Architecture in Virtual Environment:

Multimedia and Architectonic Idea

Registration Code RP1488515

Abstract
From a broad spectrum of definitions about virtual architecture, digital
architecture, cyber-architecture it is briefly expounded some positions we assume
in this matter. The architecture developed in a virtual environment, digital space,
integrated to a multiple communication media could favor to the expression of
an imagination liberated from the characteristic restrictions of the material
(tectonic). In this sense the traditional meaning of the word architecture is
expanding to include the configuration of this architecture defined by Lissizky as
Immaterial Material and by Novak as Liquid Architecture in Cyberspace
(Novak, 1994).
Simultaneously, the development reached in multimedia proposes us a
modification in the teaching-learning methodology. Besides the traditional media
it is demanded from us a revision of educational material and consider the
convenience to integrate to multimedia. As expressed by A. Machado (2004)
one of the most important role of art in a technocratic society, far from being
enslaved by a standardized way to communicate, is to re-invent the way to
appropriate a technology in permanent mutation and continuous re-addressing.
In this work it is adopted the concept of multimedia as a capacity to integrate the
technology and the creative invention in a same environment as a way of
communication allowing the interaction with the different available resources. It
is developed in the final project Workshop Assisted by Computer, xxxxx
xxxxxx xxxxxxxxxx where digital techniques in the creative stage with a
particular approach are integrated. Differentiates two stages: the conception and
the materialization or architectonic design considered separately in concept as
well as in procedure. (Combes, 2004).

Keywords: digital design, architectural design education, design methods.

1 Theoretical Framework
In architecture the development of digital techniques produced an impact in the
teaching-leaning process incorporating a new spectrum of knowledge that
implies a reconsideration of the methods used up to now. Generally the methods
based on lineal and rigid theoretical frames need a flexible theoretical construct,
open and dynamic, that is to say, from linearity towards the complexity
concept. The complexity not only as a quantitative phenomenon of units and
interactions, but also as aleatory phenomena, vagueness and uncertainty in order
to fence it and surround it. So, instead of eliminating vagueness, ambiguity, the
contradiction accept certain vagueness and vagueness certainty in concepts
(Morin, 1990, p. 61). This allows the encouragement of tendencies of increasing
complexity in the development of abilities of learning, invention and creativity.

In the frame of the main objective to structure a new learning environment for
the teaching of architecture in virtual environments, this work fulfills the
particular objective of integrating and combining typical codes of
communication with digital resources developed in a stage of project process.

Among the antecedents it can be mentioned the experiences that arise from the
necessity to diversify and make flexible the teaching-learning formal processes
like the ones proposed by the New Learning Environment (Ferreiro Gravi,
2000), and described in previous articles: Images for the architectonic
imagination (xxxxx, xxxxxxxxxx, 2003),Multimedia for the Architectonic
Imagination (xxxxx, xxxxxx, 2004) and Architecture, Visualization through
origami 3D and real time rendering engines (xxxxx, xxxxxx, 2005).

2 Architectonic idea in virtual environment

The concept of new learning environment, still being developed, in general is
based on the additional possibilities of learning offered by new technologies not
yet replacing the traditional ones but broadening and enriching them as an
additional value. In this general context a particular project process with an
experimental method is dealt, inclusive and participatory, that combines and
integrates individual expression codes and the ones that arise from the interaction
with digital media. It is supported by present information science resources,
hardware and software specialized in architecture and the use of multimedia as a
valid communications means that allows the integration of technology and
creative invention in a same environment and interacting with different available
resources.

The project process has a particular characteristic and differentiates two

stages: the conception and the materialization or architectonic design
considered separately in concept as well as in procedure (Combes, 2004). In the
first stage the idea is defined, what and how the purpose of the project is;
essential aspects are delimited that form the idea resorting to an appropriate
expression and representation. In the second stage the idea is described, i.e. it is
designed; it is characterized.

This work presents concisely part of a more complex process in virtual

environments. It is specifically dealt the idea of the architectonic object and its
communication, an approach to the creative sphere of architectonic characteristic
integrating digital techniques. They are development cycles in different
sequences of abstraction and specification and can be directed according to
personal processes, preferences or issues of design depending on the level of
interest to deal. Synthetically these are (Figure 1):

Figure 1: Outlined of the process.

Presentation of the aim of the project. Proposal of the theme and of the idea.
From the birth of an idea produced in an unknown environment intangible it
progresses towards the objective tangible supported by different techniques,
simulating and approaching to the physical world. The gestation-evolution cycle
of the architectonic idea starts deepening gradually and recurrently through
definitions that communicate the impressions in the following sequences:
-. Definition of the first impression. Trace record left in the mind by the
creative act.
-. Definition that transmits the essence of the conceived idea; accurate
delimitation of the impression left by the conception of the object.
It is a conceptual cycle deprived of the material, of the known, where recurrently
is fenced and delimited the essence what makes the idea, and the intentions are
proposed.

Give form to the idea. In the expression-representation cycle the necessary

specifications are gradually completed by representations that express the idea;
understanding the word representation not only as a visible manifestation of an
idea or object but as conceptual interpretations that are related to the abstraction
of the form and the space or to the study of the creative processes. In the
interaction of this cycle advances from a high level of abstraction towards a
gradual materialization of the idea developing the following sequences:
-. Gradual setting up of the idea.
-. Representation and visualization of the idea from above, from sides, bird-fly
etc. Precision and adjustments related to the program of necessities.

Presentation of the architectonic idea. In this cycle of the creative process the
evolution of the idea is presented until reaching an architectonic pre-figuration. It
comprises the whole process recorded in each sequence and the presentation-
communication of the idea is carried out developing the following sequences:
-. Design and presentation of the idea.
-. Communication of the idea.

The presentation performed deals only with the creative stage not including the
design or the architectonic description because this latter requires a different
procedure frame that is still being elaborated and tested.

3 Integration of Digital Techniques in representing and

communicating each cycle
In the communication and representation of each cycle the focus is on the
particular objective and purpose that the student learns to think and create, to
express and to communicate ideas integrating and combining communication
typical codes with digital resources. The focus is not so much on the
management of software because the final project students of the workshop
Assisted by Computer have attended most of the curricula subjects so they have
alt least basic knowledge of them. In this sense it is assessed the use of the
different traditional and digital resources potential.
 In the initial cycle it is dealt with the elaboration of conceptual schematic
models, imaginary model creation with architectonic pre-figuration. With the
representation and communication of the evolution-gestation of the idea in bi and
tri-dimensional models it can be assessed between What was imagined and
what was conceptualized (xxxxx, xxxxxxxxxx, 2003).

The means of communication can be based on the integration of a narrative of

the written, oral, auditory and/or graphic idea supported by traditional or digital
expression techniques such as sketches, vignettes, drafts, pictures, sounds,
models, that the student considers convenient. However, in this cycle the major
difficulty the student faces is to know what level of representation expresses and
communicates best his/her idea and architectonic intention. For this purpose it is
important to take into account that this choice does not have to signify a
restriction but on the contrary, have to mean a natural way to transmit his/her
idea and imagination.

From the diverse existing programs for this purpose it is suggested the use of
some more appropriate ones, for example to represent the first ideas: Sketchup,
Gifanimator, Animov09; for graphic design: CorelDraw, PhotoPaint, Photoshop;
for presentation: Powerpoint, Flash or images visualizers or other video and
sound editors: Easy video Splitter, Videowav.

Once the idea was defined and transmitted the choice of what and how, the
objective and purpose of the expression-representation cycle is to advance
towards a gradual materialization of the created object. For this it is useful the
use of digital techniques due to their speed on 3D visualization. However, it is
important to consider that some CAAD (Computer-aided architectural design)
programs present representation difficulties in the relation graphic and
linguistics. So, it is required a full knowledge of the relation to representation
scales and the internal structure of the elements that makes the represented object
in order to best take advantage of CAD systems potentialities. The programs
suggested in this cycle are: for vectorial drawing Autocad, for render and
animation 3DStudio, for setting Bryce, for communication can be the same as the
first cycle. Another aspect to take into account when choosing a digital
environment is the compatibility among programs to export as well as to import
files.

In the presentation-communication cycle the whole process is designed with

the results obtained in each sequence and cycle to an architectonic pre-figuration
level, the objective of which should respond to the seeking of suggestive and
innovative presentation according to the idea of each student. In this sequence it
is considered indispensable the use of digital support and multimedia integration.
(Figure 2)
 Figure 2: Obtained results.

For the presentation and communication of a model in informatics

environment it should be taken into account the following methods and
visualization characteristics:

Model using fixed images. They are shots generated through computers. The
well known disadvantage is that there is no interaction with the user, the realism
level is limited to two dimensions and the visual sense is the only one stimulated.

Model using 360panoramic images. A 360 panoramic image is generated

joining a series of photographic images or CGI (Computer Generated Image). In
this way the spectator has the impression to be immersed in the model. However,
the limitation in the movements reduces the possibility to explore the model. In
order to obtained this type of panoramic images it is necessary to generate a great
number of high definition rendered images consuming more time for the
presentation.

Model with pre-rendered path. It consist of a series of rendered images along a

pre-determined route defined by the model, this is translated to a feeling of little
interaction, the person feels like a stranger in the environment. As the route is
defined by the designer the spectator does not have the possibility to know
entirely the model and take the time to understand it. The rendering of this type
of images consumes a lot of time resulting in the designer feed-back restriction.
Many times occur that the animation was rendered during hours (or days!) and
finally does not fulfill the designers needs.

Model using VRML (Virtual Reality Modeling Language) format. This gives
to the user the possibility to explore a virtual environment using a navigation
console. However, in general, the modest capacity of the graphic engine used
lower the number of pictures per second that are shown on the screen
consequently losing realism. In order to maintain the pictures per second needed
the models are limited in size and details restricting its application to volumetric
models.

An alternative to the previously mentioned methods are the real time rendering
engines. Thanks to the capacities of computers at present and using 3D graphic
engine such as the ones in 3D games or specialized companies (that applies
texture and calculate shade of dozen of millions of polygons), the spectator can
explore his environment very easily and with great realism. And also actual time
can be varied, for example weather conditions and time of the day.

Through the use of net connection that these programs allows it is possible that
two or more people from different physical places see the same virtual scenario
and through an incorporated chat discuss about the model they are watching.
Another interesting point is the incorporation of sound with which realism can be
increased and simulate certain conditions.

4 An experience about presentation-communication

The modeling and watching is carried out using real time rendering engines,
exchanging opinions in net. To do this, the product Act3d of Quest is chosen as
3D graphic engine due to better interaction and compatibility with modeling
programs like 3Dstudio. And also it is possible to import files with .3ds and .x
format, time consumed is reduced and efficient visualization is achieved with
user interface relatively simple and friendly.

The program is based on scripts to conform a routine in which field models,

buildings and environment are included. Also through these cameras, movement
restrictions physical properties etc. are configured. The scripts can be directly
written or selected from a library of favorites and also can be upgraded or
updated downloading through internet. (Figure 3)
 Figure 3: Act3 environment, presentation-communication of the model.

In relation to the connectivity the program presents the possibility to perform

routines in order to generate clients on chat and in net, but due to the complexity
in handling it, it was decided to be replaced by external clients (Ventrilo) and
with this voice connection is available among the users in net; the configuration
is easy and it can run in background while executing the render engine
application. The advantage is that does not saturate the net with graphic
information resulting in an improved transference of voice data. However, it is
clear that in this way the watching of the model is not done together in the same
environment, but it is done in a coordinate way. This can result in wandering due
to the lack of references such as the avatar that represent the other person. So, it
is being studied the possibility to include characters that represent the user in the
virtual space in order to have simpler references, positions or observation points.
The idea is to achieve a graphic interconnection and at the same time keep the
chat client on voice chat. (xxxxx, xxxxxx, 2005).

5 Conclusion
In order to have a better understanding of the creative process in a virtual
environment it was presented in the most possible orderly and simplest way but
at the moment of the development and application it is inevitable the chaos
produced by the what and the how to represent the idea, what means,
techniques express each students idea best. This is caused, for one hand by the
apparently disorder character and complex of events in the creative act that has a
high level of abstraction, vagueness and uncertainty, and on the other it is still an
experimental method. What is important is to start fencing, defining and
recording the most representative idea of the project purpose.

As a conclusion the conception of the architectonic idea in virtual environment

finds a new horizon thanks to the speed of modern computers and software
capacities allowing a fast and almost accurate transmission of our occurrences.
In a project process this signifies to apprehend through our perceptions, to
understand though the concepts and to express through interpretative models we
elaborate with them, understanding the word idea as something that it is
represented and leave an impression in the designers knowledge and meet in an
architectonic pre-figuration.

References:
Combes L. (2004). Concepcin y Diseo, Arquitectura y diseo (pp.1-12).
Tucumn, Argentina: Universidad Nacional de Tucumn, FAU - LSD.
Ferreiro Gravi R. (2000). Nuevos Ambientes de Aprendizaje, Revista Input, 21,
pp. 72-74
Machado A. (2004).Repensando a Flusser y las imgenes tcnicas. Critica, 5.
Retrieved May 4, 2004 from the Arteuna data base.
Morin E. (1998). Introduccin al pensamiento complejo, El diseo y el designio
complejos (pp 58-62). Barcelona: editorial Gedisa.
Novak M. (1994), Cyberspace: First steps. In M. Benedikt (Ed.), Liquid
Architecture in Cyberspace (pp. 262). Cambridge: The MIT Press.