Constructing the Metaverse by hanks.s

CONSTRUCTING THE METAVERSE :EXPLORATION OF CRYPTOASSETS AND WEB 3.0

SCARLETT HANKS

Cover Image: Graph created using Gephi. Visual representation of OpenSea NFT transactions taking place between 2017 through 2021. Nodes represent dates of transactions, categorized by month and year. Lines connecting nodes represent transactions between users. Such transactions mean the buying and selling of NFTs between two or more cryptocurrency wallets. Larger central nodes and thicker lines depict the increasing number of transactions between 2020 and 2021. This diagram indicates that the number of NFT transactions spiked during 2020 due to the newfound dependence on virtual interactions. Data used for the graph was extrapolated from Cambridge Bitcoin Electricity Consumption Index. Data Source: Rauchs, Michel, et al. “Bitcoin Mining Map.” Cambridge Bitcoin Electricity Consumption Index, Cambridge Centre for Alternative Finance, https://ccaf.io/cbeci/mining_map. Graph Creator: The Open Graph Viz Platform. Graph Exploration and Manipulation. (n.d.). Retrieved April 29, 2022, from https://gephi.org/

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Acknowledgements: I cannot express enough gratitude to my project advisor, Mary Hale, for her continued support and guidance throughout this research project. I sincerely appreciate Mary’s enthusiasm for my project and persistent help throughout the semester; It is what made this endeavor possible. In addition, my completion of this project could not have been accomplished without the help of Northeastern’s Immersive Media Lab team. Thank you to Kerri Beck, Gregory Gold, and Jason Duhaime for their expertise and support, which allowed me to realize this vision and bring my design to life. I also thank Fatemeh Monfared, Frederic Ramet, Anapet.art, and Ethan Hudhud for their valuable insight and guidance. Their expertise from shared ventures designing NFTs, Metaverse architecture, and working within Web 3.0 inspired me to consider career prospects beyond what I thought imaginable. Finally, I thank my friends and family for their constant support.

PRE FACE Due to the pandemic, virtual reality technology has become so advanced that many predict society will become immersed in the digital world, also known as the Metaverse. Thus, many are beginning to collect original artwork and even architectural properties in the form of smart contracts, or NFTs, that can be traded and sold within the Metaverse. NFTs and the Metaverse are complex ideas to understand due to the lack of published works that explain such concepts at an entry level. However, digital creators with backgrounds in architecture are in high demand to develop virtual real estate, gaming environments, and even furniture for the Metaverse. “Constructing the Metaverse” is a digital guidebook tailored to architectural designers to explain the development of cryptocurrencies and Non-Fungible Tokens and inspire fellow designers to contribute to Metaverse development. “Constructing the Metaverse” demonstrates research through unique info-graphics and diagrams to convey information in an easily digestible format. This work also contains interviews with NFT and Metaverse experts such as Fatemeh Monfared to educate architects on how they can adapt their skills to design for virtual reality. Finally, this guidebook includes a personal project intervention to illustrate the process of designing for virtual realities and minting NFTs. Architects are trained to understand space and how society interacts with it. Therefore, more architects are needed in the Metaverse to curate innovative spaces and provide a framework for the direction in which the Metaverse should evolve. “Constructing the Metaverse” aims to become a starting point for any aspiring designer hoping to explore Web3. vi

CONTENT

PAGE 1-14

BITCOIN TECHNOLOGY 3 5 7 8 9 11 13

PAGE 57-68

What is Money? The Rise of Blockchain Technology Underbanked Populations Decentralization Bitcoin Mining Ethereum Citations

PAGE 69-96

VIRTUAL ARCHITECTURE

EXPERT SPOTLIGHT

59 61 63 66 67

71 83 85 89 95

What is Virtual Architecture? Architectural Psychology VR/AR Technology Beyond Constraints Citations

Fatemeh Monfared Frederic Ramet Anapet.Art Ethan Hudhud Citations

PAGE 15-38

PAGE 39-56

INTRO TO NFTs

INTRO TO THE METAVERSE

17 19 21 23 25 27 37

41 43 45 47 49 51 55

Non-Fungible Tokens NFT Market Trends NFTs and the Art Market NFT Copyright Laws NFT Marketplaces Trending NFT Artists Citations

What is the Metaverse? Utopian, Hybrid, Dystopian NFTs / Metaverse / Cryptocurrency Virtual Real Estate Parcel Guidelines Case Studies: ZHA & BIG Citations

// CONSTRUCTING THE METAVERSE //

PAGE 97-136

PAGE 137-156

DESIGN INTERVENTION

FINAL THOUGHTS

99 101 109 113 117 121 127

139 141 143 145 148 149

Identify Project Opportunity The Design Process Test in Virtual Reality Create MetaMask Wallet Purchase Matic on Polygon Mint NFT on Renovi Mint NFT on OpenSea

Sustainability Impact on Artists PoW versus PoS Citations Conclusion Bibliography

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BITCOIN TECHNOLOGY This chapter commences with the fundamental question, “What is Money?” In order to grasp the concept of cryptocurrencies and Bitcoin technology, it is necessary to go back one step and question how currencies become standardized. Historical changes in monetary systems demonstrate how cryptocurrencies can eventually take hold and become normalized. This section examines the rise of blockchain technology from 2008 when Satoshi Nakamoto first published the white paper “Bitcoin, a peer-to-peer electronic cash system” and introduced the world to an electronic payment system based on cryptographic proof. Chapter 1 additionally considers the democratizing potential of cryptocurrencies and Web 3.0.

Introduction to Cryptocurrencies & the Blockchain //

Wha t is M o n e y ? Money and Value: The first step before attempting to understand Bitcoin is to realize what “money” is. Money represents value and is used in our daily lives to exchange goods and services. Throughout history, nations have represented money through various materials and objects. In Ancient Rome, salt held significant value and was used to pay soldiers. Siberian and Mongolian nomads exchanged bricks of tea instead of coins. In 1200, Italians accepted wheels of Parmesan cheese as currency (PBS, 1996). Commodities such as salt, wheat, shells, tea, and gold represented value. Various forms of money have come and gone due to hyperinflation, resulting in their loss of value. Historically, humans trusted items to represent money; Over time, the trust model has shifted from relying on objects to depending on people and institutions (Casey & Vigna, 2016, p. 15; Tapscott & Tapscott, 2018, p. 5).

The Invention of Paper Money and Fiat Currency: There are two schools of thought which theorize what money inherently is. The “Metallist” view is that material commodities should back currencies (Casey & Vigna, 2016, p. 26). The “chartalist” school believes in a theory of economics that most directly relates to the concept of cryptocurrency (Casey & Vigna, 2016, p. 27). Chartalists recognize that governments determine the value of money; Money is “a creature of law” rather than its own commodity in the modern age. “Chartalism” derives from its Latin root “charta,” translating to ticket or token. Chartalists argue that governments can define any “charta” or token as legal tender, which is where paper money – one of the first “tokens” to represent value – came into existence (Casey & Vigna, 2016, p. 27). China was the first nation to use paper money (PBS, 1996). Merchants in the late Tang times preferred trading deposit shop receipts instead of strings of bronze and copper coins which they had to carry over long trading routes (Casey & Vigna, 2016, p. 31). Paper money and receipts acted as “negotiable promissory notes,” meaning their value was backed by metal coins and verified by licensed authorities across China. Paper money, a lightweight and thin material, had many benefits compared to other cumbersome items previously used for exchange. As more empires began to adopt paper money or banknotes, which could redeem valuable items from authorized institutions, the idea of “legal tender” developed (Price, 2021). While paper money previously had a “gold standard,” today, fiat money has no use-value as governments worldwide became liable for the value of paper money within their state, while centralized institutions are responsible for distribution (Casey & Vigna, 2016, p. 25). Fiat currencies are entirely dependent on trust relations between the government and society (Casey & Vigna, 2016, p. 15). 3

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Fiat Money in the Digital Age: Fiat money quickly became digitalized with the invention of the World Wide Web in the early 1990s. Bank ledgers became digitalized, and the means to send money evolved into wire transfers, PayPal, and Venmo. In the digital age, the trust model shifted from relying not only on the value of paper money and bank authorities but now third-party groups such as Venmo (Tapscott & Tapscott, 2018, p. 5). Fiat money has several drawbacks. The government or central authority issues money; therefore, quantity is not strictly limited. Governments and banks can print as much money as they please, causing inflation and a decrease in value per dollar. The purchasing power of money can be volatile, as evidenced by Argentina’s hyperinflation crisis of 1991, which led to the collapse of their banking system (Casey & Vigna, 2016, p. 17). With fiat currencies, crises such as corruption and mismanagement remain out of society’s control (Tapscott & Tapscott, 2018, p. 5). The government can freeze access to one’s funds or cancel the legal status of one’s currency at any time. Banks have the power to control the flow of money worldwide, and in scenarios like the Wells Fargo account fraud scandal of 2016, fiat money is susceptible to corruption (Casey & Vigna, 2016, p. 21; Tapscott & Tapscott, 2018, p. 5). Despite the long list of drawbacks, no alternatives to centralized fiat currencies seemed promising until the rise of Bitcoin in 2008 (Casey & Vigna, 2016, p. 21).

The Rise of Bitcoin and “The Blockchain” From 2008 to 2012, over 465 US banks failed due to low assets and capital (Crisis ad Response, 2017, p. 13). Public trust in banks and government institutions rapidly declined as a result. Due to the drawbacks of fiat currency which amplified throughout the 2008 Global Financial Crisis, attempts to create alternative digital currencies went underway. In this tumultuous period, the anonymous group or individual, Satoshi Nakamoto, published a white paper online titled “Bitcoin: A Peer-to-Peer Electronic Cash System,” (Nakamoto, 2008). The document outlines the concept of “Bitcoin,” a decentralized digital currency. In its introduction, Nakamoto writes, “what is needed is an electronic payment system based on cryptographic proof instead of trust, allowing any two willing parties to transact directly with each other without the need for a trusted third party,” (Nakamoto, 2008, p. 1). Nakamoto succinctly describes, “we propose a solution to the double-spending problem using a peer-topeer distributed timestamp server,” which generates proof of transactions in a chronological order (Nakamoto, 2008, p. 1). “Bitcoin,” with a lower-case “b,” refers to the currency; bitcoin is the digital units of value used for exchange (Casey & Vigna, 2016, p. 27). Electronic currencies such as bitcoin are called “cryptocurrencies.” This term derives from “Cryptography,” the study of secure communication techniques. Bitcoin, with an uppercase “B,” refers to the technology invented by Nakamoto (Casey & Vigna, 2016, p. 27). Bitcoin is programming that allows computers across a large network to communicate with one another. Bitcoin, the technology, uses “encryption,” meaning users key in passwords to send digital money directly to one another (Casey & Vigna, 2016, p. 28). Computers in the Bitcoin network check the validity of transactions and work to decipher whether a payee can rely on a payer, and validate that the payer has sufficient funds in their account.

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Und erb anked PopuPOPULATION lations UNBANKED/UNDERBANKED 7

30% UNITED STATES

14%

27%

17%

65%

19%

90%

67%

ITALY

INDIA

PAKISTAN

// Introduction to Cryptocurrencies & the Blockchain

CANADA

JAPAN

UNITED KINGDOM

ARGENTINA

Decentralization and “The Blockchain”: With fiat currencies, bank ledgers are private and inaccessible. To combat corruption, the double-spending problem, and fraud, Bitcoin transactions are recorded on a transparent ledger called “The Blockchain,” (Tapscott & Tapscott, 2018, p. 6). Blockchain is the core Bitcoin technology and data format which stores all transactions between people and companies in open and traceable databases (Tapscott & Tapscott, 2018, p. 6). Every computer that participates in the Bitcoin system stores and updates copies of the blockchain ledger. The benefit of the blockchain network is that no single company stores ledger data; therefore, hacking the blockchain is impossible unless one plans to take down thousands of computer networks (Casey & Vigna, 2016, p. 9). In addition, blockchain technology is beneficial because transactions between two or more parties may occur without the need for an intermediary bank or third-party authority (Casey & Vigna, 2016, p. 5). For example, in the case of a transaction between two independent parties, the seller can look at rows of Bitcoin’s ledger to verify the funds of the other party looking to purchase an asset or service. DeFi, or “decentralized finance,” allows one to do most activities that banks support. Satoshi Nakamoto’s white paper explains one can “earn interest, borrow, lend, buy insurance, trade derivatives, trade assets, and more – but it does not require paperwork or a third party” (What is DeFi, 2022). Crypto allows for transactions between two people without a centralized third party like banks or governments. You also do not need to apply in order to open an account like you would at a bank, you can gain access to this financial world by creating a free wallet on your Chrome Browser (Vigliotti & Jones, 2020, p. 171). Cryptocurrency wallets are anonymous accounts – You do not need to provide your personal information to create a wallet. Cryptocurrencies are flexible, and assets can be transferred without needing permission from a third-party (Casey & Vigna, 2016, p. 94). This revolutionary concept democratizes the financial world and increases financial inclusion for everyone in developed and developing countries (Stonberg, 2021; Casey & Vigna, 2016, p. 94; Vigliotti & Jones, 2020, p. 171).

Pros of Bitcoin versus Fiat Currency: Bitcoin is an entirely digital currency with various benefits compared to fiat currencies. As previously mentioned, Bitcoin is decentralized. Decentralization means no singular computer or system holds the Bitcoin ledger (Why Decentralization Matters, 2021). Instead, thousands of computers across the globe store the ledger and constantly update it. The blockchain is public, and this transparency cuts out the need for relying on banks and institutions to send transfers. In addition, Bitcoin’s setup means that you, and you alone, have access to your funds. No centralized authority has the power to freeze or confiscate holdings (Casey & Vigna, 2016, p. 45). Finally, Bitcoin does not require permission to trade assets. Over 2.5 billion people worldwide cannot access the current banking system due to gender, age, or lack of income (Gailey & Little, 2021). Even democratic nations such as the United States face under-banking crises. In the United States, almost one-third of the population lacks a full range of essential financial services due to under-banking (Gailey & Little, 2021). Despite some resistance to the concept of Bitcoin, several corporations such Amazon, Expedia, and Microsoft, are beginning to accept Bitcoin as a legitimate form of payment (Beigel, 2022). As more companies catch on, Bitcoin will open up the financial industry to the masses (Wellesley, 2021). Introduction to Cryptocurrencies & the Blockchain //

Bitcoin Mining: Bitcoin does not have “coins” or material items used to back its value. Satoshi Nakamoto explains, “we define an electronic coin as a chain of digital signatures.” Bitcoin must be mined – not in the physical but the computing sense (Nakamoto, 2008). Mining is a digital “guessing game” done by computers; More powerful computers can make more “guesses” per second, increasing one’s chances of winning the game (Beigel, 2022). If your computer guesses correctly, you earn Bitcoins and become a temporary “banker” who can write the next page of the blockchain ledger. This “guessing game” relies on laws of statistical probability so that different miners win each time and no single computer continuously wins (Beigel, 2022). The page of the blockchain ledger that your computer generates is then sent off to the entire network of computers updating the blockchain to verify your additions to the transaction ledger and updating their copies of the ledger (Beigel, 2022). Satoshi Nakamoto’s Bitcoin mining is designed to become a more challenging game to solve as more miners join. This process, called “the Mining Difficulty,” is intended to prevent inflation (Beigel, 2022; Hall, 2022). In 2009, a small network of miners worked to earn Bitcoin. Today, thousands of mining pools and mining farms compete to earn. Although Bitcoin mining has proven to be an effective strategy at minimizing inflation and allowing for decentralization, its downside is the environmental impact of its energy consumption (Nibley, 2021; Badea & Mungiu-Pupazan, 2021, p. 48096). The sustainability aspect of cryptocurrency and the difference between “proof of work” versus “proof of stake” will be discussed in a later chapter, but for now it is essential to understand these basic concepts of cryptocurrency in order to conceive its relevance in the Metaverse.

Image: Mining Farm. Image Source: Lau, Y. (2021, June 8). China’s Crackdown Raises the Profile of the Crypto Mining Hub Next door. Fortune. Retrieved April 17, 2022, from https://fortune.com/2021/06/08/china-bitcoin-ban-mining-kazakhstan-crypto/ 9

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Ethereum (ETH): Now that we have examined the basics of Bitcoin technology, it is time to introduce some other cryptocurrencies that have risen to become top coins. Ethereum is the second-largest cryptocurrency next to Bitcoin and is a popular coin used for NFT transactions (Buterin, 2022, p. 15). Bitcoin was one of the only networks that utilized blockchain technology in the past. Despite this innovation, Bitcoin is relatively limited in its capabilities due to its “Turing Incomplete” programming language and is used primarily for simple transactions such as sending money (Binance Academy, 2019). More complex systems require different programming languages and different computer networks separate from Bitcoin. Vitalik Buterin invented the platform “Ethereum” in 2013 and brought it to life in 2014 (Apostolicas & Nayar, 2021). Ethereum is not a currency; it is a platform. The Internet that we all know and use daily belongs to Web2. The Internet is centralized and ultimately controlled by monopolies such as Google, Amazon, Facebook, and other giants in the industry (Beigel, 2022). All activity on the Internet occurs with the use of third parties and intermediaries. Ethereum’s goal is to decentralize the Internet and connect users directly (What is Ethereum, 2022). “Solidity” is Ethereum’s programming language and is entirely decentralized. Ethereum allows for the creation of Decentralized Applications, abbreviated as “Dapps.” People may use Dapps to license music, sell art, and request loans. Applications such as OpenSea, Rarible, and SuperRare are constructed on the Ethereum platform. Solidity is capable of writing “smart contracts,” a codified set of conditions and actions, similar to contracts in real life written as lists of “ifs” and “then...” (Beigel, 2022; Vigliotti & Jones, 2020, p. 156). Ethereum utilizes Smart contracts to run “Dapps.” Ethereum developers write the conditions for their program or Dapp, and then the Ethereum network executes it. Ethereum deals with all aspects of smart contracts: Enforcement, management, performance, and payment (Beigel, 2022). Smart contracts have several perks, ranging from improved performance to cost reductions and transparency (Vigliotti & Jones, 2020, p. 156). For example, if someone writes a smart contract for paying rent, a landlord is not actively needed to collect money. The contract itself “knows” if the money has been sent and keeps track of all submitted, pending, or missed transactions. Essentially, smart contracts “[cut] out human involvement, [speeding] up the process and [making it] much less convoluted,” (Vigliotti & Jones, 2020, p. 157). Smart contracts also have several downsides. First, they are “uncompromisingly letter strict,” (Vigliotti & Jones, 2020, p. 145). Smart contracts do not regard secondary considerations or the “spirit of the law,” (Vigliotti & Jones, 2020, p. 145). In addition, smart contracts are immutable. Once smart contracts are deployed on the Ethereum network, even the original author cannot make edits. The capabilities of “smart contracts” are extensive and play a vital role in the trading of art over Web3 (Vigliotti & Jones, 2020, p. 145). Chapter 2 will further unpack the uses of smart contracts and the Ethereum network regarding NFTs. To reiterate, Ethereum is the platform on which decentralized applications are built. Ethereum is an extensive network of computers that work together as one 11 // Introduction to Cryptocurrencies & the Blockchain

“supercomputer” to execute code that powers Dapps (Vigliotti & Jones, 2020, p. 176). This process requires a lot of energy to power computers and cool them, two processes that cost a lot of money. “Ether,” abbreviated to ETH, was invented as a currency to incentivize people to run the Ethereum protocol on their computers, similar to how Bitcoin miners get paid in “bitcoin” for updating the blockchain ledger (Buterin, 2022, p. 32; Vigliotti & Jones, 2020, p. 79). Deploying smart contracts on the Ethereum platform requires the author to pay fees; This payment is made in Ether. The Ethereum network has grown exponentially since 2017 (Vigliotti & Jones, 2020, p. 80). Back in 2014, one Ether cost around 40 cents to purchase. Today, one Ether costs approximately 3,452 USD (Vigliotti & Jones, 2020, p. 80).

Diagram: Graph of Ethereum Price. Data Source: Leading provider of Digital Asset Data. CryptoCompare. (n.d.). Retrieved April 18, 2022, from https://data.cryptocompare.com/ Introduction to Cryptocurrencies & the Blockchain // 12

Citations: Apostolicas, P., & Nayar, J. (2021, September 20). Explaining Ethereum: Interview with Vitalik Buterin. Harvard International Review. Retrieved April 13, 2022, from https://hir.harvard.edu/vitalik-buterin-ethereum-1/ Badea, L., & Mungiu-Pupazan, M. C. (2021). The economic and environmental impact of bitcoin. IEEE Access, 9, 48091–48104. https://doi.org/10.1109/access.2021.3068636 Beigel, O. (2022, January 6). What is Bitcoin Mining and How Does it Work? 99 Bitcoins. Retrieved April 13, 2022, from https://99bitcoins.com/bitcoin-mining/ Beigel, O. (2022, January 16). What is Ethereum and How Does it Work? . 99 Bitcoins. Retrieved April 13, 2022, from https://99bitcoins.com/ethereum/ Beigel, O. (2022, January 9). Who Accepts Bitcoin as Payment? 99 Bitcoins. Retrieved April 13, 2022, from https://99bitcoins.com/bitcoin/who-accepts/ Binance Academy. (2019, May 21). Turing complete. Binance Academy. Retrieved April 13, 2022, from https://academy.binance.com/en/glossary/turing-complete Buterin , G. (2022). Metaverse and NFTs Investing Bible: The Complete Guide for Beginners to Invest in Metaverse, Web 3.0, Crypto Art and Make a Ton of Money with Real Estate, Collectibles and Gaming Non Fungible Tokens. Casey, Michael J, and Paul Vigna. The Age of Crypto Currency: How Bitcoin and the Blockchain Are Challenging the Global Economic Order. New York, NY: St. Martin’s Press, 2016. Casey, Michael J, and Paul Vigna. The Age of Crypto Currency: How Bitcoin and the Blockchain Are Challenging the Global Economic Order. New York, NY: St. Martin’s Press, 2016. Crisis and response : an FDIC history 2008-2013. (2017). [Federal Deposit Insurance Corporation]. Gailey, A., & Little, K. (2021, June 4). What You Should Know if You Are Unbanked Right Now. Time. Retrieved April 13, 2022, from https://time.com/nextadvisor/banking/what-to-know-if-you-are-unbanked/ Hall, J. (2022, March 4). Bitcoin Mining Difficulty Drops for the First Time this Year. Cointelegraph. Retrieved April 13, 2022, from https://cointelegraph.com/news/bitcoin-mining-difficulty-drops-for-the-first-time-this-year Nakamoto, Satoshi. “Bitcoin: A Peer-to-Peer Electronic Cash System,” 2008. https://bitcoin.org/bitcoin.pdf. 13 // Introduction to Cryptocurrencies & the Blockchain

Icons and Photos for Everything. Noun Project: Free Icons &amp; Stock Photos for Everything. (n.d.). Retrieved April 29, 2022, from https://thenounproject. com/ Leading provider of Digital Asset Data. CryptoCompare. (n.d.). Retrieved April 18, 2022, from https://data.cryptocompare.com/ Nakamoto, Satoshi. “Bitcoin: A Peer-to-Peer Electronic Cash System,” 2008. https://bitcoin.org/bitcoin.pdf. Nibley, B. (2021, November 12). Proof of Stake: A Process Used to Validate Crypto Transactions Through Staking. Business Insider. Retrieved April 13, 2022, from https://www.businessinsider.com/proof-of-stake?r=US&IR=T%29 Price, M. (2021, November 22). What is Legal Tender? The Balance. Retrieved April 13, 2022, from https://www.thebalance.com/what-is-legal-tender-5198874 Public Broadcasting Service. (1996, October 26). The History of Money. PBS. Retrieved April 13, 2022, from https://www.pbs.org/wgbh/nova/article/history-money/ Stonberg, S. (2021, January 22). Cryptocurrencies are democratizing the Financial World. here’s how. World Economic Forum. Retrieved April 13, 2022, from https://www.weforum.org/agenda/2021/01/cryptocurrencies-are-democratising-the-financial-world-heres-how/ Tapscott, D., & Tapscott, A. (2018). Blockchain Revolution: How the Technology Behind Bitcoin and Other Cryptocurrencies Is Changing the World. Penguin. Vigliotti, & Jones, H. (2020). The executive guide to blockchain using smart contracts and digital currencies in your business. Palgrave Macmillan. What is Ethereum? Ethereum.org. (2022, April 4). Retrieved April 13, 2022, from https://ethereum.org/en/what-is-ethereum/ Wellesley, J. (2021, July 29). Financial Inclusion: Why Improving Access to the Underbanked is Good for Business. Loomis Sayles Blog: LandScape. Retrieved April 13, 2022, from https://blog.loomissayles.com/financial-inclusion-why-improving-access-to-the-underbanked-is-good-for-business What is DeFi? Coinbase. (2022). Retrieved April 13, 2022, from https://www. coinbase.com/learn/crypto-basics/what-is-DeFi Why Decentralization Matters. Ledger. (2021, October 14). Retrieved April 13, 2022, from https://www.ledger.com/academy/crypto/why-decentralization-matters Introduction to Cryptocurrencies & the Blockchain // 14

15 // Introduction to NFTs

INTRO TO NFTS The second chapter of this book looks at “Non-Fungible Tokens,” or “NFTs,” and describes, first, what they are, and second, how they influence the traditional art market. NFTs are one-of-a-kind “digital assets” encoded within “smart contracts” on a blockchain; Essentially, they are certificates of authenticity for digital artifacts. The traditional art market consists of several key players: artists, patrons, curators, and venues. The traditional art market is highly exclusive; a small number of artists and collectors represent a massive percentage of the market. The rise of NFTs and blockchain technology expands these same opportunities to all artists and provides virtual marketplaces for artists to mint work.

Introduction to NFTs // 16

Non-Fungible Tokens What is an NFT? The term “NFT” stands for “Non-Fungible Tokens.” This term may seem familiar, as NFTs are gaining popularity every day. To truly understand what this phrase means, it can be broken down by explaining the terms “non-fungible” and “tokens.”

Tokens: Chapter 1 discusses the meaning of “coins” such as Bitcoin and Ether. The terms “tokens” and “coins” are often used interchangeably, despite having entirely different meanings. Coins have their own respective blockchains, while tokens utilize existing blockchains such as Ethereum. Put succinctly, “a token represents what a person owns, while a coin denotes what they’re capable to own,” (NDTV Business, 2022).

“Non-Fungible” Meaning: Fiat currencies and cryptocurrencies are “fungible,” as they can be traded or exchanged with one another because they are equal in value. One dollar bill is always equal to another one dollar bill, four quarters, or 100 pennies. NFTs are “non-fungible,” meaning it is nearly impossible for NFTs to be exchanged one-for-one. The NFT Handbook, written by Matt Fortnow and QuHarrison Terry, uses the analogy of diamonds to describe NFTs. Unlike goods such as barrels of oil, diamonds are non-fungible. It is extremely rare to find diamonds that are identical in size, color, clarity, and cut. Diamonds are non-fungible because they cannot be easily interchangeable with any other diamond (Terry & Fortnow 2021). Another example is looking at non-digital artworks. There is only one original Mona Lisa painting which is on permanent display at the Louvre. The Mona Lisa was valued at over 860 million USD in 2020 (Brittney, 2022). Only one Mona Lisa exists in the world, therefore it is non-fungible because it is unique and cannot be replaced or replicated.

Why NFTs are Unique: NFTs are one-of-a-kind digital items, or “digital assets,” that are encoded within “smart contracts” on a blockchain. As described by Coinbase, an NFT is a “certificate of authenticity for digital artifacts,” (Coinbase, n.d.). An NFT itself is the unit of data stored on a blockchain, and the blockchain acts to certify this digital asset is unique and provides a digital certificate of ownership to whoever purchases it (Tonya M Evans, 2019). For example, if User A sells a jpeg to User B, this transaction is visible on the public blockchain ledger. Once sold, User B is the exclusive owner of that jpeg. NFTs can rep17 // Introduction to NFTs

resent any range of tangible or intangible objects such as graphic art, GIFs, videos, and even music. While there are many uses for NFTs, this guidebook focuses on the importance of NFTs related to artists and architects.

Why Purchase NFTs? Many NFTs are in the form of digital artworks. It is common to wonder why one does not just screenshot a digital drawing posted as an NFT and call it a day. The reason people purchase NFTs is because they want sole ownership of the original work. NFTs are like rare collector’s items. The same principles that drive people to collect stamps, Yu-Gi-Oh cards, Webkinz, and vinyls apply to NFTs. People are driven to collect items that are scarce. Additional factors that lead people to collect are if they see items as good investments, they have an emotional connection to something, or they purely enjoy the thrill of owning something exclusive (Nadini et. al., 2021). The thrill of owning a rare Hermes Birkin bag is a similar feeling some people have when owning a sought-after NFT.

Types of NFTs: For the purpose of relating NFTs to the world of architecture, it is important to note that NFTs may take the form of images, videos, gifs, and 3D models. For example, Krista Kim’s NFT, Mars House, was an architectural design sold in the form of JPEG renderings. NFT images can be sold as raster images or vector graphics. GIFs can be uploaded as an MP4. 3D models which can be viewed with virtual reality or augmented reality headsets can be uploaded in a variety of formats as well. Chapters 5 and 6 will go into further detail on how to mint a project of different file formats.

NFT Market Trends LEGEND ALL ART COLLECTIBLE METAVERSE GAMES UTILITY OTHER

LEGEND ALL ART COLLECTIBLE METAVERSE GAMES UTILITY OTHER

19 // Introduction to NFTs

Throughout the pandemic, NFTs gained massive public attention. From 2017 to July of 2021, NFT buyers and sellers exchanged an average of 60,000 USD per day. Daily volume exchange surpassed 10 million USD in March of 2021. The market experienced record sales in 2021 and continues to grow exponentially (Nidani, p. 1, 2021). NFT markets organize work into collections, or sets of NFTs, categorized as “art,” “collectibles,” “games,” “Metaverse,” and “utility.” In 2018, the NFT market had record sales in the Art category. Additional categories gained traction following January of 2019. Although NFTs categorized as Games and Utility have boomed in sales and popularity, Art tends to sell at higher prices. NFTs classified as “Metaverse” gained popularity at the beginning of 2019 and will continue to grow as the Metaverse evolves. This NFT category, discussed in Chapter 3, is of particular interest to architects.

Introduction to NFTs // 20

How NFTs are Changi The traditional art market consist of several key players: artists, patrons, curators, and venues. Traditional art markets are highly exclusive; small numbers of artists and collectors represent a huge percentage of the market (Margins, 2021). Overall, art is an extremely expensive investment. As mentioned previously, the Mona Lisa was recently valued at over 860 million USD. In 2019, a rabbit sculpture by Jeff Koons sold for 91 million dollars (Margins, 2021). Massive transactions ranging in the millions occur every single day in the art market, yet these heavy price tags are a product of market failure rather than a true reflection of artists’ talent. Information asymmetry exists between sellers and buyers, and the art investing world is notorious for its secrecy. Galleries and auction houses typically withhold information from buyers so they can reap the benefits of information asymmetry and gain the highest profits; The secrecy that exists in the art world drives the elitist culture of art communities. For these reasons, it is extremely difficult for emerging artists to enter the art world and share their work with the masses (Tapscott & Tapscott, 2018, p. 239). The emergence of social media was one of the first opportunities for artists to display their work in a less-restrictive manner, and the introduction of NFTs and blockchain technology has now expanded these opportunities further. The blockchain offers “indisputable answers to questions such as who owns, previously owned, and created the NFT, as well as which of the many copies is the original,” (Nadini et al., 2021, p.1). This fact alone eliminates any potential for art forgery, fraudulent purchases, and copyright. To sell work as an NFT, artists must join a digital marketplace such as OpenSea or Rarible. When an artist mints an NFT, the work is displayed on the marketplace website for anyone to buy. If someone purchases the piece, a public entry is recorded on a transparent ledger which clearly demarcates the ownership of the NFT. The blockchain adds a layer of traceability and transparency that traditional art markets lack. The actions of minting, selling, and buying NFTs occur on a decentralized platform that encourages artists to discuss finances, thus breaking down “secrecy culture” and art community “bubbles.” The concept of NFT marketplaces is revolutionary, as this emerging art culture is controlled directly by creators and buyers rather than monopolies and third parties. One of the most important reasons why artists sell their work as non-fungible tokens is the reality of “NFT royalties.” Earning royalties is not a new concept. Most are familiar with singers and songwriters earning royalties each time there is a direct sale of their recordings to radio stations, CDs, and other media. Platforms like Spotify, Apple Music, and 21 // Introduction to NFTs

ing the Art Market Pandora pay artists and record labels “per-stream royalties,” one of the many reasons why musical artists benefit from music streaming services (Salisbury, 2019). Other types of artists, such as painters, sculptors, and 3D designers, rarely benefit from the resale of their works. It is exceptionally challenging for artists to track the sales of their work, particularly when transactions occur in-person through private dealers. While nations such as Italy and the United Kingdom have enacted copyright laws that extend to secondary market sales and ensure living artists benefit from the resale of their work, the United States does not recognize resale royalty rights (Salisbury, 2019). Despite efforts in Massachusetts, California, and New York, resalers continuously reap profits that original artists never see. For example, a prominent art collector, Robert Scull, sold Thaw, an original art piece by Robert Rauschenberg, for $85,000. Scull profited over ninety-five times what they paid during the original purchase. When Rauschenberg heard this news, he confronted Scull and demanded royalties for the time, effort, and creative genius poured into Thaw. Despite such efforts, royalty rights did not protect Rauschenberg’s work; Therefore, Scull did not legally owe Rauschenberg any money (Salisbury, 2019). In the United States art market, the concept of artists earning profits from secondary market sales is considered an “undue burden” that “weakens the market” (Salisbury, 2019). NFT marketplaces aim to transform the traditional art market and place artists in the driver’s seat. Popular selling platforms such as OpenSea require artists select the percentage of royalties they wish to receive from any resale before minting their work. While 5-10% is the standard royalties artists write into their smart contracts, this can range up to any percentage the artist sees fit (Gomezz, 2021). The royalty percentage selected is directly written into the smart contract of the NFT and automatically grants payments to the original artist with each subsequent sale in a secondary market (Gomezz, 2021). Once an artist mints an NFT, there is no option given to the original owner or future sellers to alter or edit its Smart contracts, thus protecting artists indefinitely. Perpetual royalties allow artists to earn passive income; Some NFTs, such as Mike Winklemann’s “Everydays - The First 5000 Days,” make millions of dollars in royalties (Gomezz, 2021). Blockchain attorney Pratin Vallabhaneni suspects, “over time, [artists] will deploy more finite terms on the life of their products... Whether that’s one year, twenty years, or perpetual. All of these issues will be customizable and platform-dependent” (Cohen, 2021). Overall, NFT smart contracts are changing the art market landscape and providing many opportunities for artists to gain well-deserved profits from their work. Introduction to NFTs // 22

NFT Copyright Laws Historically, digital artists have had difficulty keeping track of their Online copyrights. NFT smart contracts provide a much safer, easily-trackable method of protecting copyrights. NFT royalties are one option for digital artists to safeguard their work. In addition, smart contracts on the blockchain provide detailed attributes like “owner identity, metadata, and a safe connection” (Buterin, 2022, p. 249). However, blockchain attorney Vallabhaneni warns that NFT marketplace users must be cautious about terms they agree to and be aware of resales occurring on other platforms. Such conditions must be written into the smart contract, as some artists may allow their work to be transferred to other marketplaces while others prefer to keep their work on one sole platform (Cohen, 2021). It is vital for any digital artist to thoroughly understand the terms and conditions of NFT marketplaces and protect their work to keep it out of the wrong hands. Current platforms such as OpenSea, Nifty, Rarible, and SuperRare uphold a well-established verification process and continue to grow. It is also a fact that true collectors will only purchase works from reputable vendors to maintain transparency and legitimacy. Other techniques artists can implement to further protect their work range from watermarking original pieces to establishing “anti-distribution provisions in the event of a complaint” (Buterin , 2022, p. 249). Ultimately, decentralization helps prevent illegal distribution and fraud, as registered artworks cannot be tampered with on a blockchain network. At this point in time, NFTs are booming in popularity. However, it is still early days, and there is no total clarity on how NFTs fit into existing legal and regulatory frameworks (De, 2021). Despite the theoretical degree of safety associated with smart contracts, NFT artists and investors must recognize the number of unknown risks associated with this up-and-coming market (Buterin , 2022, p. 249). For example, there is the risk of “a 100 percent loss,” as NFTs have no inherent value and are “only worth what someone else would pay for it” (De, 2021). In addition, artists should consider minting on marketplaces that have established terms and conditions, such as NBA Top Shot, which prohibits the commercial use of NFTs purchased on their platform. In terms of copyright and intellectual property, there are laws that apply to NFTs and digital assets. Users who notice appropriated art can file Digital Millennium Copyright Act (DMCA) takedown requests or contact the marketplace itself and file such requests (De, 2021). Takedown notices must be filed to either the creator of the NFT or the platform facilitating the sale. Olta Andoni, an attorney with Zlatkin Wong LLC, states, “it is [ultimately] up to the platform to ensure that the rights between the artists and the creator still protect the artists’ rights,” (De, 2021). Hence, it is essential to be aware of your contractual and statutory rights and proceed minting or buying with caution. Introduction to NFTs // 24

NFT MARKETPLACES

25 // Introduction to NFTs

Introduction to NFTs // 26

Trending NFT Artists

Image (Left): Box. Image (Right): Cyan Glazed Stairs. Image Source: Peter Tarka. CryptoArt. (n.d.). Retrieved April 17, 2022, from https://cryptoart.io/artist/petertarka 27 // Introduction to NFTs

PETER TARKA Peter Tarka’s total artwork value is approximately $686,014.66 (221.684 ETH) as of April, 2022. Tarka has sold over 171 artworks and maintains clients like Apple, Samsung, Spotify, Adobe, Nike, and Bloomberg. Peter Tarka is a 3D visual artist who crafts mesmerizing visual experiences using bold color palettes and forms. Tarka designs sophisticated computer-generated imagery (CGI) that blurs the lines between reality and imagination. Tarka also incorporates natural materials like concrete, metal, and plants with imagined shapes, colors, and forms. These fantastical dreamscape compositions give ordinary and mundane objects a new life. Introduction to NFTs // 28

Image: Digital Rendering of Mars House. Image Source: Kim, K. (2022). Continuum. Times Square Arts: Continuum. Retrieved April 17, 2022, from http://arts.timessquarenyc.org/ times-square-arts/projects/midnight-moment/continuum/index.aspx

KRISTA KIM The contemporary artist, Krista Kim, founded the Techism movement in 2014. Kim explores “digital consciousness,” focusing on technology’s effect on “human perception, media, social structures, and communication.” Kim’s signature artistic language includes shifting gradients, meditative colors, light, and materials like glass and Plexi. Kim’s work ranges from the digital realm, in the form of NFTs, to the physical realm, in the form of exhibitions such as Time’s Squares display of Continuum, a visual meditation synchronized across 90 electronic billboards. Kim is best known for creating the first NFT digital house, “Mars House.” Introduction to NFTs // 30

Image (Left): Bubble House. Image (Right): Desert Villa. Image Source: Hugill, A., Klanten, R., Stuhler, E., &amp; Flanagan, R. (2020). Dreamscapes &amp; Artificial Architecture: Imagined Interior Design in Digital Art. Gestalten. 31 // Introduction to NFTs

CHARLOTTE TAYLOR The London-based designer, Charlotte Taylor, blurs the line of “what is rendered and what is existing.” (Hugill et. al, 2020). What drew Taylor to architecture was aesthetics, but found that designing environments was her real passion. Taylor has built a substantial following across social media and is known for her curved interiors that seamlessly blend her architectural designs into its natural surroundings. Mirrors and water offset the otherwise matte textures of her work, reflecting light and color across her renderings. Taylor’s designs appear realistic but teeter on the verge of a romantic utopia due to a few subtle details included in each piece. Introduction to NFTs // 32

Image: Winter House. Image Source: Reisinger Studio. (n.d.). Retrieved April 18, 2022, from https://reisinger.studio/

Image (Left): Complicated Drawer. Image (Right): Hortensia Chair. Image Source: Reisinger Studio. (n.d.). Retrieved April 18, 2022, from https://reisinger.studio/ 33 // Introduction to NFTs

ANDRES

REISENGER

Designers such as Andres Reisenger are known for designing “impossible furniture” and “dream spaces.” The Argentinian designer focuses on creating “impossible objects,” inspired by mundane objects like chewing gum and deflated balloons. Reisenger’s signature works explore pastel color palettes, surreal organic forms, and beautiful textures. From Reisenger’s “Hortensia Chair,” made up of over 20,000 digitally constructed fluttering flower petals, to the puffy and deflating metallic “Complicated Sofa,” Reisenger’s digital furniture appears realistic, yet built exclusively for rendered dreamscapes of the virtual world. Introduction to NFTs // 34

35 // Introduction to NFTs

YAMBO STUDIO Yam Ben Adiva is a multidisciplinary artist and creative director of Yambo Studio. Yambo Studio is a CGI -driven studio that creates vivid, whimsical graphics. Yambo Studio’s clients range from Nike to Apple, for whom they create dreamlike digital images and surreal environments. Adiva is also the co-founder of the NFT and digital collection ecosystem, Dissrup. Dissrup explores digital fashion and interactive world-building for the Metaverse. Image: Redmi 5. Image Source: Xiaomi Redmi 5. Yambo Studio. (2019, July 27). Retrieved April 17, 2022, from https://yambo-studio.com/work/xiaomi-redmi-5/ Introduction to NFTs // 36

Citations: Brittney. (2022, April 5). How Much is the Mona Lisa Worth in Euros? . Art Radar Journal . Retrieved April 14, 2022, from https://artradarjournal. com/2022/04/05/how-much-is-the-mona-lisa-worth-in-euros/ Buterin , G. (2022). Metaverse and NFTs Investing Bible: The Complete Guide for Beginners to Invest in Metaverse, Web 3.0, Crypto Art and Make a Ton of Money with Real Estate, Collectibles and Gaming Non Fungible Tokens. Cipher Volt--a Crypto Fashion Marketing Firm--Offers Blockchain Enthusiasts NFTs With Royalties: Besides t-shirts and other crypto branded merch, Cipher Volt offers innovative yield-bearing NFTs. (2021, Apr 27). PR Newswire https://link.ezproxy.neu.edu/login?url=https://www.proquest.com/wire-feeds/cipher-volt-crypto-fashion-marketing-firm-offers/docview/2518648025/se-2?accountid=12826 Cohen, J. (2021, June 18). How do NFT royalties work? TalksOnLaw. Retrieved April 17, 2022, from https://www.talksonlaw.com/briefs/how-do-nft-royaltieswork Coinbase. (n.d.). What is a non-fungible token (NFT)? Coinbase. Retrieved April 11, 2022, from https://www.coinbase.com/learn/crypto-basics/plp-what-isnft?utm_source=google_search_nb&utm_medium=cpc&utm_campaign=14578273644&utm_ content=125317688365&utm_term=what+are+nfts&utm_creative=580535268387&utm_device=c&utm_placement=&utm_network=g&utm_location=1018127&gclid=CjwKCAjwo8-SBhAlEiwAopc9W3T1_DhPb8KCGYKxVhfv34gk7eX75o93o2-TooXaETm5NwY-sujYjBoCmZQQAvD_BwE De, N. (2021, March 11). People Keep Tokenizing Other Users’ Art. Here’s How Artists Can Protect Their Work. CoinDesk Latest Headlines RSS. Retrieved April 17, 2022, from https://www.coindesk.com/tech/2021/03/11/people-keep-tokenizingother-users-art-heres-how-artists-can-protect-their-work/ De, N. (2021, March 9). State of Crypto: It’s Time to Talk About NFTs and Intellectual Property Law. CoinDesk Latest Headlines RSS. Retrieved April 17, 2022, from https://www.coindesk.com/policy/2021/03/09/state-of-crypto-its-timeto-talk-about-nfts-and-intellectual-property-law/ Gomezz, A. W. (2021, December 2). NFT royalties: What are they and how do they work? Cyber Scrilla. Retrieved April 17, 2022, from https://cyberscrilla.com/ nft-royalties-what-are-they-and-how-do-they-work/ Hugill, A., Klanten, R., Stuhler, E., &amp; Flanagan, R. (2020). Dreamscapes &amp; Artificial Architecture: Imagined Interior Design in Digital Art. Gestalten. Icons and Photos for Everything. Noun Project: Free Icons &amp; Stock Photos for Everything. (n.d.). Retrieved April 29, 2022, from https://thenounproject.com/ 37 // Introduction to NFTs

Kim, K. (2022). Continuum. Times Square Arts: Continuum. Retrieved April 17, 2022, from http://arts.timessquarenyc.org/times-square-arts/projects/midnight-moment/continuum/index.aspx Margins. (2021). How NFTs Transform the Art Market . YouTube. YouTube. Retrieved April 13, 2022, from https://www.youTube.com/watch?v=4Q7IMh9Pyuw. Martin, B. (2021, March 22). Can Stevie Nicks Stop Doggface from Selling an NFT? Los Angeles Magazine. Retrieved April 17, 2022, from https://www.lamag. com/article/nft-law-copyright/ Nadini, M., Alessandretti, L., Di Giacinto, F., Martino, M., Aiello, L. M., & Baronchelli, A. (2021). Mapping the NFT revolution: Market trends, Trade Networks, and visual features. Scientific Reports, 11(1). https://doi.org/10.1038/ s41598-021-00053-8 NDTV Business (Ed.). (2022, January 18). How are crypto coins different from tokens? NDTV.com. Retrieved April 13, 2022, from https://www.ndtv.com/business/ crypto-assets-whats-the-difference-between-coins-and-tokens-2714817#:~:text=%E2%80%93%20Simply%20put%2C%20a%20token%20represents,if%20not%20in%20this%20 form. Oliva, Hassan, A. E., & Jiang, Z. M. (Jack). (2020). An exploratory study of smart contracts in the Ethereum blockchain platform. Empirical Software Engineering : an International Journal, 25(3), 1864–1904. https://doi.org/10.1007/ s10664-019-09796-5 Peter Tarka. CryptoArt. (n.d.). Retrieved April 17, 2022, from https://cryptoart.io/artist/petertarka Salisbury, L. W. (2019, December 5). It’s Not That Easy: Artist Resale Royalty Rights and the Art Act. Center for Art Law. Retrieved April 17, 2022, from https://itsartlaw.org/2019/07/01/its-not-that-easy-artist-resale-royaltyrights-and-the-art-act/ Tapscott, D., & Tapscott, A. (2018). Blockchain Revolution: How the Technology Behind Bitcoin and Other Cryptocurrencies Is Changing the World. Penguin. Terry, & Fortnow, M. (2021). The NFT Handbook : How to Create, Sell and Buy Non-Fungible Tokens. John Wiley & Sons, Incorporated. Vigna, P., & Casey, M. J. (2015). The Age of Cryptocurrency: How Bitcoin and Digital Money are Challenging the Global Economic Order. Picador. Xiaomi Redmi 5. Yambo Studio. (2019, July 27). Retrieved April 17, 2022, from https://yambo-studio.com/work/xiaomi-redmi-5/ Introduction to NFTs // 38

39 // Introduction to the Metaverse

INTRO TO THE METAVERSE The concept of the Metaverse became a reality with the rise of virtual and augmented reality (VR & AR) technology, the accessibility of content creation, and the rise of social media platforms. Theorists have ranging views on how they see the Metaverse evolving; some are very hopeful for this future, while others are skeptical about the role of immersive media in our day-to-day lives. Some fear the Metaverse will become a dystopian, inescapable digital prison. The Utopian belief is the Metaverse will be yet another form of social media where individuals can meet up with friends, socialize, and play games. Chapter 3 discusses the relations between cryptocurrencies, NFTs, and the Metaverse and concludes by discussing virtual real estate and what this opportunity means for architectural designers.

Introduction to the Metaverse // 40

Wha t is t h e M e t a v Origins of the Metaverse: After gaining a general understanding of NFTs, one might be wondering how people display their virtual assets. Well, this is where the Metaverse comes into play. The “Metaverse” has no stark definition. It is a concept that is too new to define, but the term refers to the speculative transition in how society interacts with technology (Ravenscraft, 2021). Tim Sweeney, CEO and Co-Founder of Epic Games, describes the Metaverse as a “real-time 3D social medium where people can create and engage in shared experiences as equal participants in an economy with societal impact.” CEO and Co-Founder of NewZoo, Peter Warman, describes the Metaverse as “a destination where people can enjoy being a fan, a player, and a creator often simultaneously, maximizing engagement and therefore business potential” (Barbaro et al., 2022). The “Metaverse” started as a science-fiction term coined by Neal Stephenson, the author of “Snow Crash” (1992). Stephenson’s novel explores a world in which the economy has collapsed, and society transitions from the physical world into the Metaverse. This idea inspired “The Matrix” and “Ready Player One” (Barbaro et al., 2022). This Metaverse concept expanded throughout 2020 when gaming and virtual experiences became necessary platforms to communicate and socialize during lock-down periods. There are fully developed economies within the gaming industry as users spend “billions of dollars on virtual goods for their characters.” The vision of the Metaverse is similar but extends beyond gaming and into spheres such as the art market and social media.

Metaverse Drivers: The concept of the Metaverse became a reality with the rise of virtual and augmented reality (VR & AR) technology, the accessibility of content creation, the rise of social media platforms, the expansion of decentralized infrastructure, and advances in hardware and network infrastructures. Many improvements must continue to be made for the Metaverse to evolve into an experience similar to “Ready Player One” or “Snow Crash”; The development of VR and AR technologies, as described in Chapter 6, is gradually making this possible (Barbaro et al., 2022). Major companies such as Facebook (Meta), Walmart, Nike, and Disney are now major investors in the Metaverse. Microsoft recently acquired “Activision Blizzard,” the gaming studio that created “Call of Duty,” “Candy Crush,” and “World of Warcraft” (Barbaro et al., 2022). This deal is valued at almost 70 billion dollars and is considered the most significant acquisition ever in the gaming industry; Companies like Microsoft are willing to pay billions to realize the Metaverse (Barbaro et al., 2022; Robertson, 2021). Morgan Stanley is one of the many banks excited about Metaverse prospects as it is becoming the “next big theme” in investing (Robertson, 2021). 41 // Introduction to the Metaverse

verse ?

Introduction to the Metaverse // 42

UTOPIAN THERE ARE THREE THEORIES ABOUT WHAT THE METAVERSE WILL BECOME. THE UTOPIAN THEORY IS THAT THE METAVERSE WILL BECOME A DIGITAL OASIS. THIS SPACE WILL PROVIDE EXPERIENCES AND ADVENTURES THAT COULD OTHERWISE NOT BE POSSIBLE IN THE REAL WORLD. EVERYONE WILL BE ABLE TO ACCESS THIS SPACE, AND ESCAPE THEIR REALITIES FOR A FEW HOURS PER DAY, OR WHENEVER ONE WISHES TO MEET UP WITH FRIENDS, MAKE NEW FRIENDS, AND SOCIALIZE.

HYB

THE OUTCOME OF THE METAVERSE W THIS “UTOPIAN WORLD” WHERE YOU C OUTSIDE OF REAL LIFE. AT THE SAM RIENCE ADS FROM COMPANIES SUCH A THAT ARE CURATED TO YOU BASED ON BECOME A SPACE TO HOST ZOOM ME FRIENDS IN AN INTERACTIVE ENV WILL BE UTILIZED FOR A FEW HOU TIVE SIDE EFFECTS OF SOCIAL MED

BRID

WILL BECOME THE COMBINATION OF CAN EXPLORE AN IMAGINATIVE WORLD AME TIME, ONE WOULD LIKELY EXPEAS MICROSOFT, NIKE, OR FACEBOOK ON YOUR DATA. THE METAVERSE WILL EETINGS, SPEAK WITH FAMILY AND VIRONMENT, AND THIS TECHNOLOGY URS PER DAY. EXPERIENCING NEGAEDIA AND THE WEB IS INEVITABLE.

DYSTOPIAN THE METAVERSE WILL BECOME AN INESCAPABLE DIGITAL PRISON. NEW ROUTINES WILL INVOLVE WAKING UP IN THE MORNING, PUTTING ON A VIRTUAL REALITY HEADSET, AND ALL INTERACTIONS AND ASPECTS OF LIFE WILL REVOLVE WITHIN THIS SPHERE. ALL INTERACTIONS AND DATA WILL BE TRACKED, STORED, AND SURVEILLED. THIS WILL BE USED TO TARGET ADVERTISEMENTS AT YOU, OR BREACH YOUR DATA. THE PHYSICAL WORLD OUTSIDE THE METAVERSE WILL CRUMBLE. ISSUES SUCH AS CLIMATE CHANGE AND INEQUALITY WILL BE IGNORED.

Relations between the Metaverse, NFTs, and Cryptocurrencies: Cryptocurrencies, NFTs, and the Metaverse are separate entities that serve unique, individual purposes. However, these technologies and concepts do overlap and contribute to the growth of one another. To summarize, the Metaverse is a virtual world representing reality. NFTs are smart contracts representing unique digital items, and cryptocurrencies are fungible tokens such as Bitcoin that run on individual blockchains and allow for digital peer-to-peer transactions across the globe. The connection between NFTs and cryptocurrencies, as discussed in Chapter 2, is their dependency on blockchain technologies. The Metaverse also relies on blockchain technology to promote peer-to-peer transactions in virtual worlds. Existing Metaverse worlds such as Decentraland and The Sandbox support decentralization and user-control. Therefore, most Metaverses are constructed in Web3 on existing blockchains like Ethereum and utilize this technology to track transactions, thus increasing security in the increasingly globalized space (Metaverse, NFTs, and Crypto Tokens, 2022). Decentralization provides users complete control over their digital assets in the form of NFTs in the Metaverse. With rising investments in virtual land, blockchain technologies are more crucial than ever. Cryptocurrencies are money in the Metaverse; Each Metaverse has coins and tokens that users must obtain to pay for in-world assets such as land, real estate, NFTs, fashion items, avatar skins, and more (Metaverse, NFTs, and Crypto Tokens, 2022). Decentraland’s native token is MANA, and The Sandbox uses SAND. According to the Economic Times, the majority of Metaverse tokens “such as MANA and Sand, are ERC20 tokens, which do not have their own blockchains... everything behind the scenes is Ethereum” (Metaverse, NFTs, and Crypto Tokens, 2022). As most Metaverses are developed as decentralized apps (dApps) on the Ethereum blockchain, Ether is another acceptable form of payment in these digital worlds.

45 // Introduction to the Metaverse

Virtual Real Estate Investors in Metaverse Properties: The real estate market exploded in 2021 during the “post-pandemic” rush and rebound; Buyer demand in New York, Los Angeles, Boston, and Miami reached all-time highs in 2022, a trend that is not predicted to change any time soon (DiLella & Day, 2022; Ramsey Solutions, 2022). Another mysterious “land rush” emerged during the Covid-19 Pandemic – not in the real world, but in the virtual world. Land plots in virtual worlds saw a 500% increase in both price and demand once Facebook announced the change in its corporate name to “Meta” (DiLella & Day, 2022). Investors such as Mark Zuckerberg, founder of Meta, foresee the Metaverse as a continuation of social reality rather than a video game-like experience (Finney, 2022). With such projections of what the Metaverse will become, commercial real estate investors are seizing this opportunity to pour millions of dollars into virtual plots of land (Stassen, 2022). It might seem bizarre that investors are willing to spend millions of dollars on “land” that is not even tangible. However, real-time virtual spheres provide avatars opportunities to socialize, attend concerts, and even visit museums from the comfort of their home. In addition, while most Metaverse worlds such as Decentraland and The Sandbox currently function through web browsers, the long-term goal for companies such as Meta is to construct “360-degree immersive worlds, which people can access through virtual reality goggles” (DiLella & Day, 2022). Investors are gambling on their belief that virtual worlds will become “the new social media” and are willing to spend extensive amounts of money on virtual land in hopes of gaining enormous returns.

Land Value: Similar to the real-world real estate market, virtual land and properties range in value. Miami-based real estate broker, Oren Alexander, stated, “the digital world, to some, is as important as the real world,” and “just like property in the real world... the Metaverse is about three things: location, location, location” (DiLella & Day, 2022). Areas considered valuable in virtual worlds are typically close to hubs that receive heavy user traffic. For example, in Decentraland, the most expensive land plot called “Fashion Street Estate” is valued at 3.5 million dollars (Omelchenko, 2022). This land plot resides in Decentraland’s “Fashion District,” a region of the virtual map that plays a central role in virtual commerce. The Fashion District is renowned for selling virtual clothes and holding major Decentraland events like fashion shows (Omelchenko, 2022; Wan, et al., 2021). Furthermore, celebrities also influence the price and affluence of virtual neighborhoods; For example, Snoop Dogg purchased a virtual mansion in The Sandbox, which drove an anonymous NFT collector to spend $450,000 on its neighboring property (Hissong, 2021). 47 // Introduction to the Metaverse

Everyrealm is a company at the forefront of Metaverse real estate; The company describes itself as “placemakers” in the Metaverse, seeking to design and sell Metaverse destinations (Yorio et al., 2021). Investors including Coinbase, Polygon, and J.P Morgan back Everyrealm to realize events like “Metaverse Fashion Week” (MVFW) (Yorio et al., 2021). MVFW was a Decentraland event in March of 2022, where designers showcased virtual collections (Metaverse Fashion Week, 2022). MVFW included shows by Tommy Hilfiger, Dolce & Gabbana, DKNY, and Web3 brands such as The Mortiverse, The Sevens, and DeadFellaz. Fashion, music, gaming, sports, and film industries realize the Metaverse is an opportunity to expand their marketplaces and merge the physical with digital communities and economies (Stassen, 2022; Metaverse Fashion Week, 2022).

Everyrealm Villa Collection - Villa No. 3:

Image: Villa 3, Frostbite Villa. Image Source: Yorio, J., Kawamura, T. J., & Schwartz, J. (2021). Everyrealm . Everyrealm. Retrieved April 26, 2022, from https://everyrealm.com/partner Introduction to the Metaverse // 48

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Introduction to the Metaverse // 50

Case Study Zaha Hadid Architects: Architecture firms such as Zaha Hadid Architects have started to explore design opportunities in the Metaverse as investors continue “reserving and securing digital plots of land to build everything from virtual offices to shopping centers and even sports stadiums.” (Finney, 2022). While some view metaverse architecture as a prospect to make fast cash, top architectural designers also recognize the inevitable transition from Web2 to Web3 as an opportunity to push the bounds of creativity. Currently, ZH architects are designing the Web3 version of “Liberland,” a “micronation proposed by a libertarian Czech politician” (Finney, 2022; Urbi et al., 2022). Liberland Is the “cyber-urban city” that people may enter as a digital avatar and buy virtual plots of land using cryptocurrency (Finney, 2022). Patrik Schumacher, the principal architect of Zaha Hadid Architects, explains, “the ambition is for it to become the go-to site for networking and collaboration within the burgeoning Web 3.0 industry” (Finney, 2022). Schumacher’s goal is for Liberland Metaverse to become the template for this micronation’s “eventual physical presence” and boost parametricism, Zaha Hadid’s signature design style (Finney, 2022).

Image: Liberland Metaverse. Image Source: Finney , A. (2022, March 11). Zaha Hadid Architects Designs Virtual Liberland Metaverse City. Dezeen. Retrieved April 26, 2022, from https://www.dezeen.com/2022/03/11/liberland-metaverse-city-zaha-hadid-architects/ 51 // Introduction to the Metaverse

“

The design remains pretty much driven by the same social functionality criteria of organization, of aesthetics and logical orientation, but then the engineering side is obviously radically different. We use gravity as an orienting device – we don’t want to have things flying around in all directions and that gives us a certain stability. But we don’t have, you know, physical forces to deal with, so we have a new set of constraints, but they also have parallels. Even, you know, we really love curvature and we love the light to play on the curvature. So, this is expensive both in the physical world and in the virtual world because these geometries are more complex and harder to render... it’s quite curious what’s expensive in the physical world, also turns out to be expensive in the virtual world.

”

- Patrik Schumacher Introduction to the Metaverse // 52

Case Study Bjarke Ingels Group, BIG: The creative agency, Virtue Worldwide, hired BIG to design their Metaverse headquarters. the “central node in Virtue Futures’ global borderless team setup” (Vice Media Groou, 2022). The company aims to use this space for virtual briefings, presentations, and project demonstrations. In addition, the space incorporates exhibition rooms for showcases and digital experiments. The innovation lab serves to inspire other brands contemplating on moving into the Metaverse (Vice Media Groou, 2022). BIG utilizes parametric design methods, based on CAD software algorithms.

Image: Liberland Metaverse. Image Source: Vice Media Group Opens Metaverse HQ. BroadcastPro ME. (2022, February 28). Retrieved April 28, 2022, from https:// www.broadcastprome.com/news/vice-media-group-opens-metaverse-hq/ 53 // Introduction to the Metaverse

Image: Liberland Metaverse. Image Source: Kane, I. (2022, February 24). Vice Me-

dia Group Unveils HQ in Decentraland. DappRadar Blog RSS. Retrieved April 28, 2022, from https://dappradar.com/blog/vice-media-group-unveils-hq-in-decentraland

“

The creative opportunities within the Metaverse are hugely exciting, and as we’re already helping brands navigate this new space, it makes sense to have an office there ourselves. Working with the world-renowned architects at BIG, the vision has taken on a new reality... Vice has always been about being inside culture, going to places where our audiences are. This is a new frontier filled with potential and once again, we’re proud to be pushing the boundaries.

” “

- Nancy Dubuc & Morten Grubak, Vice Media Group

“We’re seeing massive interest from players big and small, but for a lot of the more entrenched actors, it’s more about saying you did it than actually involving themselves with our community. So it brings us great joy to see two such iconic organisations — BIG and Virtue — get their hands dirty with such earnest dedication.

”

- Adam De Carta, Head of Partnerships at Decentraland Introduction to the Metaverse // 54

Citations: Barbaro, M., Guillemette, D., Bonja, R., Krupke, E., Ploeg, L. V., Benoist, M., Chow, L., Powell, D., Lozano, M., & Ittoop, E. (2022, January 20). Microsoft and the metaverse. The New York Times. Retrieved April 25, 2022, from https://www.nytimes.com/2022/01/20/podcasts/the-daily/metaverse-microsoft-activision-blizzard. html Cointelegraph. (2022, March 28). What is Metaverse in Blockchain? A Beginner’s Guide on an Internet-Enabled Virtual World. Cointelegraph. Retrieved April 26, 2022, from https://cointelegraph.com/metaverse-for-beginners/what-is-metaversein-blockchain-a-beginners-guide-on-an-internet-enabled-virtual-world Decentraland. (2018, January 6). Scene Limitations. Decentraland. Retrieved April 26, 2022, from https://docs.decentraland.org/development-guide/scene-limitations/#scene-limitation-rules DiLella, C., & Day, A. (2022, January 12). Investors are Paying Millions for Virtual Land in the Metaverse. CNBC. Retrieved April 26, 2022, from https:// www.cnbc.com/2022/01/12/investors-are-paying-millions-for-virtual-land-in-themetaverse.html Finney , A. (2022, March 11). Zaha Hadid Architects Designs Virtual Liberland Metaverse City. Dezeen. Retrieved April 26, 2022, from https://www.dezeen. com/2022/03/11/liberland-metaverse-city-zaha-hadid-architects/ Hissong, S. (2021, December 7). Someone spent $450,000 for ‘land’ next to Snoop Dogg’s NFT House. Rolling Stone. Retrieved April 26, 2022, from https://www.rollingstone.com/culture/culture-news/sandbox-decentraland-virtual-land-sales-soarmetaverse-nfts-1267740/ Icons and Photos for Everything. Noun Project: Free Icons &amp; Stock Photos for Everything. (n.d.). Retrieved April 29, 2022, from https://thenounproject.com/ How to: From Blender to Somnium Builder. Somnium Times. (2021, September 5). Retrieved April 26, 2022, from https://somniumtimes.com/2021/09/05/how-to-fromblender-to-somnium-builder/comment-page-1/ Kane, I. (2022, February 24). Vice Media Group Unveils HQ in Decentraland. DappRadar Blog RSS. Retrieved April 28, 2022, from https://dappradar.com/blog/vicemedia-group-unveils-hq-in-decentraland Omelchenko, D. (2022, January 7). Virtual Land: The Cost in Decentraland Just Blew Past $3.5m. BeInCrypto. Retrieved April 26, 2022, from https://beincrypto. com/the-cost-of-virtual-land-in-decentraland-just-blew-past-3-5-million/#:~:text=According%20to%20DappRadar%2C%20punters%20will,in%20the%20Decentraland%20 blockchain%20game.&text=The%20most%20expensive%20site%20in,m%20in%20the%20MANA%20 altcoin Metaverse Fashion Week ‘22. Metaverse Fashion Week. (2022). Retrieved April 26, 2022, from https://metaversefashionweek.com/ 55 // Introduction to the Metaverse

Metaverse, NFTs, and Crypto Tokens: Here’s Why Investors Should Know About Their Relation. The Economic Times. (2022, February 3). Retrieved April 26, 2022, from https://economictimes.indiatimes.com/markets/cryptocurrency/metaverse-nfts-andcrypto-tokens-heres-why-investors-should-know-about-their-relation/articleshow/89320390.cms?from=mdr Ramsey Solutions. (2022, March 31). Housing Market Predictions 2022: Will it Crash or Boom? Ramsey Solutions. Retrieved April 26, 2022, from https://www.ramseysolutions.com/real-estate/housing-market-forecast Ravenscraft, E. (2021, November 25). What is the Metaverse, Exactly? Wired. Retrieved April 25, 2022, from https://www.wired.com/story/what-is-the-metaverse/ Robertson, H. (2021, December 7). Jefferies Predicts the Metaverse will be the Biggest Disruption to How We Live Ever Seen, as Wall Street Gets Excited about Virtual Worlds. Business Insider. Retrieved April 25, 2022, from https://markets. businessinsider.com/news/stocks/metaverse-investing-wall-street-jefferies-landsales-sandbox-crypto-nfts-2021-12 Somnium Space. (2018, June 22). Everything You Need to Know About Buying Land Parcel in Somnium Space. Medium. Retrieved April 26, 2022, from https://somniumspace.medium.com/everything-you-need-to-know-about-buying-land-parcel-in-somniumspace-4f66d18c1a73 Stassen, M. (2022, February 10). Nas and Lil Baby-Backed Metaverse Firm Everyrealm Closes $60m Funding Round Led by Andreesen Horowitz. Music Business Worldwide. Retrieved April 26, 2022, from https://www.musicbusinessworldwide.com/ nas-and-lil-baby-backed-metaverse-firm-everyrealm-closes-60m-funding-round-ledby-andreesen-horowitz12/#:~:text=The%20firm%2C%20led%20by%20CEO,led%20by%20a%20 female%20CEO. The Sandbox. (2020, June 29). The Sandbox Tokens: Lands. Medium. Retrieved April 26, 2022, from https://medium.com/sandbox-game/the-sandbox-tokens-lands-730b36217070#:~:text=LAND%3A%20The%20basic%20sandbox%20unit,the%20combination%20of%20multiple%20LANDS. Urbi, J., Casey, J., & MacAree, G. (2022). These Architects are Building the Metaverse. YouTube. Tomorrrow’s Build. Retrieved April 26, 2022, from https:// www.youTube.com/watch?v=tc_ofY5WFw8&ab_channel=Tomorrow%27sBuild. Vice Media Group Opens Metaverse HQ. BroadcastPro ME. (2022, February 28). Retrieved April 28, 2022, from https://www.broadcastprome.com/news/vice-mediagroup-opens-metaverse-hq/ Wan, S., Jafri, A., Clarke, A., Shawdagor, J., Wright, L., Adejumo, O., Dobos, L., Gibbons, L., & Malwa, S. (2021, November 25). Fashion Street Estate in Decentraland Purchased for 618,000 Mana in Record Breaking Sale. CryptoSlate. Retrieved April 26, 2022, from https://cryptoslate.com/fashion-street-estate-in-decentraland-purchased-for-618000-mana-in-record-breaking-sale/ Yorio, J., Kawamura, T. J., & Schwartz, J. (2021). Everyrealm . Everyrealm. Retrieved April 26, 2022, from https://everyrealm.com/partner Introduction to the Metaverse // 56

57 // Virtual Architecture

VIRTUAL ARCHITECTURE Chapter 4 looks into methods and constraints designers must consider when designing virtual architecture for the Metaverse. Viewing a building through virtual reality goggles is an entirely different experience than walking through a building in real life. While many of the same design principles of the real world still apply to virtual buildings, there are more opportunities to be creative and design beyond what is possible in the real world. The Metaverse has no gravity, building code, or ADA compliance. You can design floating platforms, underwater buildings, and virtual portals – the possibilities are limitless!

Virtual Architecture // 58

What is Virtual Archi Definition:

Virtual architecture is “the well-designed arrangement of virtual space for a speci Many question how virtual architecture becomes separate from game design, and the tr thinking like a game designer when creating virtual architecture. While there must be er’s interest in exploring virtual worlds, this is not a virtual architect’s main goal have a completely different role than virtual architects as their goal is to chase the Virtual architect, Alex Coulombe, describes game design as a “fast food restaurant e design a “five-course meal” (AEC Magazine, 2022). Game designers rarely intend for more than a few minutes. The hope for having more architects involved in Metaverse ev opportunities to take time appreciating their surroundings rather than “clicking 100 For virtual architecture to be taken seriously, designs require specific functions an occupy that space together. Ultimately, every space should encourage intentional kin

Image Source: Ltd, T. S. (2020, February 1). Virtual reality uses in architecture and Design. Medium. Retrieved April 18, 2022, from https://medium.com/studiotmd/virtual-reality-uses-in-architecture-and-design-c5d54b7c1e89 59 // Virtual Architecture

itecture?

ific use-case” (AEC Magazine, 2022). ruth is that it is essential to begin e interactive elements to pique a usl (AEC Magazine, 2022). Game designers e attention span of users constantly. experience,” while virtual architects r users to pause and view spaces for volution is that users will find more 0x per second” (AEC Magazine, 2022). nd programs to drive users to want to nds of behavior.

Virtual Architecture // 60

Architectural Psychology Pablo Picasso is attributed to saying, “learn the rules like a pro so you can break them like an artist” (AEC Magazine, 2022). Currently, most spaces in the Metaverse are yet to be designed by architects who understand the rules of spatial development. Most decentralized Metaverses at present consist of arbitrary works created by “hobbyists” or developers that do not come from any formal design training (AEC Magazine, 2022). Several problems arise from this fact. First off, Metaverses such as Decentraland are littered with buildings that serve no specific functions; Wealthy hobbyists are quite frankly taking up expensive plots of virtual land that could instead be commissioned to trained designers who intend to develop useful, productive environments (AEC Magazine, 2022). Second, most hobbyists lack an understanding of architectural psychology. Architectural psychology is an integral part of every architect’s training (AEC Magazine, 2022). For example, architects learn how users progress through spaces, how environments encourage specific behaviors, and why different materials, compositions, and scales evoke distinct feelings. The psychological and behavioral characteristics of the built environment range from considering emotional reactions, user well-being, user needs, spatial orientation, place attachment, place identity, and stress factors (Flade, 2021). Several phenomena exist within architectural psychology, such as the Prospect-Refuge and Habitat theories. Jay Appleton proposed such theories to explain why balanced, enclosed environments satisfy basic human psychological needs because they are reminiscent of factors that shaped human evolution. This theory explains why some environments feel secure, safe, and comfortable while others feel dangerous, claustrophobic, or uncomfortable (Dawes & Ostwald, 2014). Skeuomorphism is another phenomenon that explains why designers must incorporate familiar, real-world elements into their digital designs (AEC Magazine, 2022). It makes users more comfortable or likely to engage with a product, feature, or design. While virtual architects need to take advantage of freedoms within the digital space, it is helpful to incorporate elements that people find familiar. Manipulation of color, light, materiality, or compression and release are all tools within an architect’s design toolbox (AEC Magazine, 2022). As architects come to design virtual architecture, it is vital to apply the same considerations for designing aesthetically pleasing and functional spaces that one would include in the real world.

61 // Virtual Architecture

Diagram: Perceptions of Interior Space. Diagram Source: Souza, E. (2020, March 9). How Colors change the Perception of Interior Spaces. ArchDaily. Retrieved April 18, 2022, from https://www.archdaily.com/935067/how-colors-change-the-perception-of-interior-spaces Virtual Architecture // 62

VR/AR Technology VR/AR Experience Classifications: The psychology of why humans prefer different spatial experiences over others extends from the real world into the virtual world. Virtual architects must consider additional considerations: the rise of Virtual Reality and Augmented Reality technologies and how each device provides unique user experiences. Such experiences range from non-immersive simulations to fully immersive simulations (AEC Magazine, 2022).

Non-Immersive: Several virtual reality simulations are readily available or scheduled for release. “Non-immersive” virtual reality simulations include video games and browser worlds that rely on a computer or video game console, display, and input devices like keyboards, mice, and controllers (Heizenrader, 2019). Newer consoles, for example, the PlayStation 4 Pro and the Xbox One S, can output in 4K resolutions (Heizenrader, 2019). The quality and resolution of more highend technology adds to the user’s sense of immersion.

Semi-Immersive: Semi-Immersive experiences rely on VR and AR hardware such as the HTC Vive and Oculus Rift. Such systems include head-mounted displays like goggles or headsets and allow users to interact in the virtual environment with controllers or joysticks (Heizenrader, 2019). Semi-immersive experiences provide users with a more advanced level of interaction in a virtual environment, complete with sight and sound (Heizenrader, 2019). Semi-immersive experiences require users to divide their attention between the virtual and real worlds. Therefore, developers have started to imagine the potential for fully-immersive VR (Vihaan, 2021).

Fully-Immersive: Movies such as Ready Player One begin to imagine a “full-dive virtual reality experience,” where the user disconnects from physical reality, and all five senses become immersed in the virtual world (Vihaan, 2021). Full Dive VR will require a full-body tracking and haptics approach so users may feel their sense of touch in the virtual world and interact with virtual objects. For the past seven years, Meta has been devising a “haptic glove” to bring the sense of touch into augmented or virtual realities (Vihaan, 2021). While the haptic glove’s development still has a long way to go, the companies bHaptic and Tesla have already developed haptic suits. The “Teslasuit” utilizes “electro-therapy based muscular stimulation and can simulate sensations of heat, shock, wind, cold, and vibration-based impacts.” The company bHaptics also 63 // Virtual Architecture

offers haptic wearables from torso vests to head cushions. With such technologies already under development or on the market, it is likely that the option to interact inside “full-dive virtual reality” will become society’s reality within the next twenty years (Vihaan, 2021).

Alleviating VR Side-Effects and Symptoms: Certain types of virtual reality devices may trigger balance disorders, postural instability, and even nausea due to the number of mixed signals sent to a user’s brain at one time (Stephan & Elder, 2021). Users’ brains perceive them to be moving through space, even if their body is physically stagnant. Physical symptoms brought on by virtual reality technology typically subside after a few hours (Stephan & Elder, 2021). However, virtual architects must consider which design elements trigger or exacerbate these sensations. Users typically feel severe reactions to excessive motion in the periphery, unnecessary screen, and head movement, or excessive flickering and motion blur (Stephan & Elder, 2021). To avoid these triggers is best for objects and lights to remain stagnant or move at a reasonable pace. Rapid tilting, rolling, and bouncing objects may cause eye strain, while lens tilting, spinning, or flipping can distort a user’s balance (Stephan & Elder, 2021). It is also essential that virtual architects design so physical sensations match the visual stimuli (Stephan & Elder, 2021). Incorporating stable focus points or backgrounds within a design allows users to lock their eyes on reference points, particularly during fast-paced experiences (Stephan & Elder, 2021). Designers must also minimize the feeling of floating, which typically occurs when enclosed elevators or platforms move too quickly or lack reference points. Furthermore, lighting and camera motion are critical design components. Scenes must not be too bright, and artificial lights must not flicker or change color too rapidly (Stephan & Elder, 2021). It is best to keep camera heights at eye level unless the user chooses to explore in “fly mode.” Providing the option to zoom in and out may trigger nausea and inconsistent object closeness. Overall, applying real-word physics to the virtual world alleviates disorientation and disassociation.

Non-Immersive

Semi-Immersive

Fully-Immersive Virtual Architecture // 64

Beyond Constraints Creative Freedom: Despite the aforementioned constraints of designing for virtual and augmented reality, the Metaverse provides virtual architects with limitless opportunities for creative freedom. In the current state of VR technology, virtual architects must only design for two senses: sight and sound. Structural and material limitations do not restrict the Metaverse, and there is no sense of gravity to determine how objects should interact (AEC Magazine, 2022). Elements can float, and portals can transport avatars. There is no weather in the virtual sphere, meaning buildings do not have to be entirely enclosed. Virtual architects take a design approach that reverses all guidelines architects typically consider, from building codes and ADA compliance to environmental and structural systems. Designing in the Metaverse is a way architects can realize “Paper Architecture,” the term used to describe imaginative projects that are not intended to be built but provide a theoretical framework to challenge society’s notions of what architecture can and should be (AEC Magazine, 2022). This term was coined in the 1980s by a group of students from the Moscow Architectural Institute in Russia who designed utopian, dystopian, and fantasy projects that challenged Russian architecture of the 20th Century (Wolfe, 2014). Virtual architects now have the opportunity to revive these historical projects and create new utopian or dystopian projects that restrictions of the real world otherwise prevent from being built.

Image: New Babylon (1963). Diagram Source: New Babylon (1963). Drawing Matter. (2015, September 3). Retrieved April 19, 2022, from https://drawingmatter.org/constants-new-babylon/ Virtual Architecture // 66

Citations: AEC Magazine. (2022). Alex Coulombe - An architect in the Metaverse: social Vr, NFTs, and new opportunities - Nxtbld 2021. YouTube. YouTube. Retrieved April 17, 2022, from https://www.youTube.com/watch?v=ulJaAzDqn9w&ab_channel=AECMAGAZINE. Buterin, G. (2022). Metaverse and NFTs Investing Bible: The Complete Guide for Beginners to Invest in Metaverse, Web 3.0, Crypto Art and Make a Ton of Money with Real Estate, Collectibles and Gaming Non Fungible Tokens. Dawes, & Ostwald, M. J. (2014). Prospect-Refuge theory and the textile-block houses of Frank Lloyd Wright: An analysis of spatio-visual characteristics using isovists. Building and Environment, 80, 228–240. https://doi. org/10.1016/j.buildenv.2014.05.026 Flade. (2021). Compendium of architectural psychology : on the design of built environments. Springer. https://doi.org/10.1007/978-3-658-34917-2 Icons and Photos for Everything. Noun Project: Free Icons &amp; Stock Photos for Everything. (n.d.). Retrieved April 29, 2022, from https://thenounproject. com/ Knight, S. (2021, November 16). Meta Wants to Bring the Sense of Touch to Augmented and Virtual Reality. TechSpot. Retrieved April 19, 2022, from https:// www.techspot.com/news/92248-meta-wants-bring-sense-touch-augmented-virtual-reality.html New Babylon (1963). Drawing Matter. (2015, September 3). Retrieved April 19, 2022, from https://drawingmatter.org/constants-new-babylon/ Stephan, A., & Elder, A. (2021, April 16). VR motion sickness: How to design virtual reality training for mitigation and prevention. Training Industry. Retrieved April 19, 2022, from https://trainingindustry.com/articles/ learning-technologies/vr-motion-sickness-how-to-design-virtual-reality-training-for-mitigation-and-prevention/ The 3 Types of Virtual Reality. Heizenrader. (2019, November 20). Retrieved April 29, 2022, from https://heizenrader.com/the-3-types-of-virtual-reality/ TMD STUDIO. (2020, February 1). Virtual Reality Uses in Architecture and Design. Medium. Retrieved April 19, 2022, from https://medium.com/studiotmd/virtual-reality-uses-in-architecture-and-design-c5d54b7c1e89 Vihaan, Y. (2022, January 15). Is full Dive VR Achievable in the Next 10 Years? 3drific. Retrieved April 19, 2022, from https://sites.psu.edu/ist110pursel/2021/12/12/is-full-dive-vr-achievable-in-the-next-10-years/ 67 // Virtual Architecture

Virtual Architecture // 68

69 // Expert Spotlight

EXPERT SPOTLIGHT In the initial stages of this research, it was necessary to join Discord and Telegram communities to stay up to date on new information regarding architecture in the Metaverse. Telegram groups such as “Metaverse Summit” introduced me to hundreds of Web 3.0 experts, and several members became interested in this research and decided to contribute their knowledge to this research. I conducted several interviews between February and March of 2022 to hear more from experts in the field. The following section provides transcripts of conversations held with Fatemeh Monfared, Frederic Ramet, Anapet. art, and Ethan HudHud. Each participant is either an NFT artist, Metaverse architect or Web3 expert. Such conversations guided this research and opened my eyes to career prospects beyond what I thought possible.

Expert Spotlight // 70

FATEMEH MONFARED INTERVIEW 02.07.2022 I was fortunate to speak with Fatemeh Monfared, company founder of SpacesDAO, to discuss all things “Metaverse.” Fatemeh studied architecture at the Polytechnic School of Madrid, and immediately began exploring Web3 after obtaining her master’s degree. Fatemeh describes herself as “crypto-native”; She began exploring the space in 2017 and was surrounded by crypto and blockchain influence throughout University. Fatemeh began her career as a freelancer, minting NFT collections on platforms such as OpenSea. Soon after, Fatemeh started designing 3D structures in the Metaverse for friends who owned land in Decentraland. Quickly, Fatemeh began receiving commissions for 3D work. As her number of clients grew, Fatemeh built a team, and founded the Metaverse architecture firm, Spaces.

How much time a d No? That’s exact I always hear, ‘ taken over your attached to soci – it’s the futur

Image Source: Whirlpool Galaxy. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/whirlpool-galaxy/ 71 // Expert Spotlight

“

day do you spend on Instagram? Probably a few hours – at least. tly what I answer to a lot of people who are scared about it. ‘oh man it’s going to take over my life.’ Well, it has already life. This is just a new version of it... You are very much ial media and technology. This is the next step of technology re of Internet, and that’s how I view it.

”

Expert Spotlight // 72

Image Source: Home. SPACES. (n.d.). Retrieved April 26, 2022, from https://spacesdao.xyz/

Spaces, based in Madrid, is “an inclusive creative collective of artists and architects, dedicated to the design of tailored spaces and experiences for the Metaverse.” Spaces has a team of Metaverse experts who consult on virtual real estate, work on in-game development projects, create animations, and design 3D models. Spaces provides services for Metaverse market analysis, map analysis, and land analysis, to help clients determine the best “Metaverse strategy” for their company. 73 // Expert Spotlight

Fatemeh has been in the business for several years, and was kind enough to sit down with me over zoom and share her expertise. I was particularly interested in how she began her career, how she views the future of the Metaverse, and what advice she would give to entry-level Metaverse designers. We also discussed how to construct a 3D model so that it would be compatible with Metaverse usage, and which softwares are best and most accessible for this purpose. Expert Spotlight // 74

Image Source: The Triangulum Galaxy. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/the-triangulum-galaxy/

How would you recommend student designers become involved with Web 3.0 and the Metaverse? “I think my case is the perfect example of this transition because I went to the Polytechnic School of Madrid. As soon as I finished my master’s, I immediately explored the space. It is a big job; it is not something that happens suddenly. I was very active in the space in 2017 and was also just surrounded by crypto influence and blockchain influence. That’s what made that leap a lot easier, and I understand that it takes time to understand how the crypto space works for a lot of people. Also, I wouldn’t recommend someone get into it directly off of school without any background knowledge of the crypto space. There are a lot of scammers in the space; there are a lot of traps that you can fall into, so being crypto-native is quite essential, at least when you’re starting. It’s necessary to understand how to manage 75 // Expert Spotlight

crypto assets, which is basically how you would earn in these spaces. Most of the time, the earnings are just through crypto. There’s no other way to earn in these spaces. With NFTs, you would probably earn Ethereum (if you’re on the Ethereum blockchain, which most NFTs are). Depending on what other platform you’re on, you would probably be earning cryptocurrencies anyway. So, being able to manage that and being able to work that out is very important. In the Metaverse, it’s pretty much the same. For us (Spaces), we’re doing Metaverse architecture. You still have to be able to manage crypto even if you’re working with companies that are established in the real world... They are not willing to pay for your services in fiat; they’re paying for all the services in the space through crypto. So that’s essential; That’s

number 1. From then on, it’s really important to research the industry and the market because a lot of times, what happens is someone just directly brings in what they would design normally into the space. I don’t think that works 100%. It’s better to start researching what is on-demand and what people are looking for. Right now, there is a huge demand for architecture skills, and there are two platforms called, Metamundo and Renovi that are specifically for architecture. They are completely focused on architecture files, and what they’re doing differently from other marketplaces is that they allow architects to upload larger file sizes. For example, if you want to mint an NFT on OpenSea, you can mint a 3D model, but the file variations one can upload are very limited (I think you can only upload a GLB file). Also, the limits on file sizes are super constraining. You can’t import a really large file size, which normally, as architects, we have big file sizes. And so what I think is really interesting and unique about Renovi and Metamundo is that both of them are focused on increasing the file size to host architecture student models and also to give a bigger variation of file extension formats that you can upload. The third point is that Renovi and similar platforms make your models Metaverse-ready for you; They allow the person that acquires your 3D model to deploy it on the Metaverse that they’re on. So let’s say I have a land in Decentraland, one of the top Metaverses, and I want to build something on it. But, I don’t really have enough capital to pay for someone to design it specifically for

my needs – I just want to go quickly to a marketplace, download a 3D model of a space that I like, and put it on my land. I would go to Renovi or Metamundo. There will probably be many more similar companies in the future, but currently, these are the only two marketplaces focused on sharing architecture files. I’m sure there will be many more platforms coming out in the future. This is one way I think architecture students could be involved. Students do so many projects throughout University, but what happens to that work after graduating? There are so many years that you worked, that you have spent creating, and you are talented. A lot of that talent just becomes wasted; You can’t monetize on that work until you’re at a firm creating new designs. The designs you create throughout your University experience require time and effort on your side. I think students should be able to monetize off this work and kick start their career.”

Image Source:

The Triangulum Galaxy. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/the-triangulum-galaxy/

Expert Spotlight // 76

How would you suggest entry-level designers develop business strategies to sell NFTs? For NFTs, what I would think to do is to research the market. See what’s out there. There are too many renders of spaces that are beautiful. I don’t know... Like Peter Tarka. But it’s very much overdone. I would try not to go on the same path, and I essentially advise NFT artists to figure out their style and define it from the beginning. Then, check which collectors are looking at those artworks. If you’re getting into the field as an architect and as an NFT artist, I’m

assuming you’re going to start as a one-on-one NFT artist, meaning you’re not planning to do a collection of 10,000 artworks. You’re probably just going to do one piece every now and then. But either way, you want to look at who’s collecting those artworks because that’s basically your target audience. You could follow them and see how they’re engaging with the artists they’re collecting from. You can check that out on Twitter and Discord; It’s so important.

What is Proof of Stake versus Proof of Work? Why is one more sustainable than the other? The blockchain is a decentralized system of verifying transactions, which makes it secure. There are two methods to verify transactions. It’s 1. By computational power (Proof of Work or PoW), and then there’s proof of stake (PoS). PoS utilizes a staking pool to verify the transactions. Proof of Stake is a more sustainable option because it doesn’t require computational power to run and work as a blockchain. In the Proof of Stake, for example, you would have Polygon, Solana, and all of these other smaller chains. These chains would have no gas fees or very minimal gas fees. Why? Because it takes less energy to verify the transactions that they’re doing. With Ethereum, which is PoW, there are so many transactions that are happening simultaneously, and its system is based on computational power. It is more costly to get each transaction approved. Gas fees are constantly changing, so depending on 77 // Expert Spotlight

the number of transactions that have to be proved at one moment or the flow of transactions at that moment, the gas fees get higher or lower. For example, if there are millions of transactions happening right now in this hour, Ethereum is more costly because it takes more energy for machines to prove the transactions. If there are fewer transactions are happening at one moment on the blockchain of Ethereum, then the gas fees become lower. There is a website called Gasnow. org, where you can search for the variation in gas prices throughout the day, during the week, and during the month. One of the things I first did when minting NFTs was to find the best moment to mint NFTs that typically, according to these charts and studies, are the cheapest. There are moments throughout the day when it always costs more to mint NFTs because gas fees are higher. You can study that trend on these platforms.

Image Source: The Milky Way. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/the-milky-way/

What are tokens, and why different tokens and coins have varying “gas fees?” How volatile are different tokens? You have tokens similar to Ethereum and Bitcoin, the top coins. Then, you have “Altcoins,” which are groups, companies, or individuals raising funds to support their startup projects. They get people involved in their project by using “tokens.” Buying tokens is similar to buying stocks at a company. Tokenomics is the study of how tokens are being distributed and how they’re being managed. I think a lot of tokens are just cash grabs. Companies might use altcoins to raise funds, but if they don’t really sustain their work or the company does not grow, then the token immediate-

ly goes to the market and crashes. Each Metaverse platform has its own tokens. You can use them if you choose, but you don’t need to have their specific tokens. For example, Decentraland has Mana, and Sandbox has Sand. I have not acquired Sand nor Mana, and you don’t necessarily need to acquire the currency of a specific platform in order to do something in it. You can design within them without owning any Sand or Mana, but if you want to -- for example -- buy something directly in-game, or you want to engage with something inside the game as a user, you may need to have that currency. Expert Spotlight // 78

What are the different softwares architects and 3D modelers depend on when building for the Metaverse? Is there a range of graphic styles used throughout the Metaverse? give lectures here at the architecture universi ty to students who want to know more about this space. In this presentation I divide the Metaverses into 3 graphic styles.

“

You have graphics that are voxel-based, such as cryptovoxels and The Sandbox. With voxel-based work, there are no limits to polygons, but you have to use specific programs and their own in-built programs to design. These programs, such as magicalvoxel, have “build there” and “box edit” features, so to design, you stack boxes on top of each other like legos to create spaces. The second style is more realistic, like what you would see in Decentraland or Somnian Space. These platforms are very compatible with 3D modeling programs that we normally use as architecture students. However, there are also a lot of limits. Depending on the size of the land that you own, you have a limit of polygons, a limit of height, a limit of how much you can build, and also, you have to consider the dimensions of the plot you own. The minimum plot size on Decentraland is around 16x16 meters. This is very small, right? So these limits do kind of block you creatively. At

79 // Expert Spotlight

least that’s what I experienced with Decentraland. I was so limited with space and dimensions that I couldn’t be creative...But, I mean, that’s kind of taken off the table if your client owns a bunch of lands and you can just be as creative as you want – you have higher limits. The third style is hyper-realistic. Some platforms are based on Unity or Unreal engine, which is very, very realistic. Architects, where we are right now, have been trained with skills for the middle category of Metaverses. We don’t really know how to do voxels, but the middle is somewhere we are very capable of. Unreal Engine and Unity are not skills that we use much as architects, but they are the future of the Metaverse, in my opinion. Blender is a program that everyone uses in this space. Blender is open source, so you have a lot of resources over the Internet on how to use it. Blender is free to use as well...Rhino isn’t. You have to pay a lot of money to use Rhino, so that’s why I think Blender is a software that is very much loved and appreciated in the space. Cinema 4D is really great as well, but that’s more used for creating short animations.

“

VOXEL-BASED ARTIST: JOANA NGAI

Voxel-Based models are the “first tier” of graphics described by Monfared. Voxels are 3D pixels that can be stacked and arranged to create models. The disadvantages of building voxel-based models is that they look unrealistic and it is difficult to construct complex objects using voxels

REALISTIC RARIBLE DECENTRALAND HQ

Architects are trained to use programs such as Rhino, Revit, and Sketchup. The problem with designing for the Metaverse using these more advanced platforms is that polygon counts become high. Large file sizes are expensive to mint on most Marketplaces.

HYPER-REALISTIC ZAHA HADID ARCHITECTS RENDER

Architects are somewhat excluded from designing hyper-realistic models unless they choose to learn Blender, Unity, or Unreal Engine. Hyper-realistic modeling is the future of the Metaverse according to Monfared.

Expert Spotlight // 80

What is it like to own a business in this space? “It’s really crazy because things move so fast in this space. I didn’t just wake up one day and decide I am doing my own business. You have to give it the time and effort it needs to take shape. I initially started freelancing by myself, just doing some NFT collections here and there, and then dabbled in different experiences. I was just trying to figure out how it all works because I believe you learn by doing. I said to myself, “OK, I need to figure out how NFTs work, so I’m going to research, and then I’m going to mint my own NFT.” I just did a bunch of things like that. I soon made friends who owned land on a variety of different platforms, and I started designing on those lands to see what that experience was like. All of these platforms have their own builder programs, so you can’t directly transfer 100% of your skills to the Metaverse. You have to learn along the way and adapt. The best thing I did was learn to put a design I created in Rhino into Decentraland. The first time I went into the Decentraland game to view my design, I quickly realized I could literally walk through the walls. I was like, “Oh no! It didn’t recognize my walls!” I didn’t know this at the time, but I had to put colliders on a layer to realize those walls as objects. For the stairs, I realized instead of creating colliders for each step, you would draw a ramp, so that’s why it looks so strange when you are walking up the stairs in Decentraland because it doesn’t look like you are walking upstairs; it looks like you’re flying - That’s just because instead of the shape of the stairs you have a ramp. 81 // Expert Spotlight

So, you have two layers to your design. You have a 3D model design, and then you have colliders that help you move within the space. Colliders are transparent and solid surfaces. You don’t see this layer, but you make them so that everything is solid and you can’t walk through your model. For the business, it started with me just making all those efforts. Soon, I started getting a lot of commissions to do projects in the Metaverse, and at a certain point, it just got way too overwhelming. I had to make the team! I thought to myself; I should do a business out of this because I have so many clients, and I can’t handle a lot of this by myself. So, I created Spaces; we’ve been active for around two months now.

Image Source: Spaces’s Instagram Profile. (n.d.). Retrieved April 27, 2022, from https://www.instagram.com/spacesdao/

What projects do clients come to you with? How much creative freedom is there? We’ve been so lucky! We get to be so creative! We’ve done enormous concert spaces, commissions for art galleries, and other projects that are just really fun to design. The people behind these commissions are also artistic, so the process of designing with them is very smooth. They imagine their dream space because building in the Metaverse is so different from building in the real world. A lot of limits are broken, so you have to be super creative as the architect. Some clients would come to us and say, “Hey, we have this building in the real world, and we’d like it to be in the Metaverse. I would say no to that request. We need to be really strict on this because if we’re

Image Source: Spaces’s Instagram Profile. (n.d.). Retrieved April 27, 2022, from https://www.instagram.com/spacesdao/

creating a whole new world from scratch, we have to make it better, we have to be creative, and we have to question a lot of things. My avatar, my identity in the Metaverse, does not need a bathroom, does not need a kitchen, or does not need sleep. I need to rethink the rules of architecture and design within that space and question what is important about this space? A lot of this knowledge comes from experiencing the world yourself. Before actually doing this professionally, I spent a lot of time exploring these worlds. And then I realized one of the things I hated is if I’m in this experience and I’m in a closed space, I can quickly get claustrophobic because you’re not in the real world in a closed space; you’re in a virtual world being in a closed space. It can get dark and really claustrophobic. When your sight is enclosed in something, it is not a comfortable experience. Also, you are not affected by climate. You don’t need a fully sealed enclosure. You can be more open in the way you design spaces in the Metaverse because it’s not going to rain on you, it’s not going to be winter, and you’re not going to get cold. You might as well be more open in the way that you design spaces and just really question what is needed in the Metaverse and what is needed for your avatar to really be able to push the boundaries of design and those spaces. We’ve been so lucky because we do get clients that are very happy to let us experiment and let us create what we want, which is really beautiful. Expert Spotlight // 82

FREDERIC RAMET INTERVIEW 02.12.2022 Web2 expert, Web3 builder – Founder of FR Digital

Background Information I am 44 years old and I have a Masters degree in didactology. My studies focused on the use of linguistics and computer science for autonomous language learning. I have been working for 20 years mainly in web & startup agencies. I started as a web developer, then project manager & project director, and finally manager of a digital agency. I was then appointed to the digital transformation department of the Barrière group and helped them develop their digital strategy and operations.

How did you begin working within the Metaverse? I have been looking at blockchain technology for 5 years, from a technical point of view. At the end of 2020, I saw that there were new use cases that were flourishing (DeFi and NFTs). I first decided to invest myself in learning before getting involved in a project. In September 2021, I created my own company to provide consulting services for Web3 projects. When I worked totally remotely, I needed a place to collaborate and meet clients, So I looked at the possibilities of virtual desktops and picked one that I could create and modify.

When did you begin learning about NFTs and what was that process like for you? Are there any resources that you found particularly helpful (YouTube, books, research papers, articles, etc.)? In January 2021, I decided to invest a limited amount of money into different Web3 projects and noted the different stages I went through and the history of transactions. I’m now involved in a large variety of projects such as stacking, master-node, lending and borrowing protocol, farming, Pay 2 earn, NFTs, and more. My main source of information comes from Telegram groups (private or public), Discord, YouTube videos,Twitter, and Meetup. 83 // Expert Spotlight

What current projects are you working on? I’m advisor for a web E-sport project, and helping [the team] define a virtual E-sport center for Metaverse. Besides that, I work on personal projects -- one is a “family space” in Metaverse [and the other] a Web3 agency.

Which platforms do you tend to use for your work? I tend to use OpenSea, Looksrare, TofuNFT, Hic et Nunc for NFTs. I also use Dune Analytics for data crunching, Debank for portfolio overview, Coinmarketcap for token overview, and Dexguru for token valuation.

How do you see NFTs changing the job market for both aspiring and established designers? NFT platforms allow artists to sell their creations and keep an authenticated track record. The Metaverse also opens new modes of collaboration. A Metaverse is first a digital environment that allows real-time blockchain transactions. Graphical design, communication features, and BIM models are important additional components to build upon the Metaverse, but I do not view these as the primary ones.

How do you see NFTs changing the art market? If you buy a piece of art, finding it in a gallery can take some time. Also, financial transactions and delivery are pricey. Ultimately, it will stand in your living room where only a few people can see it. With digital art, you can buy it and get it in a few minutes, and show it off to your social network. In the end, the value [of art] is decided by the market.

What are your views on virtual real estate? People are the buyers who make the prices. In real life, could you explain why art pieces, watches, or even sneakers are bought at a much higher price than their cost production? People want to buy for speculation purposes, for social status, and because they love it...There are many reasons! Now we’re living in a more and more digital world, so it is not surprising that people want to buy [virtual assets and land] that [are] exposed and used in this digital world. It will be even more [common] as Millennials get more involved. Expert Spotlight // 84

ANAPET.ART INTERVIEW 01.25.2022 I came across the artist who goes by username “anapet” on Instagram. Ana was able to briefly chat and discuss her background, art, and creative process. Ana’s latest job was working as Head of Interior Design in a large development company in Moscow. Ana worked on building shopping centers and cinemas. Long before that, Ana explained her main interests were digital art. Ana worked and created within Photoshop, but later studied coding but was unsure how to apply this knowledge to her artwork. Later, Ana discovered that “creative coding” existed and one can actually create art with code. Ana became eager to combine her interests and turned to creating NFTs, which is now her full time job.

I was not to alized that was a turni

Image Source: Anapet Art. (2022, March 19). Neo . AnaPet. Retrieved April 26, 2022, from https://www.anapet.art/art/neo/ 85 // Expert Spotlight

“

too aware of NFTs up until last year. When I ret what I love doing can also be rewarding - that ing point for me to start this journey.

”

Expert Spotlight // 86

“ I use multiple tools, depending on [the] type/style I'm working on at the moment: for coded art, it's p5.Js, for AI VQgan + clip, Photoshop, MagicalVoxel, Blender. I keep searching new techniques and methods that may be useful...

”

Image Source: Anapet Art. (2022, February 28). Underneath . AnaPet. Retrieved April 26, 2022, from https://www.anapet.art/art/underneath/ 87 // Expert Spotlight

Image Source: Anapet Art. (2021, December 19). Path of the Selected . AnaPet. Retrieved April 26, 2022, from https://www.anapet.art/art/path-of-the-selected/

“ I think the main thing is to be original, not to try to mimic someone or make something that thousands are already doing. Search for your passion and do what you love.

”

Expert Spotlight // 88

ETHAN HUDHUD INTERVIEW 02.15.2022 What is your background and how did you get involved in creating NFTs? Let me give you a brief overview of my academic background and work experience. I started at the University of Ontario. I did a bachelor’s in Science, specifically Biology. After I graduated with my science degree, I decided to go for Architecture, my Master’s in Architecture in San Francisco at the Academy of Arts University. After my graduation, I went to work in Qatar. Then, I worked in the Netherlands briefly, mainly with just concept design – it was the most fun office that I worked with. And then, I went back to Qatar and started doing my own projects for Villas and Penthouses with my own clients. And then I decided I wanted to get my architectural registration in BC in Canada, so I decided to come here, and that’s why I have been here for the past 4-5 years. I have actually just finished all my hours, and in the next week, I’ll be doing my registration/certification exam. It’s been a long, long road to get there. But in the last almost a year, I’d say I’ve been working with developers rather than architecture firms, and I’ve worked with many different architecture firms. I’ve worked with varying projects of high-rise, residential, retail, water treatment facilities, malls, etc. Everything.

What are the concepts behind some of the pieces that you have created? For as long as I can remember, when I started painting oil on canvas, the theme has always been architecture and urban design. It’s always been scenes of places that I’ve visited, places that I’d like to be, or places I envision. And that’s a long story; that’s how I got into architecture out of science. It has somehow carried on with my digital artwork, but then I also started exploring too many things. It depends on what is going on in my life. Am I feeling this particular mood about a specific thing, and I started dabbling with culture and feelings: abstracts. Again, it’s a creative outlet for me, so I’m not being consistent with one particular thing which would be helpful for me to get exposure and gain a following, but that’s not what I’m doing. I’m just keeping myself open to do whatever my heart desires.

89 // Expert Spotlight

Image Source: OpenSea. (n.d.). Creatively Bald Collection. OpenSea. Retrieved April 27, 2022, from https://OpenSea.io/collection/creatively-bald

Expert Spotlight // 90

What was it like translating your experience in architecture into this new sphere of design related to cryptocurrency, NFTs and the Metaverse? I’m into NFTs and making NFTs because it was a normal transition from architecture. I’ve always painted and sculpted, even back when I was in high school and through my years while I was in my science degree. When I learned about NFTs, I think it was maybe 2 ½ years ago; I decided, okay, perhaps I could also do something besides oil on canvas (which is mainly the medium that I created my art). I’ve always had this passion for creating art. I thought, why not give digital art a try? It’s also something that I enjoy now. It’s easy because I don’t have to get the paint, purchase the canvas, and sit down and work on it. I can be on my computer or any computer anywhere and create a piece and post it on my Instagram or, let’s say, Open sea. That’s where I tend to mint my work.

Were you ever suspicious of getting into NFTs and cryptocurrency? It was a learning curve. There had previously been little information out there to see how to post artwork on, let’s say, the OpenSea. I learned, OK, you have to create a wallet, and it’s going to be an Ethereum wallet or another particular wallet, and then you connect it to the OpenSea and post it on one of these similar websites. It was a bit difficult technically to get there, but once I got to know the process, it was pretty simple. So not much to learn.

Was there a transition you had to make, and learn new types of softwares? I was already familiar with all the software you would use. When it comes to art, it’s not really about the tools; it’s about the artist. Once you get into architecture school, I’m sure you will start testing different programs for 3D for 2D. For 2D designing, you’re most likely working with Adobe Creative Suite, Photoshop Illustrator, and InDesign. You’re also going to learn different 3D software from Revit to 3ds Max, and once you get the main concepts down, you can literally jump into any program and start working. Because you need a membership or a subscription for some programs, I rarely use those for my art. Some alternatives are free and very powerful. There is something called Photopea.com, which is web-based software. It has all the powerful tools that you would need and that you would find in Photoshop. It’s also easy because I could be traveling on my brother’s computer (he doesn’t have Adobe), and I could just jump in, create an art piece in an hour or two, and post it. So there’s always a way. There are many tools out there for vector and raster. I’ve done 3D as well. I’ve done 3D renderings with Blender, and I’ve also done some really choppy pieces 91 // Expert Spotlight

Image Source: OpenSea. (n.d.). Creatively Bald Collection. OpenSea. Retrieved April 27, 2022, from https://OpenSea.io/collection/creatively-bald

with Revit – it’s not meant to be used to sell art, but you could create something. It depends on the concept and what aesthetic you’re looking for.

Is there a specific market that you base your artwork around or do you just create what you’re inspired by in the moment? That’s a good question – You know, I was speaking to my friends about how I might promote my work and get more exposure. Branding requires you to have a vision for the kind of niche or audience you are attracting based on your skills and the work that you want to create. I’m not doing any of that; I’m just going with what mood is striking me today and what is it that I want to create for today. It has nothing to do with really getting exposure, and it’s just something that I’m passionate about and something that I like to do. I enjoy creating a piece once in a while, and I just post it.

Do you mostly use OpenSea or have you found other platforms helpful? The 3D renderings that I’ve done are renderings, so I export them as images. I’m not posting the 3D model in OpenSea, so I haven’t encountered the problem of file-size limits yet. I do remember when I decided on the OpenSea. I did some initial research on all the available platforms. I think, If I can remember correctly, the reason I picked OpenSea was because it had the lowest fees. With a lot of other platforms, there is some curating process where they have to approve you to be one of these artists that are on the platform. OpenSea is... Open. It’s up to you to decide how you want to promote your work. There are pros and cons about every website. It depends on what you’re trying to do really. Expert Spotlight // 92

Do you see the Metaverse being specific to gaming at the moment? I see possibilities where for example, you’re designing for the public. The process right now is to go to the city when you seek a permit for the building. The architect and developer go to the city and present the project to neighborhood members who are there to review the project and pose their opinion, for example. So, a process like this could perhaps be done in the Metaverse, where you have the building placed within the neighborhood, and people are visiting the building, checking different aspects of it. Maybe they’re reviewing how the shadow will affect their property around the building during certain times of the day or how they navigate around the building. I see ways for this to happen. At the end of the day, the question is, how do you convince people to visit the Metaverse? It’s a great idea – the same thing as, let’s say, before the Metaverse, we had VR for navigating buildings, but how many architecture firms did use that with their clients? Very very few. There’s definitely utility for these ideas, and there are a lot of ideas out there. This is just one thing I’ve thought about, as I’m sure you did, and I’m sure there are other ideas out there that we can’t even see yet, but how do we convince people to come to the Metaverse or what’s their incentive for them to visit it? Is there a way to make money out of it? Is it making the process more efficient? Image Source: OpenSea. (n.d.). Creatively Bald Collection. OpenSea. Retrieved April 27, 2022, from https://OpenSea.io/collection/creatively-bald

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How do you make sure that your art work in terms of an architectural design is yours? An NFT or a smart contract within the Ethereum platform can certainly help, but by law anyways, an architect, when they create a design, it’s intended for only that project. I’m sure you’ve heard of Zaha Hadid’s copy of buildings within China. That was done without her knowledge and consent. People can take the work and copy it; of course, there’s no law to protect in that particular region, but at the end of the day, I think the laws of the government you’re in will have to dictate that. You can have contracts electronically done with Ethereum, but there needs to be a body that enforces these contracts.

Can you reuse your work that you have minted? I don’t see why not. You’re not signing a contract with, let’s say, OpenSea to say this is their property. Like when I’m working with a company, anything they produce is their property, even though I’ve designed it. If OpenSea makes me sign a contract when I get into membership with them, any work I post on their website is their property now, and I agree; OK, sure, that’s fair. But if they don’t, any work by an artist, I’m sure it’s law in Canada that any painting, music, or creative work and anything you do as an artist is yours regardless of whether you publish or legally said this is yours. If you created it, it’s yours. There are a lot of ways to sell digital art on OpenSea. So, for example, you can sell hundreds – let’s say 500 works of art – on OpenSea. Any person can own these 500 pieces, and they’re all copies. And they’re just numbered from 1-500, for example. And you could maybe have 501, and that’s yours. You can always create your own out of it. Or you could create only an original, and only one person can buy it. It depends on how you want to set it up and how you want to create value for your art.

Artwork on the Internet versus in the real world? I think you can enjoy art regardless. At the end of the day, why do people buy art, or why do people view art? Because they enjoy it, they see a concept, and they feel something towards it. If it’s out there physically or on the Internet, I don’t know if it really matters. I do know that if it’s in a museum, let’s say. Physically when you frame a painting, you add more value to it maybe. Or, if you place it in a lovely museum, you are immediately increasing its value because of where it is exhibited, regardless of who painted it. Does it have a vision behind it? Does it deliver an excellent idea? Does it initiate or solicit a feeling from you or not? The same piece of art could do the same thing Online – I think it doesn’t matter to me. I guess to other generates, it does, and perhaps to younger generations, the way it is displayed is less important. Expert Spotlight // 94

Citations: Anapet Art. (2022, March 19). Neo . AnaPet. Retrieved April 26, 2022, from https://www.anapet.art/art/neo/ Anapet Art. (2021, December 19). Path of the Selected . AnaPet. Retrieved April 26, 2022, from https://www.anapet.art/art/path-of-the-selected/ Anapet.art (2022, January 25). Personal communication [Personal interview]. Anapet Art. (2022, February 28). Underneath . AnaPet. Retrieved April 26, 2022, from https://www.anapet.art/art/underneath/ Home. SPACES. (n.d.). Retrieved April 26, 2022, from https://spacesdao.xyz/ Hudhud, E. (2022, February 15). Personal communication [Personal interview]. Monfared, F. (2022, February 7). Personal communication [Personal interview]. OpenSea. (n.d.). Creatively Bald Collection. OpenSea. Retrieved April 27, 2022, from https://OpenSea.io/collection/creatively-bald The Milky Way. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/the-milky-way/ The Triangulum Galaxy. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/the-triangulum-galaxy/ Ramet, F. (2022, February 12) Personal communication [Personal interview]. Spaces’s Instagram Profile. (n.d.). Retrieved April 27, 2022, from https:// www.instagram.com/spacesdao/ Whirlpool Galaxy. SPACES. (2022, January 20). Retrieved April 26, 2022, from https://spacesdao.xyz/project/whirlpool-galaxy/

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Expert Spotlight // 96

97 // Personal Intervention

PERSONAL INTERVENTION After understanding what the world of crypto involves and how NFTs are transforming society, it was necessary to get involved. Chapter 6 illustrates one process of starting a Metaverse project and seeing it to completion. This chapter covers the process of sourcing project opportunities, designing specifically for virtual reality, and testing the design in VR and AR. In addition, Chapter 6 provides step-by-step instructions that demonstrate the process of creating a MetaMask wallet, purchasing MATIC on the Polygon network, and minting NFTs on both Renovi marketplace and OpenSea. While many methods exist for designing virtual architecture, this chapter shares one personal project intervention that utilizes the Polygon network for a cheaper, more sustainable minting process.

Personal Intervention // 98

Step 1: Identify Proj Introduction: After researching a number of NFT marketplaces and speaking with experts in the field, I was encouraged to mint an NFT on the OpenSea platform and also enter my virtual architecture design in the “Next Top Metaverse Build” Competition hosted by GDA Capital. Additional competition supporters include Renovi, Metaverse Group, Tokens.com, Decentraland, The Sandbox, The Architecture Social, Metamall, and more.

Competition Description: The Next Top Metaverse Build Competition requires participants to pick a track of the competition that most interests them. Each track is focused on a specific aspect of 3D Design important to the adoption of the Metaverse. Tracks include: 1. 2. 3. 4. 5.

Architecture - Buildings, Houses, Urban Planning Event Spaces - Music Festivals, Fashion Pop-Ups Meeting Spaces - Board Rooms, Classrooms Exhibition Spaces - NFT Art Galleries, Museums Freestyle

To Submit Entry: Upload one file (mint project) to the Renovi Marketplace and share entry on the NTMB Discord.Entrants are encouraged to explain the context of their creations on Discord. The jury is seeking creative works that push the boundaries of imagination and build on what the Metaverse could be. The Renovi Marketplace runs on the Polygon network. To mint on the Polygon network requires a gas fee. Polygon gas fees should never exceed more then a few cents.You will need a MetaMask wallet to use the Renovi NFT Marketplace.

Notes: 1. Entries are to be minted on the Renovi Platform 2. The maximum file size for this competition is 500MB 3. All submissions must include a preview file of the work, the 3D file must be uploaded as a zip 4. Although not required, a video of the project may be uploaded in form of MP4, MOV, or AVI with the rest of content on Discord 99 // Personal Intervention

ject Opportunities Technical Specifications: The Renovi marketplace is the first NFT marketplace for architects, 3D designers, and developers.Renovi plans to be the go-to marketplace for anyone who wishes to build within the Metaverse. The following file formats can be accepted on the Renovi marketplace. Some file formats are accepted through compression as a zip file. The Renovi marketplace acts as a large decentralized storage site similar to Google Drive and Dropbox. Larger files take more time to upload.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

FBX GLTF GLTB RVT USDZ TM Unreal 3DS DWG LS4/LS6 SKP BMP PSD 3DM PDF BLEND

17. 18. 19. 20. 21. 22. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31.

GLB MA MAX MB GLB DAE DXF MP4 OBJ VRPACKAGE STL SIM JPG PNG GIF MP4/MP3

Prizes $50K+ in Renovi Tokens (1 Land parcel on Decentraland (2 3. 25,000 SAND tokens (3 Plus + (4 Incubator with Metaverse Group (a Virtual Meetings With Executives (b Mentorship with Metaverse Group (c Mentorship with Metaverse Architects (d Virtual webinars and meetings hosted (e by Metaverse and design experts > Personal Intervention // 100

Step 2: The Design Pr The Design Process: I designed an NFT gallery for my competition entry. The first stage of this design process involved studying Virtual Reality spaces. Initially, I explored Decentraland and The Sandbox through my laptop browser. However, it was challenging to understand how a design looks in VR without actually testing it. My next step was exploring the Northeastern University Immersive Media Lab. Northeastern’s Immersive Media Lab provides most technology required for designing and developing a project in VR. I stopped by the lab to explore virtual worlds through various headsets and made a list of factors that I felt should be included or excluded from the design. I found spiral staircases, glass rooms, and enclosed spaces disorienting and difficult to navigate. At the same time, cave-like structures felt comfortable and relaxing as they provided openings for light and reference points for the eye. In terms of aesthetics, I appreciated designs with logical color palettes that did not overpower the space. Natural elements such as water were also exciting additions to building interiors, as virtual architecture is one of the only spaces where users may experience the fusion of “nature” and architecture. Once I had a greater sense of how architecture is experienced in virtual reality, I went on to design my NFT gallery.

Design Inspiration: Organic Forms in Rhino Image: Frei Otto. Casabella 301 1966, 35. Image Source: Frei Otto. Casabella 301 1966, 35. RNDRD. (n.d.). Retrieved April 20, 2022, from https://rndrd.com/n/1364 101 // Personal Intervention

rocess

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THE WAVE : NFT ART GALLERY After a series of iterations, The Wave Gallery came to life. This design considers how real-world architecture can merge with imaginative metaverse architecture, resulting in a form that generates a sense of familiarity 103 // Personal Intervention

yet considers “the impossible.” The undulating structure floats on water, reflecting both light and artwork in a multitude of directions. Large-span glass walls with arched openings mark exterior entrance points, while mass intersections denote interior thresholds. Collection rooms display 2D and 3D NFTs in experimental ways; Lights project 2D works onto surfaces while 3D sculptures float. New artwork is exhibited every week in The Wave Gallery, increasing user activity and exposing unknown artists to the market. Personal Intervention // 104

“

Architecture is the manifestation and expression of culture. We try to understand...the memory of place and lifestyles...

” 105 // Personal Intervention

- Chloe Sun

The Wave Gallery challenges existing architecture within the Metaverse and puts forth a vision of what the Metaverse might become. The wave gallery’s massing consists of intersecting organic shapes that, when combined, generate a number of individual rooms for gallery space, and one large central corridor. Avatars may enter this gallery from any of the five entrances, and experience the progression of walking through a small collection room before entering the grand central corridor. Within the corridor, artworks are projected on tinted glass, sculptures float, and ribbons of light guide users to additional collection rooms.

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The central corridor encourages users to gather and discuss the artworks surrounding them. Collection rooms allow users the chance to pause within a smaller environment and take in their surroundings. Each collection room has openings that expose the structure’s surrounding environment and provide users with visual reference points. Both the central corridor and collection rooms experiment with methods used to display artwork. Within the central corridor, 2D NFTs are projected across walls, while collection rooms exhibit interactive floating sculptures and 3D designs.

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“

For architects, the Metaverse is a virgin territory full of possibilities, and a Utopia without the constraints of the physical world.

”

- Chloe Sun

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Step 3: Test in VR Testing the Design in Virtual Reality: After completing most of the design process, an essential step before submitting my entry to the Next Top Metaverse Build competition was viewing my design in virtual reality. Northeastern University has an Immersive Media Lab that provides all the essential equipment required for viewing a design in VR or AR. First, I viewed the model using the Augmented Reality Hololens. This was an exciting experience, but I did not feel completely immersed in the model. Next, I went through the process rendering my project in Enscape in order to view it using the Oculus Rift virtual reality goggles. This was the exact experience I was hoping for, and gave me an opportunity to change building materials and lighting before completing my final design. This next section explains the process of uploading a Rhino model to a virtual reality system.

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DESIGN IN 3D MODEL IN RHINO

Architects typically learn 3D design softwares such has Rhino, Sketchup, and Revit. Luckily, these programs are compatible with a number of plugins that allow users to explore their design in virtual reality! For this project, I used Rhino, the 3D modeling software that I am most familiar with.

DOWNLOAD PLUG-IN ENSCAPE PLUG-IN

At first, I attempted learning Unreal Engine and Unity to render materials. However, I found that Enscape for Rhino has a virtual reality option, and gives users the ability to apply materials and view the results in VR. I had never used Enscape before, but the program was very intuitive and easy to learn. I highly recommend learning Enscape if you want to explore your designs in VR.

EXPLORE OCULUS RIFT

I brought some friends to the Immersive Media Lab to explore my design using the Oculus Rift and Hololens. The Oculus Quest was simple to use. All you need to do is plug the headset into your computer, and enable Enscape’s VR mode in Rhino with the click of a button. Then go explore! Personal Intervention // 110

Step 3: Test in VR Enscape Setup: To run Enscape with a Virtual Reality headset, the following software must be installed and running on your desktop:

1) Steam 2) Steam VR 3) Windows Mixed Reality for Steam VR When SteamVR signals on your computer that the VR set is green and ready for use (Fig. 1), Enscape will provide the option to enable the VR Headst mode in the Enscape Ribbon (Fig. 2).

Figure 1: Open SteamVR and connect device. Green = Ready

Figure 2: Enscape Ribbon. Select “VR Headset” button to connect Oculus Rift or another device.

Interaction: Enscape VR provides users with a Menu Ribbon (Figure 3) that is always visible above the left-hand controller in VR.

Navigation

Presentation

Map

Virtual Camera

Figure 3: Open SteamVR and connect device. Green = Ready 111 // Personal Intervention

Settings

Movement & Controls: Once you are wearing your virtual reality headset and a view is activated in Enscape, you will be placed on the floor of your model. Then, you are able to explore your surroundings within the previously defined “play area” by simply moving or looking around. Enscape provides a laser-pointer feature that allows you to use your left controller like a mouse button. Track pads on the left controller allow you to move forward, backward, left, and right, while the track pad on the right controller allows you to levetate up and down.

Right Controller

DOWN

Left Controller

Elevate Teleport

Move FORWARD LEFT

RIGHT BACK

Toggle Walk/Fly Mode

Step 4: Create MetaMa 1. Download MetaMask from https://MetaMask.io/

SELECT

INSTALL 113 // Personal Intervention

ask Wallet 2. Create a new wallet and Secret Recovery Phrase

CREATE

READ INFO FIRST Personal Intervention // 114

Step 4: Create MetaMa 3. Write down Secret Recovery Phrase

CLICK HERE TO REVEAL SECRET WORDS

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READ TIPS

ask Wallet 4. Sign in on your browser or phone app

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Step 5: Purchase Mati 1. Open Wallet Settings

3. Wait for this page to open:

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ic on Polygon Network 2. Select “Networks” and “Add Network”

4. Add Polygon’s Mainnet:

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Step 5: Purchase Mati 5. Open wallet and switch from Ethereum to Polygon

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ic on Polygon Network 6. Click “Buy” and follow steps to purchase Matic

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Step 6: Mint NFT on R Renovi: The Next Top Metaverse Build competition requires participants mint their entry on the Renovi marketplace. Renovi is one of the first NFT marketplaces that allows 3D file uploads up to 1GB in size. The minting process is also very quick and easy. Follow these six steps to mint your very first NFT on an architecture-specific platform!

1. Open Renovi from https://renovi.io/ and select “Profile”

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Renovi Marketplace Important Tip: It is necessary to own up to $1.00 in MATIC in order to mint an NFT on the Polygon network. Please refer to the previous section to learn how to create a MetaMask Wallet and purchase MATIC on the Polygon network. Gas fees on Renovi should only cost a few cents, unlike platforms such as OpenSea that utilize the Ethereum blockchain.

2. Create User Profile

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Step 6: Mint NFT on R 3. Go back to Renovi Home and select “Create”

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Renovi Marketplace 4. Upload file + data, then select create

(SCROLL DOWN)

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Step 6: Mint NFT on R 5. Go back to Renovi Home and select “My Items”

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Renovi Marketplace 6. Check the file was minted and view your work

The minting process is now complete! Personal Intervention // 126

Step 7: Mint NFT on O OpenSea: The Next Top Metaverse Build competition does not require participants upload their project to OpenSea, however this NFT marketplace is extremely popular and it is helpful to understand how it works. Complete the following steps to mint an NFT on the OpenSea Marketplace, a platform utilized by artists, architects, and digital designers worldwide!

1. Go to OpenSea from https://renovi.io/ and select “Create”

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OpenSea 2. Connect your MetaMask wallet to OpenSea. This may require you to log into MetaMask and accept the OpenSea terms of service. 1.

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Step 7: Mint NFT on O 3. Return to OpenSea home and click “create” again if the screen below does not show up

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OpenSea 4. Upload file + data, change “Blockchain” to “Polygon,” and click “Create”

POLYGON

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Step 7: Mint NFT on O 5. View listing, and click “Sell”

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OpenSea 6. Select price, duration of post, and “Complete”

POLYGON

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Step 7: Mint NFT on O 5. Sign to verify listing

READ INFO

SHARE WORK 133 // Personal Intervention

OpenSea 6. View listing. Select “Edit” to adjust listing

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Step 7: Mint NFT on O The minting process is now complete!

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OpenSea 5. Return to your profile and verify that your listing is visible.

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137 // Environmental Impacts

ENVIRONMENTAL IMPACTS While NFTs and the Metaverse provide incredible opportunities for artists and architects, it comes at a price. The environmental impact of blockchain technology is necessary to address; This section unveils how Bitcoin technology impacts our planet and considers more sustainable approaches to minting NFTs. Chapter 7 concludes this research with a discussion about the impact of Bitcoin’s real-world architecture: Mining Farms. The process of mining bitcoin and all other Proof-ofWork (PoW) coins like Ethereum requires vast amounts of energy to power computer nodes and cool them down. Before getting involved in NFT or Metaverse markets, users must understand the destructive impact PoW networks have on our environment and consider utilizing Proof-of-Stake (PoS) networks such as Polygon that are 99% more sustainable than PoW alternatives.

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Sustainability Bitcoin’s Real-World Architecture: The opportunity to design NFTs and Metaverse Architecture opens architects and artists to a vast range of creative endeavors that would be otherwise intangible. While virtual architecture and art appear idealistic when viewed through web browsers and virtual reality goggles, it is essential to recognize the grim realities of such industries and their architecture in the real world. Ethereum and Bitcoin mining farms are the real-world architecture behind Web3 and have adverse effects on our planet due to energy consumption and emissions. Every crypto transaction, including buying, minting, and selling NFTs, requires enormous amounts of energy – enough to power a small country. According to “The Economic and Environmental Impact of Bitcoin,” Ethereum’s “annual energy consumption...is roughly equivalent to Nigeria’s annual energy consumption.” In addition, Bitcoin trading “consumes more electricity annually than the whole of Argentina” (Rauchs et al., 2022). This power consumption ultimately translates to carbon emissions, leading activists to advocate for clean energy from renewable energy sources such as wind, solar, and hydropower instead of fossil fuels that contaminate the air and accelerate global warming.

Image Source: Reiff, N. (2020, September 12). Montana Will Build $251 Million Cryptocurrency Mining Farm. Investopedia. Retrieved April 28, 2022, from https://www.investopedia.com/news/ Environmental Impacts // 140

Impact on Artists Several prominent NFT artists stopped minting digital work due to the negative environmental impacts that mining farms cause. In May of 2020, French visual artist and environmental activist Joanie Lemercier released the statement:

“Today was supposed to be my second CryptoArt release on NiftyGateway. Considering the insane and unnecessary waste of electricity involved, I’ve decided to cancel the drop until the issue is addressed.” Studio Joanie Lemercier became involved in the CryptoArt market after deciding to eliminate its carbon footprint after “15 years of flying to festivals, galleries, and art fairs to exhibit and distribute work” (Lemercier, 2021). Switching to CryptoArt and distributing work on Nifty Gateway, SuperRare, and MakersPlace, seemed idyllic; Lemercier described the market as a “vibrant and welcoming community” that “brings a lot of benefits that the [traditional] Art market fails to provide” (Lemercier, 2021). After discovering the sale of six pieces consumed the amount of electricity that could power their entire studio for two years within 10 seconds, Lemercier announced:

“This new model [looked] like it had the potential to become a sustainable practice for artists... until you understand the magnitude of the environmental impacts of the current blockchain: It is a DISASTER.” Lemercier explains that over thirty platforms are ethical alternatives to Ethereum-based apps (Lemercier, 2021). Unfortunately, most artists continue to rely on Ethereum markets such as Rarible and SuperRare due to their heavy user traffic. Fortunately, pleads by advocates such as Lemercier are finally being addressed; In 2022, Ethereum announced its plans to transition the entire network from “Proof-of-Work” to “Proof-of-Stake” (Castor, 2022; Lemercier, 2021). This dramatic event titled “The Merge” has been six years in the making and promises to utilize 99% less energy and allow up to 100,000 transactions per second. “The Merge” indicates gas fees will decrease, and Ethereum will significantly reduce its carbon footprint (Castor, 2022). 141 // Environmental Impacts

Annual Bitcoin Energy Consumption Approximate Cumulative Consumption: Terawatt-Hours (TWh) Data Source: Rauchs, M., Dek, A., & Blandin, A. (n.d.). Comparisons. CCAF.io.

Retrieved April 27, 2022, from https://ccaf.io/cbeci/index/comparisons

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PoW versus PoS Proof of Work (PoW): Proof-of-Work (PoW) networks refer to blockchains such as Bitcoin ad Ethereum that utilize nodes to solve cryptographic puzzles. PoW networks require single participants to write blocks in the blockchain, which influences miners to spend enormous amounts of computer power and electricity to solve such puzzles (Badea & Mungiu-Pupazan, 2021; Garnett, 2022). Mining farms developed worldwide to increase participants’ chances of solving cryptographic puzzles – more computers equal more chances to win bitcoin and Ether. While mining consumption receives much criticism for its energy waste, some argue that mining requires “[fewer] resources than the current banking system” that relies on banks, servers, ATMs, paper money, and credit card companies (Badea & Mungiu-Pupazan, 2021; Mattei, 2021). Such entities emit the same, if not more carbon, than blockchain mines. Another argument in favor of mining suggests operations could move to countries with excess amounts of electricity, thus optimizing power consumption worldwide.

Proof of Stake (PoS): Another option for environmentally conscious digital artists is exclusively using Proof-of-Stake (PoS) blockchains such as Polygon (Polygon Team, 2021). PoS networks function entirely differently than PoW networks; Unlike PoW networks that allow continuous mining, PoS blockchains begin with a “pre-mine” to release its entire supply of tokens and eliminate the need for mining farms afterward (Nibley, 2021). Nodes, or individual computers, then commit funds to the network in a process called “staking” in hopes of becoming the next individual responsible for verifying blockchain transactions. Each time the network chooses a node, its validator receives rewards; when nodes enter bigger stakes, they have a higher chance of becoming the next validator. Once Ethereum transitions its network from PoW to PoS, it will require a stake of 32 ETH (approximately $2,890) to become the next potential validator (Nibley, 2021). Overall, Proof-of-Stake networks allow for more transactions per second, significantly lowering gas fees and energy consumption.

Icons Retrieved From: Icons and Photos for Everything. Noun Project: Free Icons &amp; Stock Photos for Everything. (n.d.). Retrieved April 29, 2022, from https://thenounproject.com/ Graph Data Source: Badea, L., & Mungiu-Pupazan, M. C. (2021). The economic and environmental impact of bitcoin. IEEE Access, 9, 48091–48104. https://doi.org/10.1109/access.2021.3068636 143 // Environmental Impacts

Environmental Impacts // 144

Citations: Badea, L., & Mungiu-Pupazan, M. C. (2021). The economic and environmental impact of bitcoin. IEEE Access, 9, 48091–48104. https://doi.org/10.1109/access.2021.3068636 Casey, Michael J, and Paul Vigna. The Age of Crypto Currency: How Bitcoin and the Blockchain Are Challenging the Global Economic Order. New York, NY: St. Martin’s Press, 2016. Castor, A. (2022, March 5). Why Ethereum is Switching to Proof of Stake and How It Will Work. MIT Technology Review. Retrieved April 27, 2022, from https://www.technologyreview.com/2022/03/04/1046636/ethereum-blockchain-proofof-stake/ Garnett, A. G. (2022, April 24). NFTs and the Environment. Investopedia. Retrieved April 27, 2022, from https://www.investopedia.com/nfts-and-the-environment-5220221 Icons and Photos for Everything. Noun Project: Free Icons &amp; Stock Photos for Everything. (n.d.). Retrieved April 29, 2022, from https://thenounproject. com/ Leading provider of Digital Asset Data. CryptoCompare. (n.d.). Retrieved April 18, 2022, from https://data.cryptocompare.com/ Lemercier, J. (2021, August 13). The Problem of (Ethereum) CryptoArt. Studio Joanie Lemercier. Retrieved April 27, 2022, from https://joanielemercier.com/ the-problem-of-cryptoart/ Lyons, T., &amp; Huber, R. (2021, July 8). Widening Crypto World - the State of Global Crypto Adoption. Bitcoin Suisse. Retrieved April 28, 2022, from https://www.bitcoinsuisse.com/research/specials/widening-crypto-world-thestate-of-global-crypto-adoption Mattei, S. E.-D. (2021, April 14). Should you Worry About the Environmental Impact of Your NFTS? ARTnews.com. Retrieved April 27, 2022, from https://www. artnews.com/art-news/news/nft-carbon-environmental-impact-1234589742/ Nibley, B. (2021, November 12). Proof of Stake: A Process Used to Validate Crypto Transactions Through Staking. Business Insider. Retrieved April 27, 2022, from https://www.businessinsider.com/proof-of-stake?r=US&IR=T%29 Polygon Team. (2021, September 21). The eco-friendly blockchain scaling Ethereum - Polygon . Polygon. Retrieved April 27, 2022, from https://blog.polygon. technology/polygon-the-eco-friendly-blockchain-scaling-ethereum-bbdd52201ad/ Rauchs, M., Dek, A., & Blandin, A. (2022). Bitcoin Mining Map. CCAF.io. Re145 // Environmental Impacts

trieved April 27, 2022, from https://ccaf.io/cbeci/mining_map Rauchs, M., Dek, A., & Blandin, A. (2022). Comparisons. CCAF.io. Retrieved April 27, 2022, from https://ccaf.io/cbeci/index/comparisons Reiff, N. (2020, September 12). Montana Will Build $251 Million Cryptocurrency Mining Farm. Investopedia. Retrieved April 28, 2022, from https://www.investopedia.com/news/montana-will-build-251-million-cryptocurrency-mining-system/

Environmental Impacts // 146

147 // Conclusion

CON CLUS I O N The development of blockchain technology enabled the growth of NFT marketplaces and the Metaverse, initiating the expansion of career prospects for 3D designers and artists. NFT and Metaverse marketplaces allow designers to exhibit their projects and network with clients and companies through digital platforms. Future market opportunities are on the horizon as Web 3.0 continues to evolve and new technologies such as VR equipment and Haptic accessories become more available worldwide. I am hopeful for the future of the Metaverse and believe this vision will become “the new normal.” During the pandemic, social media proved to be a powerful tool that mitigated feelings of isolation despite lockdown periods. Potentially, the Metaverse could become a similar destination for zoom meetings, class lectures, games, and social gatherings worldwide. Rather than calling family members across the country, individuals could meet in the digital realm to chat, play games, and explore. The Metaverse will allow users to gain a stronger sense of connection as the world continues to globalize. As architects become more involved in the development of Web 3.0, the Metaverse will become a beautiful, imaginative space to connect with other individuals. However, architects must not only acknowledge the impact their virtual designs have on society but also on our planet. Ultimately, NFTs and the Metaverse provide fantastic opportunities for designers but detrimental effects on our planet. Proof-of-Stake blockchains like Polygon allow for more sustainable practices, as PoS networks have a 99% lower carbon footprint than Proof-of-Work blockchains. Before entering the field, designers must acknowledge their work’s impact in both the digital world and the real world. Conclusion // 148

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