Gaming architecture visualization

interfere in it by influencing light, color, and sound effect, by adding new information’s that could transform the environment. In this sense visitors play with the building.

Based on this idea, later, Oosterhuis proposed a design that responded to real time behaviour of people

visiting it. In 1999, Oosterhuis designed a programmable building, call “The muscle” and exhibited it at Centre Georges Pompidou in Paris. This building was not static but was in continuous transformation in

response to people movement and actions due to dynamics programed in the design process. The

architecture become a videogame; architects offer to the visitors to play it in real time. Visitors make

choices similarly as in a video game deciding their movement and actions in the architecture space. Their

behavior is recorded and hereby responses are triggered by the environment, which is in continuous

interaction mode. In this sense, architecture can become also cooperative enhancing performance as

result of people exchange and adaptation to their needs.

Figure 48The interactive architecture of Saltwater Pavilion, ONL 1997 Programmable architecture. Trans_ PORTs:ONL 2001, ( Oosterhuis, Lenard 2000)

Gaming architecture visualization.

Gaming technology and in particular the use of gaming engines (GE) is revolutionizing the way architects

design and communicate their projects (Indraprastha and Shinozaki 2009). To portray the architecture of

game space, the video game industry developed strong 3D modelling tools using software like Computer-

Aided Design (CAD) and collaborative platforms based on software of Building Information Modeling

(BIM). Today, video games are becoming more realistic or hyper-realistic as technology advances,

allowing for a fully immersive experience that is closer to real life, as well as the creation of 3D

animations that allow objects to be displayed in a more dynamic way while the user moves through the

space. Compared to physical models, architecture created as in game space, allow to better understand

space, to enrich user experience and to offer interactivity. The notable video game Assassin’s Creed

(fig.49) uses realistic architecture to immerse the player with surrounding environment, recreating

historical cities to immerse the player in that particular historical period while playing. Other games use

utopian or dystopian environments to immerse the player. In addition, video game engines have the

ability to represent architecture semantic information based on BIM geometry processed through

gaming engine that allow to work collaboratively. These aspects are highly beneficial in architecture to

display the project in a more realistic manner, to allow customers to have a full immersive experience, to

understand the feelings it conveys, to provide semantic information about the 3D model and to

communicate and review the work with other collaborators in real time. These are valid not only to

architecture project to be build, but also for architecture in virtual space. Architects may create these very realistic / hyper realistic / future / utopian and interactive settings in VR employing popular gaming

engines like Unreal, Unity, and CryEngine. As engines are becoming more user-friendly, inexpensive, and

capable of processing realistic images, architects' interest in employing them for professional purposes

to construct software development environments is expanding. Architects solely employ recent

programs like Lumion and TwinMotion, combine real-time rendering technology with user-friendly

interface.

Figure 49 Assassin’s Creed video game is highly photorealistic.

In addition, video games similarly to architecture have the ability, the tools, and a long experience in

narrating stories in space. This is very useful also in architecture, to make architecture space more

interesting and engaging to client and visitors. As part of narrative, architecture space can for instance be

visualized with different styles, sound and atmospheres that transport users to another reality, can be

viewed in different positions in the environment and by different perspectives, allowing architecture to

be viewed from different angles in a dynamic way. Materials and light can also be used to provoke

feelings. People often associate memories with materials and light fill space or the lack of light brings

the player to a deeper immersion. For example, Calvino Noir (2015) video game is built on dark style

sustaining the exploratory and adventurous world of 1930s European criminal (fig.50). Game style is

inspired by noir movies. In games, architecture is akin to that of a movie set, diverging from real

architecture to serve the story. Architecture in video game, as part of the narrative establishes

boundaries to avatar movement, and constrains to the influence of his actions. Architecture is made up

of obstacles serving the gameplay and architecture space needs to be challenging to encourage

exploration. In addition, architecture has also a secondary role to play, to inform and entertain the user.

All these elements make architecture closer to video game space visualization.

Figure 50 Video game Calvino Noir (2015) present space narrative through dark style and seen in architecture section.