puts it “Live: Means not simply to exist but to thrive, to flourish, to inhabit, and to express life, tapping into architecture’s inherent optimism.” This form of “probiotic Architecture” that Villaggi refers to is imagined helping stimulate humans wellbeing. When it comes to the way we produce architectural forms and immersive spaces. An importance is needing to be placed on avoiding “monoculture ideas to instead promote diversity of types of species”- Locke.

Understanding Systematic Factors of a Space: As stated by Sarkis 2021 in his description of the question “How Will We Live Together?” from the Biennale website. The title can be broken down individual definitions per word to build a better understanding of the exhibit. “How: Speaks to practical approaches and concrete solutions, highlighting the primacy of problem-solving in architectural thinking.” How we build and what resources we consume to build with are so wide and varied from product to product and project to project. It’s nearly impossible to know what all goes into the making of a house as described in their Biennale video by Jarzomberk and Prakash 2021. This work deconstructed (in theory) a small modernist 1000 sf house in Seattle to determine its global and universal sources. Sources, Ingredients, Labor, and Atoms made up the four intersections that added up to the final building. 1. Sources: To look at where on our planet the items originated from. 2. Ingredients: what were those sources or elements that were combined to make the products. 3. Labor: Who was producing, maintaining or sourcing the products as well as assembling them. 4. Atoms: Where are the original sources from in context of the universe. That small House was compared to as being a black hole of information on its construction once it has been finished. Its final details overshadow the origins of what make up the Structure. Other sources also hinder the information from being know. Such as, government or corporate regulations. Lack of recorded or information is another reason for un-known sourced information. Still this infinite about of unknown are what make up a particular small house located in Seattle. Therefore, as described by Sarkis 2021 “Will: Signals looking toward the future but also seeking vision and determination, drawing from the power of the architectural imaginary. 40

Immersed together:“Together: Implies collectives, commons, universal values, highlighting architecture as a collective form and a form of collective expression.” -Sarkis What does it mean to be together? Do you have to be physically present to be together? Or can you be together apart? How does architecture come together? Where does together happen? “?: Indicates an open question, not a rhetorical one, looking for (many) answers, celebrating the plurality of values in and through architecture.”- Sarkis. Within this last case study of the 2021 Venice Biennale, Mackenzi Van Dam addresses the work of Living Architecture Systems Group est al Discus the factors that contribute to the work “Grove” and how it represents together. Immersive, sculptural, and explorative forms fill a space where gathering can happen without the limitation of walls. Grove is extended and open without borders to incapacitate the flow of interconnected ness. Tribes are less likely to form when we are able to come together. The space is given shape by the expansive white cloud that filters light like a tree canopy. Hanging from the thin, laser cut fronds also are holds liquid contained in vessels reflecting light. A virtual animation is projected onto the ground which is meant to demonstrate the growth and decay and connecting the digital to the physical space. Lastly an audible experience anchors the space and immerses the users fully into the environment as they progress through the threshold. This installation sits somewhere between atmosphere and architecture, digital and physical, media and form. It’s a sculpture. Its an immersive environment. It is a place where people can come together which is what architecture offers us. However, as the world shifts, the field of architecture will need to adapt as well. As virtual spaces become a more regular every day occurrence, for work, school and recreation. It is the obligation of the architect to ensure that there are spaces that bring about togetherness.

Conclusion: In conclusion, extended architecture through its use of multimedia sources as well as a sense of physical place is important to create an immersive experience. However, if we are to move beyond that towards living together. We need start with the understanding of what materials we are using to create these spaces, where they are coming from, who is tending to them, and how they can be utilized for the mutual benefit of others who are not seen or heard from. To live (immersed) together goes beyond a physical cohabitation. It’s routed into a social, economic, and divers entanglements that is universal difficult to navigate. Moving forward we need to recognize this and develop in collaboration for one another.

Past Thesis Proposal Fall 2021 Tactile digital urbanism experiences can be used for navigation, communicate, entertain, and combined experience that will alter the perceptions of public life and what it means to be a participant in space making within public plazas and social hubs. With the use of the AIA Design Excellence criteria I will produce an independent project that uses architectural thinking to advance the world of digital urbanism as a resource for immersive space making. As an extension of physical architecture forms, this exhibition will give the public spaces of Orange Square (Located within the Tempe campus of ASU) opportunities to apply digitally designed interventions onto the physical landscape. In conclusion this independent project will work to answer how [X]R technology can be leveraged to re-shape and re-purpose existing spaces through the use of under utilized BIM modeling information. Located within public spaces where users inhabit on a day to day basis. The image top image shows Orange Square as the sun is setting. The site is inactive at certain times of the day and at times during the weekends.

This Second image is showing the public plaza of Orange Square with digital elements that people can interact, share experiences, alter or change this immersive world. This could be booth experiences from within an on site visit or virtually from a remote location because of the reuse of the digital twin model.

Exten d e d Archit e c t u re

Analysis of [X]R environments within architecture and space. How can [X]R fit into architecture to build immersive spaces?

Within architecture a focus has remained on the physical forms that we occupy or that surround us. As technology has progressed our way of viewing the world has also begun to shift. However, this can’t be said for how architects are currently utilizing the digital content their firms create. Full scaled buildings are designed digitally to include materials, sun path and day lighting patterns. They even create interactive models for users to experience before occupancy. The Digital twin of a building is then widely under utilized, once construction is finished it lays dormant on the cloud. This project looks to investigate ways of incorporating [X]R technology through the field of Architecture. By creating a blended reality experience for users within public spaces. Utilizing current technologies to support and measure the user experience and the impact that digital environments could have on the public. We have seen digital environments interacting within the real world in movies. Most often it is futuristic utopia or dystopia environment. Where digital content is thrown at the face of the main character as the walk through the streets like scenes in “Blade Runner”. Or like in another popular movie “Ready Player One” where the citizens stand around outside waiting for a bus with a VR headset on. Its movies like this that make me question how virtual place making would exist within public spaces and architecture? Technology has already started to encroach into the public realm with autonomous cars. It has been in our hands for years in the form of our cellular devices. While [X]R I currently used mostly within the gaming and industrial industries. The opportunities for our environments to become digital immersive experiences has never been as possible as it is right now.

“Technology is a vocabulary and a language in which you can say many things.”- Santiago Calatrava

Literature Review •

1.1. Meltem Yılmaz, Fine Arts FacultyHacettepe University Ankara Turkey, Sustainable Innovation (2019) Virtual Reality as A Tool for Participatory Architectural Design, https://www.researchgate.net/publication/337334259_ Virtual_Reality_As_A_Tool_For_Participatory_Architectural_Design. This paper explores the use of reality-shaping technologies in relation to the field of architecture. It proposes several questions and gives many definitions to help understand the field of immersive technologies. Through the research done by Emre Dedekargınoğlu (Research Assistant) and Meltem Yılmaz (Professor) from Hacettepe University, they conclude with predictions of specific uses that will aid in the implementation and wider adoption of [X]R technologies within Architecture practice for both the designer and the end-users. Most of the data collected are for the assistance in developing a built environment as opposed to after an environment has been built and what happens with BIM software once the project is completed. This is a good base of information to look at how XR tech is currently fitting into the world of architectural practice.

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1.2. Juan Manuel Davila Delgado, Lukumon Oyedele, Peter Demian, Thomas Beach, (2020) A research agenda for augmented and virtual reality in architecture, engineering and construction, Advanced Engineering Informatics, Volume 45, 101122, ISSN 1474-0346, https://doi.org/10.1016/j.aei.2020.101122. (https://www.sciencedirect.com/science/article/pii/S1474034620300914). Throughout this paper, multiple examples are given of how practitioners and professionals managed to test and experiment through their practice different ways of utilizing VR, AR, and MR in the world of architecture engineering and construction (often referred to as AEC). Many charts and diagrams are used to aid in illustrating the accumulated data from the varying field. It gives recommendations for successful implementation as well as a roadmap for those researching a variety of topics surrounding architecture and immersive technologies. However, it also demonstrates how the resources of VR, AR, or MR aren’t fully adopted into the industry.

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1.3. Jürgen Zimmermann (Jun 22, 2020), World building is fun. You should try it. https://medium.com/swlh/you-should-build-your-own-world-hereswhy-8356ce661fad. This article encourages readers to use their imagination and creativity to invent or reimaging “worlds” for their own inhabitants or the occupation of things small and unseen. It helps guide readers to start creating for themselves an environment of their own where they determine the physical or non-physical limitations. The entire article is centered around the ability for individual investigation and exploration. It gives 5 reasons why we should world build. As well as what you might consider having in a world to help the reader expand on the thought. It also gives ideas and information on how to continue world-building through other forms of media. All of this is helpful to guide users to create their own space. This Could be a formula for allowing XR users to engage with building their own worlds in architecture. 1.4 Worldbuilding in Science Fiction, Foresight and Design, Leah Zaidi, Independent Scholar, Canad, DOI:10.6531/JFS.201906_23(4).0003

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1.5. Kathy Battista First published: 02 April 2021 The White Cube, Publisher Architectural Design https://onlinelibrary-wiley-com.ezproxy1.lib.asu.edu/ doi/epdf/10.1002/ad.2699. “As every architect, builder or gallerist knows, space can never be controlled and is always subject to change.” This reading looks at art and architecture as they relate to virtual reality. It discusses artist approaches and concepts that address social issues through digital work that anchors the users in white boxes. Installations that focus on the overwhelming nature of social media have on us utilize digital content to drive the message home. It calls to surface the issues with International Modernism and its utopian ideals. “Architects propose built worlds, but it is the people within them that determine how the space is used.” The virtual works are what allow the white spaces to come to life as people and the objects interacting in the cube are what make the space. “What does The White Cube’s space offer as a potential world? It renders a Utopian space where anything is possible, yet it alludes to the violence of technology as an inherent problem of virtual reality: what are the ethics of virtual rea. 1.6 Eckardt, F.D. (2018). From augmented urbanism to urban hacking. This paper helps to define the methods that would be useful for connecting [X]R to the community through forms of tactical urbanism. It outlines useful terms and examples for urban hacking for the overlay of technical information onto public forms. It refers to the “Augmented City” and how the use of the information collected and used would help to reshape and or create new geographies due to the increased information exchange. 1.7 Virtual Place-making - The re-discovery of architectural,places through augmented play, A playful emergence between the real and unreal, by Mohammad Qabshoqa1, University of Lincoln, mqabshoqa@lincoln.ac.uk” This paper introduces the concept of Virtual Place-making through Urban Gamification for architects and designers as a potential application and approach in architecture and urban design. This introduction will be achieved through introducing Augmented Play and Urban Gamification; identifying the urban gamification components based on the game Pokémon Go; exploring the effect of augmented reality games on the experience of architectural and urban spaces; identifying the role of augmented urban gamification in rediscovering cities and redefining architectural spaces. Finally, an investigation of the existing literature concerning making places is combined with the understanding of the impact of digital technologies to construct an understanding of the concept of Virtual Place-making.” 1.8 A research agenda for augmented and virtual reality in architecture, engineering and construction, by Juan Manuel Davila Delgadoa,⁎, Lukumon Oyedelea,⁎, Peter Demianc, Thomas Beachb, Big Data Enterprise and Artificial Intelligence Laboratory, University of West of England Bristol, UK , School of Engineering, Cardiff University, UK, School of Architecture, Building and Civil Engineering, Loughborough University, UK. This study was performed with professional architects to determine the usability and potential opportunities for future growth or development for architecture within the increasingly broadening fields that surround [X]R technology. 54 experts were used with 34 organizations within varied industries and academia.” Based on the data collected from the workshops, six AR and VR use-cases were defined: stakeholder engagement, design support, design review, construction support, operations and management support, and training.” this work offers helpful ways for architects to adopt forms of this relatively new technology into the office environment. While for research purposes this work gives a “road map” to guide research efforts. The diagrams and charts within this work would be helpful visual aids.

Case Study #1 The Artist Nancy Baker Cahill is an American new media artist , her educational background is from Williams College,where she graduated with a B.A. with Honors in Art. Currently working out of in Los Angeles, California. She is known for work that “examines power, selfhood, and embodied consciousness” at the intersection of fine art, social justice, and emerging technologies such as virtual reality and augmented reality.”

Nancy Baker Cahill’s AR App 4th Wall Nancy Baker Cahill’s AR app 4th Wall Merges conventional art forms like hand drawing and new media art to place digital Forms in the hands of spectators. Where they can choose to place her work in real world places using an AR app. She is an American new media artist based in Los Angeles, California. She is known for work that “examines power, selfhood, and embodied consciousness” at the intersection of fine art, social justice, and emerging technologies such as virtual reality and augmented reality.

Through her earlier work with veterans and working thought trauma. An exploration into seeking meaningfull connections between viewers of her work. Nancy started drawing digitately and showing her work through VR headsets. Some responses were good and some were less enthusiastic. Some even physically responded natively by getting sick. All this was useful information as it pointed out that VR is much more of a singular experience. (At the time of this experiment an within the context of how it was being used, VR has recently become more inclusive in some applications) Once offered the opportunity to work in AR, her work now was able to leave the constraints of her studio and the VR headset. This work allows for the inclusivity for story telling by allowing others to interpret and reinvent the digital work as they interjected this media into their lives. As mentioned in her 2018 Ted Talk on Augmented Reality (AR) as an Artist’s Tool for Equity and Access. Individuals overlaid her work (that start out as drawings and paintings) into a wide variety of places. From a NY City train, to the beaches, and even looking through the US Mexico boarder. Each one creating a new story that augments the users environment. Triggering imagination and exploration into the world. Allowing for her drawings to be “stood in moved though” with this exploration the work created an empathic experience. the work had continued to be manipulated and placed in new locations as it expands the narrative of the work and the people tactically placing them within the landscape. This statement from Jan Gehhl and Brigitte Svarres where they point out the fluidity of spaces over time. and this is where i believe that [X]R can be used as a toll to allow for users to connect, influence and take ownership of public space. “Public life changes constantly in the course of a day, week, or month, and over the years. In addition, design, gender, age, financial resources, culture and many other factors determine how we use or do not use public space. There are many excellent reasons why it is difficult to in-corporate the diverse nature of public life into architecture and urban planning. Nonetheless, it is essential if we are to create worthy surroundings for the billions of people who daily make their way between buildings in cities around the world.” - Jan Gehl, and Birgitte Svarre. How to Study Public Life. Island Press, 2013. By extending the physical and rigidity of architecture to a fluid and inter-changeable experience, Architects can begin to affect and be a useful tool in an era of social media, social change, climate change and miss information.

Valley of Flowers and People: Lost, Immersed and Reborn teamLab, 2020, Interactive Digital Installation, Endless, Sound: Hideaki Takahashi

Case Study #2 The Artist “An international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world. teamLab aims to explore the relationship between the self and the world and new perceptions through art.”

teamLab: SuperNature The Venetian Macao Macao “teamLab SuperNature is an extremely complex, three-dimensional interactive space with varying elevations that spans 5,000 square meters and is comprised of enormous 8-meter-tall works by art collective teamLab. It is a “body immersive” art space centered around a group of artworks that aim to explore new perceptions of the world and the continuity between humans and nature. People immerse their bodies in massive art with others, influencing and becoming one with the art. Through the experience of transcending the boundaries between the body and the artwork, people redefine their perception of the boundaries between the self and the world, and thereby recognize the continuity between humans and the world. Immerse the body in a complex, three-dimensional world, create a world with others, and become one with that world.”

Valley of Flowers and People: Lost, Immersed and Reborn. is a fully immersive experience. Viewers walk through spaces where the walls floors and ceilings are covered in both new blooming flowers as well as decaying flowers. the cycle continues continually. the work utilizes a computer program that renders the work in real time as people occupy and wonder through that space. without the viewer the space wouldn’t be full of flowers that bud, blossom, then eventually die and decay. It is an experience that cant be replicated as the sequence is random and therefor an individual encounter with the work based off of the viewers location in the environment. This exhibit both combines nature and technology to deliver a message to the occupance about our true inability to grasp all of nature. when they walk through the space the flowers they tough on the walls of floors loose there pedals and begin to fall apart and fade away. As this exhibit is explored the visual response impacts the inhabitance by completely immersing them in an overwhelming space that wouldn’t be possible to experience without technology. The tall physical walls are transformed only when light is projected onto them. Dark ceilings make it almost feel like it is some astral plain in space. Mirrored surfaces add to the maze like feel that the space embodies as it shifts and changes.

Valley of Flowers and People: Lost, Immersed and Reborn teamLab, 2020, Interactive Digital Installation, Endless, Sound: Hideaki Takahashi

This work by teamLab is comparable to the experiences that are fully digital immersive media (like that of VR) as they transport those who walk through them have little outside context. What is different about this work then that of Case study #1 (Which uses AR) is that this work doesn’t require a viewing device to participate within the space as its projected on all the walls. This allows for the environment to be a shared experience with others participating with thee same surroundings.

Attending the Van Gogh exhibit located in scottsdale Arizona. This was an interesting opportunity to experience an immersive environment similar in media to that of Super Nature. The use of light and space reminded be of how TeamLab’s Super nature works to surround a user with the medium as it encapsulates the space to tell a story. However, the experience missed some key points that would have allowed for the experience to have been better than what it was. Entering the space there was a tunnel of pulsating light. The greeter welcomed us and helped set the expectations for the exhibit prior to entering the space. The first room we entered had a reflective black floor. It was a large space with angled walls that had not purpose. It appeared to just be an existing space that the exhibit is occupying. if there was a purpose to the floor plan it wasn’t evident. There were no seats provided within this space. Perhaps to prevent scratching of the high gloss floor finish. This prompted the viewers to stand or sit down on the floor. Most everyone within this space was sitting up against the walls. a few were centered in the middle of the floor. the flexibility to make your own space was interesting. However, the effectiveness was missed as the opening in the wall to the adjacent space allowed you to see that the same exact video was playing in the only other space of the exhibit however this space offered seating.

Photographs :Tõnu Tunnel

Case Study #3 The Architects: In 2019 architects Fologram, Igor Pantic, Soomeen Hahm Design collaborated with engineers and and a manufacturing team to develop a pavilion for the 5th edition of Tallinn Architecture Biennale. I think the best quote from to explain the methodology behind this work was from an interview by Archdaily https://www.youtube.com/ watch?v=VNTBRxIK11g&t=143s where Gwyllim Jahn, Cameron Newnham (Fologram) staits - “By changing how we build we were able to so significantly affect how and what we are able to design. By combinin persice digital models with adaptable human craftsmanship we see exciting opertunites for tradionoal material practaces to evolve”. Lead Architects : Gwyllm Jahn, Cameron Newnham, Soomeen Hahm, Igor Pantic

Steampunck Pavilion: This work is an example of how the technology of augmented reality can be utilized in multiple phases of the design and construction process. As a typical design method, the pavilions architects designed this work within a 3D modeling program. The part that starts to make this project unique, is it’s choice to make a sculptural pavilion utilizing bent wood. Is the fact that they modeled the structure using AR. Once the design was tweaked and finalized they continued to innovate by continuing to use the digital twin to outline the curves of each peace of wood to get the exact curvature needed to install the work in the field. Watching videos of the installation makes this method seem obvious. Traditionally bending wood is a very difficult, labor intensive method to get just right. However, with the application of augmenting the already constructed 3D digital information onto the real material is an inventive use that shows how useful [XR] can be for not only the design, but the physical construction of a space as well.

Materials: • • •

Methods: A total area of 25 m². This pavilion sits atop a grassy hill in Tallinn, Estonia. Methods: Using the traditional craftsman style of steam wood to shape it to the desired forms and positioning. the team was able to accomplish making something by hand that otherwise would have needed machines or robotics to get formed exactly where the Architects planed it to be. The method of steaming wood and bending it, has always been a labor intensive craft. Most commonly reserved for furniture, art, instruments, weapons and in some instances and clutters architecture. However, because it is such an intense process of steaming bending steaming and bending ain till you get the desired shape. It is a costly trade. This becomes more attainable as the projection of the holograms offers the makers the ability to plan, adjust and manipulate the materials to fit the desired outcome.

Photographs :Tõnu Tunnel

Openings are in an abundance as the spaced out bands of wood allow light to be filter into the space. Weaving The materials and wrapping the forms within its self as warm tones of wood create a sense of history. An almost mystical structure resembles a twisted tree entangled by its own contortions. This structure and how it was built is an example of how Architects can utilize [XR] to expand the practice and begin to bring architecture beyond its typical box and allow for creativity and (?) to work together to push the design forward. The Steampunk Pavilion shows that with [XR] Design documents, construction documents, even field installation and verifications can all be done though same documentation methods. An added benefit is through the use of the digital twin, as a post construction resource. Utilizing it for maintains and upkeep as the wood can be relatively easily replaced if needed as time progresses. Bending replacement parts as the original ones may elements dry out or need to be removed. It can also help with re-assembled of the pavilion if it is taken down and relocated.

Photographs :Tõnu Tunnel

Connection to the metaverse: Often architectural design pavilions are highly innovative, expressive, and immersive. They are also temporary. The physical form is often demode to allow for the next pavilion to be given the chance to tell its story. No structure is permanent if you really think about it. Eventually all forms will deteriorate. Its the natural progression of materials breaking down due to exposure to the elements. As we build for spaces and experiences within whatever version of a metaverse it may be. It would be easy to place an NFT of Steampunk Pavilion within a virtual space to allow those who cant travel to the structure, or once it is disassembled; allow those who weren’t able to experience the physical version of the pavilion. An opportunity to walk through, inhabit, and learn from the former physical object through the Digital twin.

Photographs :Tõnu Tunnel

Plan view:

Case Study #4 Villancourt Fountain Artist: Completed April 21st, 1971 By Artist Armand Villancort

Visiting San Francisco January of 22. I came across the Villancourt Fountain. Although there was no sin of VR, or AR and it wasn’t constructed with any form of virtual augmentation in mind. The fountain stood out as a work that appears to be defying gravity and like something from a virtual experience. This fountain invoked within me curiosity, wonder, excitement and allowed for discovery. The fountain did what I hope public spaces will do when combined with extended reality. The pathway that take the pedestrian back behind the water fall is a true surprise once you find the hidden secret. interesting texture and new interesting angels from every part of the fountain. Stairs lead to to the top of the fountain to offer yet another view.

Types of Spaces There are a wide variety of spaces we encounter every day. There is the Residential areas where we live, then there are work or education/school spaces that we also spend a large amount of time in. Then there are a lot of in between spaces that we encounter o our way to and from those main spaces. There shopping spaces, recreational spaces, religious spaces, public and private spaces, natural and human made spaces. There are also so many different ways we can interpret a spaces like a campus.

Who uses a pavilion and what for? Shelter, sanctuary, meeting, cafe, theater, lecture, event, exhibition, play... What if...the metaverse was designed more like pavilions? Users would be able to travel between them and the spaces would include elements that continued the language or parameters of that meta space. • • • • • •

introduction tent pavilion garden pavilion structural pavilion pavilion of the world

Analysis Of Architectural Methods For Extended Reality Applications What is Extended Architecture? The production of well designed spaces where Architects create spaces with BIM forms, enabling connectivity through immersive space making and safe inhabiter environments that are responsible to the users, community, and the environment. There are two major ways for architects to design for Extended Architecture. Physical-Extended Architecture, would be an extension of the real world built forms that would enable those built environments to foster virtual environments from within. In conjunction to the physical space the user is occupying, this would most often use AR, or MR technologies to engage the physical space with a digital twin that allows for better impassivity. While Digital-Extended Architecture, would be used to immerse the user in the Virtual and immersive world from within a digital twin of an architectural form without them needing to physically be present. VR AR or MR would all be able to help to create an all encapsulating experience into this form of space making. Who is Extending Architecture and why? As the integration of technology into our lives advances. Opportunities for connection from within urban spaces to support a wider range of cultural and social integration. This can be viewed as a form of Tactical Urbanism, as this gives communities or individuals the power to change their spaces and activate a location beyond its physical limitations. Architects have a responsibility to design solutions that help to protect the health, safety, and welfare of the community and the people that use or interact with their designed spaces.

Proposed Methods 1. 2. 3. 4. 5.

Reusing existing digital documentation and BIM modeling so XR tech can engage with the user. Individuals can adapt the digital content to engage the physical world. Using information gathered from the users allows for better design development. Haptic’s to facilitate a more immersive experience. This application enhances the physical world with digital elements of the users choosing.

AIA Framework For Design Excellence Architect’s call to protect the health, safety, and welfare of the public has a new and broader meaning amid challenges such as increasing climate extremes and social inequity. Architects everywhere must recognize that our profession can harness the power of design to contribute to solutions addressing the most significant needs of our time. Every project can be used as a platform for addressing big problems and providing creative solutions. Every line drawn should be a source of good in the world. The Framework for Design Excellence represents the defining principles of good design in the 21st century. Comprised of 10 principles and accompanied by searching questions, the Framework seeks to inform progress toward a zero carbon, equitable, resilient, and healthy built environment. These are to be thoughtfully considered by designer and client at the initiation of every project and incorporated into the work as appropriate to the project scope. The framework is intended to be accessible and relevant for every architect, every client, and every project, regardless of size, typology, or aspiration. The Framework for Design Excellence challenges architects with a vision of what the profession strives to achieve, the toolkit provides practical resources to help all architects achieve the vision.

”...Please look closely at real cities. While you are looking, you might as well also listen, linger and think about what you see.” - Jane Jacobs

AIA’s 10 principles + Rules for Space Making 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Design for integration Design for equitable communities Design for ecosystems Design for water Design for economy Design for energy Design for well-being Design for resources Design for change Design for discovery

This chart works to combine AIA principles with elements and important factors to consider for space making as demonstrated by Projects for Public Spaces.

Proposed Methods For Virtual Applications To Architectural Forms 1. 2. 3. 4. 5.

(4) Architectural Relationships

Typical OAC Relationship

Traditional Owner Architect Contractor relationships rely on the architect and the contractor to have an open dialog. There is never a contract between the architect and the contractor. Each of them have their own contract with the client for which they are to have the clients best interest financial and wellbeing in mind. Architects responsibilities in decision making and communication is to the owner and the health safety and welfare of the occupants of the building. Other traditional contract relationships are Design-Bid-Build, Design Build, CMAR or Construction Manager At Risk, and Design-Negotiate-Build. For some applications this may work for Extended Architects. However, I am proposing a new structure to the way an architecture firm is structured focusing on combining the design of both physical and virtual spaces for a much more immersive experience within the lived environment.

Extended Architecture Client Relationship

Through this new firm structure the architect gains more control over the project throughout the design and construction as well as the added revenue to maintain and create new content for the client in virtual space making. Clients could include: • Theme parks • Residential • Commercial clients • Healthcare • Education • Senior Living/ Assisted Living Facilities • Online shopping experiences/ website Reusing existing digital documentation and BIM modeling so XA techs can engage with the user. Individuals can adapt the digital content to engage the physical world. Using information gathered from the users allows for better design development. Haptic’s to facilitate a more immersive experience. This application enhances the physical world with digital elements of the users choosing.

Digital Twin: IBM defines a Digital Twin as “Virtual model designed to accurately reflect a Physical Object”. I’ll add to this definition by saying a digital twin is also a model that shows systems and how they connect, while also representing space and forms. The purpose of a digital twin is dependent on the users needs. Each individual who interacts with a digital twin might need it to do something specific to a task, or to illustrate information. Making it a multi purposed digital object that might need to function in different capacities and at different times of it’s existence. Within Architecture a digital twin may be utilized for documentation and pre construction work. However, It also has the ability to be used within the construction phase and post construction (post occupancy) phases where it provides continued information for systems management, marketing. It could be a virtual space mimicking a work environment for those working remotely. Most often the digital twin sits on a server, waiting to be opened up to and be used for a tenant improvement. These are just some of the possibilities that a digital twin allows for within the industry of architecture right now. There are many more possibilities for the information that makes up a DT once we incorporate Extended Reality. Architects already work within 3D modeling programs like Revit, Rhino, Sketchup, AutoCAD, Unity, in some cases rendering in Cinema 4D, Twinmotion, and other platforms to produce DD and CD sets to submit for construction. Architects have traditionally used the acronym BIM (Building Information Modeling). Prior to using 3D platforms that are available today, architects and designers would produce drawings in 2D with the goal of accurately informing contractors and builders of their intent in 3D. This would lead to confusion and misinterpretation between the two. As technology advanced and 3D programs entered the field, architects could better communicate their design intent while linking this information to a model. Moving forward the DT can move beyond a CD into being a tool a resource for all members of the construction and design team. There is another way of building a digital twin. This is done by collecting data from a source within or around the building. Over time that information builds the story of the digital twin and in some ways helps give more information about how the building and it’s users operate. This can then become a tool to adjust the different attributes or needs for a building or its users.

Extended Architecture: Firm Structure

Gantt Chart:

“How will we co-exist with Virtual spaces?” Virtual worlds are already built into a 3D object (our cellphone) which displays 2D information that you can hold, or stream from a platform to a tv you mount on a wall, or it comes from the smart speaker you set on your counter. You are immersed in a world of technology and content. You have already welcomed these devices into your work environment, your hands, your homes, your privacy. Why then don’t we build for virtual experience within architecture / our homes? The future of architects and the profession of architecture is to built the virtual along side the physical. Architects will be the connections between the virtual and the physical through designing buildings that enable immersive virtual experience that are captured and projected into the spaces we occupy and live in. If we start designing with architecture to not only provide shelter for sleeping, eating, and bathing. But we begin to incorporate virtual space making to move architecture forward, the home can both foster and collect those meaningful moments like a family gathering, cultural ceremonies, or a get together with friends or coworkers. Then we begin to create a new third place that we can go to. (First, second, and third places are a concept of describing the different types of environments we engage in.) It’s through this third place we can build even more meaningful connections within those special moments that can be re-visited for you in the future. While also allowing users to more fully engage with content in their homes and other built forms of architecture.

Research Questions:

How can extended reality be used to advance architecture by increasing the scope of an architect? 2. How can we design physical environments to be connected to the virtual ones? 3. How can we feel more connected through Virtual spaces? 4. How can architecture begin to capture key memories and and re-share them in the future? 1.

Imagine you are looking to build a new home for your family, you are considering an Extended Architect to help design both the physical home as well as designing digital twin of your home. Enabling your family to stay connected, travel and play together virtually, build memories. This type of architecture allows for the full integration of extended reality experiences to be designed and built into the home. A concert experience could be projected in your living room to be shared with friends around the world in real time. Or it could allow for you to re-live a favorite memory from your child’s past by bringing it to the present and viewing that memory with in that current time and place. It’s would be connecting family members miles away from each other to a shared space through extended reality. Now begin to imagine a time when you are 84 years old. Your child or family members have moved you into an assisted living facility to be closer to them, but also because you have a neurodegenerative disease where you experience episodes of confusion about where and even sometimes when you are. “Dementia” is an umbrella term for a range of conditions, with a variety of causes, of which the most common is Alzheimer’s disease, accounting for 60-80% of cases. As stated in the online article “The rising prevalence of dementia is a global emergency” - August 29th 202 This care facility is also designed with Extended Architecture in mind as a therapy and method of coping or de-escalation. Virtual experience from your former home that was designed with extended architecture are enabled throughout the residence where you can relive those past moments. The house was creating a virtual photo album you can experience again. (On anniversaries of those memory, the event could pop up as a reminder. Similar to when our phones now send us anniversary reminders of when we took past photos and videos.) It’s a method of bringing that past back and reliving those important moments and stories we tell within our homes. We get to be put back into the experience within the context of a physical environment. Apply this form of architecture to fill in those gaps between when you first built that extended home. To when you went to the extended care facility. Think about how it was used for traveling, education, recreation, entertainment, life in general. This is how we will change not only architecture but the lives of those who we design architecture for. That is what Extended Architecture can do.

Conclusion A shift in thinking has already begun as we move forward after two years of a global pandemic. Architecture is currently set up for a shift as we approaches another shift towards the third iteration the web (Web 3). How we set up the field of architecture now could expand the field as well as making architects a key contribute in the design of virtual spaces and how people interact within them for generations to come.

Glossary • •

•

Space Making: Carving space out of a form or combining forms to create a sense of place that users can occupy or experience. Virtual Place Making: The act of designing computer generated spaces that can be experienced and occupied through extended reality technologies. • Meta-Verse: Virtual landscape space in which users can interact with a computergenerated environment and other users. • [X]R Extended Reality: Combination of Physical and virtual spaces that enable users to feel immersed in an altered environment utilizing technology from AR, VR, MR and or Haptic feedback. Tactical Immersive urbanism: “Tactical Urbanism is all about action. Also known as DIY Urbanism, Planning-by-Doing, Urban Acupuncture, or Urban Proto-typing, this approach refers to a city, organizational, and/or citizen-led approach to neighborhood building using short-term, low-cost, and scalable interventions to catalyze long-term change.” • Immersive Spaces: Immersive spaces are physical and digital environments where the occupant feel emotionally or physically detached from the real world and associate with the alternative surrounding space. • Digital Urbanism: Communities created within digital spaces. • Public Space: As defined in the book “How to study public life”: by Jan Gehl and Birgitte Svarre. “Public Space is under stood as streets, alleys, buildings squares, bollards: everything that can be considered part of the built environment.” • Public Life: “Everything that takes place between buildings, • World Building: Haptic Feedback: Simulate physical forms through sensory simulation or recreation to s also know simulate physical forms through virtual technologies.Also know as kinetic connection. Vernacular Architecture: Related to regional architecture this methods of designing focuses on construction materials and methods that reflect a particular place, culture or community. • Augmented city: Can be referred to as Augmented Urbanism is the connection or adoption of Virtual communication within existing urban life and spaces. • BIM: Building Information Modeling, • Extended Architecture: The production of well designed spaces where Architects create spaces with BIM forms, enabling connectivity through immersive space making and safe inhabiter environments that are responsible to the users, community, and the environment.

Bibliography Book: • How to Study Public Life, Author: Jan Gehl, Birgitte Svarre, Publication Information: Washington, DC : Island Press. 2013, • Augmented Reality & Public Space in the 21st Century City, Published on Jun 29, 2017 by Hanna Green, https://issuu.com/hannahsegreen/docs/thesis_for_issuu • Designing Immersive 3D Experiences, Author: Renee Stevens, August 2021, Publisher: New Riders • Siteless 1001 Building Forms, By Francois Blanciak, The MIT Press, Cambrige Massachusetts London, England. 2008 Website: • Definition of immersive: https://www.merriam-webster.com/dictionary/immersive • Definition of reality: https://www.merriam-webster.com/dictionary/reality • Definition of augmented reality: https://www.dictionary.com/browse/augmented-reality • https://www.interaction-design.org/literature/topics/augmented-reality • https://www.dictionary.com/browse/virtual-reality • https://www.forbes.com/sites/quora/2018/02/02/the-difference-between-virtual-realityaugmented-reality-and-mixed-reality/?sh=67460ca42d07 • Augmented reality (AR) - statistics & facts Published by Thomas Alsop: Research expert covering the global hardware industry, Mar 22, 2021 https://www.statista.com/ topics/3286/augmented-reality-ar/ • Written by The Editors of Encyclopaedia Britannica, https://www.britannica.com/ technology/camera-obscura-photography • History of virtual reality: Timeline , July 15th, 2020 16:13 https://www.verdict.co.uk/ history-virtual-reality-timeline/ • https://www.haptic.ro/haptic-suit-first-fully-immersive-haptic-feedback-suit-virtualreality/ • https://www.vrfocus.com/2018/01/hardlight-suit-gets-permanent-base-price-reductionto-299-99/ • https://www.pebblestudios.co.uk/2017/08/17/when-was-virtual-reality-invented/ • Reality(MR) |Simplilearn, Apr 3, 2020 https://www.youtube.com/watch?v=XLP4YTpUpBI • Steampunk Pavilion / Gwyllim Jahn & Cameron Newnham + Soomeen Hahm Design + Igor Pantic, Paula Pintos Published on Archdaily.com on October 11, 2019 https://www. archdaily.com/926191/steampunk-pavilion-gwyllm-jahn-and-cameron-newnham-plussoomeen-hahm-design-plus-igor-pantic • Framework for Design Excellence, https://www.aia.org/resources/6077668-frameworkfor-design-excellence • What Makes a Space a Place?: Place-making in Urban Design, HASTA, By Claire Robertson, November 14, 2017 http://www.hasta-standrews.com/features/2017/11/14/ what-makes-a-space-a-place-place-making-in-urban-design • What’s All the Hype About the Metaverse? By Brian X. Chen, The New York Times, Jan. 18, 2022 https://www.nytimes.com/2022/01/18/technology/personaltech/metaversegaming-definition.html • Blockchain definition: https://www.ibm.com/topics/what-is-blockchain • NFT def: https://www.merriam-webster.com/dictionary/NFT • How Will the Metaverse Be Designed?, Written by Liz Stinson January 27, 2022 https:// www.archdaily.com/975897/how-will-the-metaverse-be-designed

Website: • Designing Physical Spaces to Support a Virtual World, Written by Kaley Overstreet, February 7, 2022, https://www.archdaily.com/976349/designing-physical-spaces-tosupport-a-virtual-world • Architecting the Metaverse, Written by Chloe Sun, November 24, 2021, https://www. archdaily.com/968905/architecting-the-metaverse • Bitcoin, NFT’s, and the Metaverse: Reflecting on the Year of Digital Real Estate and Design, Written by Kaley Overstreet, December 20, 2021, https://www.archdaily. com/973814/bitcoin-nfts-and-the-metaverse-reflecting-on-the-year-of-digital-realestate-and-design • Why Every 3D Designer / Architect Can Benefit From the Creator Economy in the Metaverse, Written by Chloe Sun, January 05, 2022, https://www.archdaily.com/974534/ why-every-3d-designer-architect-can-benefit-from-the-creator-economy-in-themetaverse • Exploring the Gestalt Principles of Design: Cameron Chapman • https://www.toptal.com/designers/ui/gestalt-principles-of-design#:~:text=There%20 are%20six%20individual%20principles,order%20(also%20called%20 pr%C3%A4gnanz). • The metaverse has a groping problem alreadyBy Tanya Basuarchive, December 16, 2021, https://www.technologyreview.com/2021/12/16/1042516/the-metaverse-has-agroping-problem/ “A woman was sexually harassed on Meta’s VR social media platform. She’s not the first—and won’t be the last.” • Mom horrified when 7-year-old daughter’s avatar was sexually assaulted in Roblox, By Allison Slater Tate, July 5, 2018,https://www.today.com/parents/7-year-old-girl-savatar-assaulted-while-playing-roblox-t132531 • BT Explains: The metaverse and its 7 layers, BY VIVIENNE TAY, UPDATED TUE, FEB 08, 2022 - 12:20 PM https://www.businesstimes.com.sg/technology/wealthinvesting/bt-explains-the-metaverse-and-its-7-layers#:~:text=Beamable%20chief%20 executive%20Jon%20Radoff,decentralisation%2C%20human%20interface%20 and%20infrastructure. • Somewhere that’s not work, and not home Text by Henry Olive, Dec 5, 2019 rhttps:// www.metromag.co.nz/society/society-society/why-everyone-needs-a-third-placemetro-top-50-cafes Video: • Augmented Reality (AR) as an Artist’s Tool for Equity and Access, Nancy Baker Cahill, TEDxPasadena, Nov 1, 2018 https://www.youtube.com/watch?v=qomqvLGgcgs • The Rise Of Technology-Augmented Reality(AR), Virtual Reality(VR) And Mixed Reality(MR) |Simplilearn, Apr 3, 2020 • https://www.youtube.com/watch?v=XLP4YTpUpBI • Meet The Tallinn Architecture Biennale 2019’s Steampunk Pavilion Nov 13, 2019 https://www.youtube.com/watch?v=VNTBRxIK11g&t=143s https://www.dezeen. com/2019/10/16/steampunk-pavilion-fologram-tallinn-architecture-biennial/#

About The Author

Arik Spaulding was born and raised in Glendale, Arizona. Where his passion for architecture and design has been growing and developing over the years. He has studied and worked in the field of interior design and architecture. During his time at ASU for his Masters in Architecture, he has focused his interest studying extended reality environments and methods. His work is focused on the advancement of the field of architecture and the role it has in the development of virtual environments. Linking the Physical spaces we live in to the virtual ones we play in. He plans to continue his research and investigation into refining a business model for Extended Architecture.

Extended Architecture: How architecture will strengthen extended reality environments.

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Structuring Extended Architecture

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Extended Architecture

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