Virtual Reality as the Ultimate Representation (and Beyond)

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Authors Dakshinamoorthy, Kartik

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/596955 VIRTUAL REALITY AS THE ULTIMATE REPRESENTATION (AND BEYOND)

By

Kartik Dakshinamoorthy

A Master's Report Submitted in Partial Fulfillment of the Requirements for the Degree of

Master of Architecture University of Arizona

College of Architecture, Planning and Landscape Architecture Graduate College

December 16, 2000

Committee Members:

Chair -Fred Matter Carl Rald Oscar Blazquez ACKNOWLEDGEMENTS

Credit for this work must be shared with the following people who helped me along the way. I would like to thank:

Prof. Fred Matter, Carl Rald and Oscar Blazquez for their enthusiasm for the topic and faith in giving me free rein on my report work. They have provided great academic and professional counsel to me.

Faculty at the Department of Architecture,University of Arizona, Tucson.

The staff of Multimedia and Vizualization Lab, Univeristy of Arizona for their assistance with the technological aspects of my work.

A.G.Ramarathnam and Anu for lots of wise words. They have always held out a positive view and have been a great source of inspiration for me.

Ganesh, I thank God for you brother.

Most importantly, my parents who have always been behind me. Without their love, support, encouragement, and understanding I wouldn't have seen this day. To my father Dakshinamoorthy, my mother Savithri, and brother Ganesh, I dedicate this report.

Kartik Dakshinamoorthy

Dec 16, 2000 TABLE OF CONTENTS

[Part A]

I. Abstract 1

II. The Essence of VR 2

III. History of VR 3

IV. The Different Application Areas 5 Application Sectors: Engineering 5 Architecture 6 Science 6 Simulation and Training 6 Education 7 Entertainment 7

V. Market Survey of VR Application 7 How a typical VR application works 8 Summary 9

VI. Types of VR Systems 9

Full Immersion Systems 9 Semi -Immersion systems 9 Non -Immersive systems 9 Summary 11

VII. VR I/O Devices 12

VIII. Virtual Reality Companies 13

IX. What Differentiates VR from other Architectural Representations 14

X. Architectural Applications 15 VR as a Representational Tool 15 VR as Simulation and Evaluation Tool 15 Virtual Reconstruction 18 VR as Design Aid 18 Creating Virtual Worlds 18

XI. Quicktime VR approach for Design Simulation 19 TABLE OF CONTENTS - Continued

XII. VRML (Virtual Reality Modeling Language) 20

XIII. Advantages and Disadvantages of VR 21 Conclusions 22

XIV. Potential Future Applications of VR in Architecture 23 Design 23 Modeling 24 Evaluation and Presentation 24 Marketing 24 Conclusions 24

[Part B]

XV. The Reality of Virtual Sets 26

1. Introduction 26

2. Historical Perspective 26

3. How it Works 27

4. Technical Aspects 29 A. Chroma Key 29 B. Camera Tracking 30 C. 2 And 3- Dimensional Visualization 31 D. Typical Implementations 32

5. Advantages of Virtual Sets 32

6. Applications of Virtual Sets 33 A. Virtual Sets in Television Production 33 B. Virtual Sets and the Movies 34 C. Virtual Sets on the Web 34 D. Virtual Advertising 34 E. VR at Sydney Olympics 35

7. Known Key Players in the Virtual Set Industry 35

8. Challenges and Hurdles 40

9. The Role of a Virtual Set Designer 41 TABLE OF CONTENTS - Continued

10. Conclusions 43

[Part C]

XVI. A Virtual Simulation Of Frank Lloyd Wright's Fallingwater House For Edgar J. Kaufmann, Bear Run, Pennsylvania, 1936 44 1. Project 44 2. Objective 44 3. Project Methodology Adopted 45 4. Script Of The Presentation 46 5. Observations And Conclusions 52

XVII. VR Terminologies 54

XVIII. Footnotes 59

XVIX. References 62

XVX. WWW References 65

LIST OF TABLES

Table 1. VR Applications in Engineering, Science, Simulation and Training, Education and Entertainment 5

Table2. Market Survey of VR Applications (adapted from Helsel and Dohorty, 1993) 7

Table3. Types of VR Systems 9

Table4. VR I/O Devices 12

Tables. Virtual Reality Companies 13

Table6. VR Application in Architecture 15 [PART A] ---- I. ABSTRA d Architecture, whether physical or virtual, is the expression of society as a meaningful space. Physical and virtual architecture have their own constraints and context, yet both use architectural organization as a way to order forms and spaces in the environment. Both strive to create meaningful place by defining space [1].

Virtual architecture embodies and expresses values of society in electronic form, with polygons, vectors, and texture maps. This virtual realm enables the designer to deny the physics of time, space, light, and materials and is accessible via computer and human -interface technology anywhere [2].

Virtual Reality, as the ultimate dynamic generation of spatial representations, can be purposefully integrated in the metamorphosis of permanent solid architecture into dynamic representations.

The research proposes to achieve an understanding of Virtual Reality and its possible implications on architecture [3]. The role Virtual Reality will play in society in general, and architecture in particular, in the more distant future and

Will architects influence the development of Virtual Reality, and if so, how?

GOALS

Define Virtual Reality Show where VR is heading through an understanding of its gradual evolution. Discuss the technical issues involved in the development of VR technologies. Recent applications of VR technology in architecture. Explore potential future applications of VR technology in architecture.

VR technology can be used as a medium for interactive, adaptive and team design in architecture in the future. Architecture could potentially be drastically reshaped by Virtual Reality, and this in turn could reshape VR technology. This will require people who understand the psychological effects of (computer) spaces on people inside them - architects are equipped with such an understanding. Architects as designers of Virtual Worlds/Environments will be required to make these environments rich, interesting and engaging places.

1 II. THE ESSENCE OF VR

"Virtual reality" [4] can be defined as the component of communication which takes place in a computer -generated synthetic space and that embeds humans (actors) as an integral part of the system [5].

The tangible components of a VR system are the set of the hardware and software providing the actors with a three -dimensional, or even more -dimensional, input/output space, in which, at each instant, the actor can interact in real -time [6] with other autonomous objects. The participant in a VR environment is perceiver and creator at the same time, in a world where the object of perception is created by actions.

Sherman and Judkins describe the characteristics of this technology as "VR's five 'i's: intensive, interactive, immersive, illustrative and intuitive" [7]. These critical characteristics of VR seem to be a good starting point for a definition of this technology. Without one or more of these characteristics there is no VR.

Intensive In Virtual Reality the user should be concentrating on multiple, vital information, to which the user will respond.

Interactive In Virtual Reality, for the user and the computer to act reciprocally via the computer interface.

Immersive Virtual Reality should deeply involve or absorb the user. Immersion can be illustrated by Myron Krueger's "duck test" [8]. If someone ducks away from a "virtual stone" aimed at his or her head, even while knowing the stone is not real, then the world is believable. This is also known as "immersion" [9].

Illustrative Virtual Reality should offer information in a clear, descriptive and (hopefully) illuminating way.

Intuitive Virtual information should be easily perceived. Virtual tools should be used in a "human" way.

There is a strong emphasis on communication in virtual worlds, which aims for more intuitive and more sense -inclusive human -computer interface. In contrast to a multimedia application or an animated walk- through where the viewer is passive, the participant in a virtual reality world

2 is active. The term "participant" versus "user" or "viewer" is used intentionally to denote the complete integration and interaction between perceiving subject and perceived world [10].

The participant is always present in VR, either actively engaged in the creation of the virtual world or simply navigating the virtual environment, without changing its geometry, behavior, or lighting source. With the use of interactive devices the participant's body movements actively create the images and sounds he sees and hears as real -time [11] response in the virtual world.

The introduction of depth simulation, obtained by stereoscopic viewing, which reproduces the process of binocular vision, is an essential factor in virtual reality environments. Stereoscopic viewing [12], achieved by displaying left and right perspective views to be viewed by the left and right eye, marks a real breakthrough for VR, differentiating it from other types of computer visualizations which involve monoscopic vision.

Ill. HISTORY OF VR

Virtual Technology is not a "new" idea, rather it can be shown as a fusion of three other technologies - the telephone, the television and the video game - to produce a technology which is far superior to each of it's predecessors. The following indicative timeline was compiled to understand the evolution of VR.

Late 1920s Edwin Link worked on vehicle simulation, arguably the first forerunner of VR technology.

1940's Tele-operation technology began.

1954 " Cinerama" was developed using 3 -sided screens.

Early 1960s Development of Tele- operation displays using head -mounted, closed- circuit television systems by Philco and Argonne National Laboratory.

Morton Heilig's ill -fated "Sensorama ".

3 1962 Ivan Sutherland's Sketchpad system allowed the drawing of vector lines on a computer screen using a light pen. This system can be identified as the first computer graphics system, which attempted to create an intuitive interface through which the man -machine interaction could happen.

1966 Flight Simulations, NASA.

Flight simulators can be considered the first examples of virtual reality systems and stereoscopic vision. The most rudimentary examples consisted of a mock -up of a cockpit on a motion platform. The advent of computer graphics made the inclusion of visual feedback possible in the simulator. Computer -generated models of landscapes and cityscapes were included in the simulator; the scenes, initially displayed on projection screens, were generated by the actions of trained pilots. Later, head -mounted displays replaced projection screens, facilitating the realization of a simulator of reduced cost and size.

The funding for the research and development of flight simulators came from the military, which in an effort to improve war training, contributed greatly to the state of this fledgling technology.

Late 1960s Development of synthetic computer -generated displays used for virtual environments, pioneered by Ivan Sutherland.

Mid 1970s Myron Krueger worked on environments named Artificial Realities. These large -scale environments combined video projections with computer -generated images to create installations at the borderline between art and technology. The participant's image taken by a video camera was shown in a video projection manipulated by a computer program interacting with other computer -generated imagery.

The abstract nature of the generated images lacked the sense of realism, which often pervades a virtual environment. Nevertheless, the use of projections and the creation of an artificial environment transforming the actual place make Krueger's environment of interest for architects.

1984 William Gibson published the term "cyberspace" in his book, "Neuromancer ".

1989 Jaron Lanier, the founder of VPL Research, one of the pioneer companies dedicated to the development of hardware and software for VR systems, coined the term "Virtual Reality" to

4 encompass all of the "virtual" projects e.g. "virtual worlds ", "virtual cockpits ", "virtual environments" and "virtual workstations ".

1990... Continued research for the specific use of VR in modeling, communication, information control, arts and entertainment.

Virtual reality (VR), perhaps the most advanced of three -dimensional interfaces, has much potential for enhancing the way architects and designers interact with their digital models. It leads us a step closer in the interaction of information, placing us within information and information within us, hence bringing us closer to the link between the minds image and its external media.

IV. THE DIFFERENT APPLICATION AREAS

This section looks at a range of VR applications in engineering, science, simulation and training, education and entertainment. Some are presently in development and others are actually being used. Some are still only ideas.

Table is not intended to be exhaustive but merely serves to illustrate the enormous possibilities.

Table 1. VR Applications

Application Application Area Description Sector Engineering Aircraft design The paperless aircraft. The traditional drawing board Human factors modeling Virtual aerodynamics Information control Air traffic control

Improved situation awareness for air traffic controllers Legal /police Re- enactment of accidents and crime investigations

5 Virtual Ease of assembly and maintainability evaluations. manufacturing environments Product visualization

Design of complex objects with a high degree of designer interaction. Architecture Computer Aided Design and visualization of spaces and impact on city Design layout. The technology can allow a virtual interactive walkthrough to be made Acoustical Powerful digital signal processing systems can be Evaluation used that support the real -time simulation of acoustical factors such as reflecting surfaces (walls) and sound absorption by a variety of different surface materials to solve acoustic challenges while designing concert halls of houses. Science Computational Use of simulation models of single neuron of networks neuroscience to discover how the nervous system works. Molecular modeling Phobias Use of Virtual therapy to cure different phobias. Tele presence Robot operations in hazardous environments. Teleconferencing Scientific Aerodynamic simulation, Computational fluid visualization dynamics, Virtual planetary explorations Ultrasound Non -invasive technique for obtaining real -time views of echography the interior of the human body. Simulation and Flight Simulation Training Medicine Virtual Stereo tactic surgery

Radiation therapy treatment planning

Medical training - virtual cadavers

Ultrasonic imaging

Molecular docking - drug synthesis

Body Rehabilitation Military Battle staff training

Evaluating weapons system Accident simulator

6 Nuclear industry Use of VR systems to investigate a range of applications for designing and testing the operating procedures of a nuclear power plant Education Electronic outreach classrooms Virtual science Cost effective access to sophisticated laboratory laboratory environments Virtual planetariums Entertainment Hollywood films and Interactive movies computer graphics Games Arcade games

Wide range of home based immersive games Virtual Theater Virtual Art Museum

V. MARKET SURVEY OF VR APPLICATION (adapted from Helsel and Doherty, 1993)

Helsel and Doherty (1993), in their worldwide market survey [13], identified 805 projects that were using VR. Table 2 shows these projects divided and ranked by their field of application.

Application Number Simulation 73 Visualization 67 Education 66 Training 65 Entertainment 65 Graphics 64 Military 52 Aerospace 50 Telepresence 50 Medicine 49 Architecture 46 Audio -visual 41 Business 40 Telerobotics 39 Communications 38

These statistics show that architectural applications ranked 11th in the use of VR [14] but architecture is an area where VR technology can be incorporated to its fullest extent. Architectural artifacts are by nature three -dimensional and immersive; in contrast to sculptures or other

7 three -dimensional objects which can be perceived and manipulated from outside, architecture can be inhabited and walked through on its inside. The natural "physical immersion" of architecture can be rendered at its best in immersive virtual environments.

How a typical VR application works

Most VR hardware devices have some kind of a controller, which interfaces with the host computer. In addition, there are driver software systems that the applications program can access to control the VR input-output hardware.

At the very least, a VR system needs to have a good display system. The display is typically driven by an engineering workstation with high -speed graphics. In addition, the VR system needs to have some method for tracking the movements of the user. This is done through the use of six -degree -of- freedom tracking devices and joint -flexion measurement devices (such as a glove). Some applications require audio systems and tactile feedback devices for additional feedback to the user and for an increased feeling of immersion. Although not very common, force -feedback could significantly increase the VR experience of the user.

A typical application creates a virtual environment using traditional computer graphics techniques. The scene is then rendered using computer -graphics device drivers (and possibly audio device drivers). The user experiences this environment through images in a head-mounted display (HMD) or some other form of stereoscopic display and headphones or speakers. The movements of various parts of the user's body are tracked by the tracking devices. Certain joint movements are tracked by gloves, body suits, etc. This information is sent back to the application through the controller hardware.

The applications program uses this information for two purposes. The first is to modify the visual display (and possibly the underlying model of the environment) based on the user's movements. The second is to provide additional feedback to the user, if necessary. For example, the tracking of the head provides information to the application regarding the line of sight of the user. This is used to modify the eye position used by the graphics components to send the appropriate images to the display system. Similarly, the tracking of the hand and the information from the glove will be used to modify the location of the model of the hand being displayed in the virtual environment. This information can also be used to detect collision between the hand and any object in the virtual environment and send appropriate feedback to the user through tactile or force -feedback devices.

8 Summary

It is fair to say that we are now in a "transition period" as far as VR applications are concerned. This should be expected, since widespread VR usage needs good and inexpensive hardware and software.

VR technology is no different to any other technology when it comes to success in market place, and very simple issues will determine how it will be embraced by different communities. System reliability, ease of use, cost, physical side effects and efficiency are just as important to industry as presence, immersion and spatial awareness. In time, though, such problems will be resolved and we can look forward to a new generation tools, to which we will quickly become accustomed.

VI. TYPES OF VR SYSTEMS [15]

A major distinction of VR systems is the mode with which they interface to the user. This section describes some of the common modes used in VR systems.

Table 3. Types of VR Systems

Full Immersion Systems Semi Immersion Systems Non Immersion Systems

Full immersion VR systems Semi immersion systems use Non -immersion systems use a deliver the highest sense of screen to display the images. conventional computer presence supplying users with Systems vary from single monitor to display the visual auditory, visual and force screen installations to room world. feedback sensations. like installations like CAVE where images can be For this reason non -immersion displayed on multiple walls, systems are also referred to enabling an extreme wide as 'Desktop VR' or a field of view. 'Window on a World (WoW)'. This concept traces its lineage back through the entire history of computer graphics.

These systems work according to the same principle as a projection based VR. It leaves the user visually aware of the real world but able to observe the virtual

9 world through some display device such as graphics workstation This kind of VR makes use of Users are wearing shutter User is wearing shutter a head coupled viewing device glasses to view the images glasses, viewing 3D image by like a Head Mounted Display watching a desktop monitor. (HMD), creating a single user experience. The HMD supports the user with images via a helmet with two displays connected to an optical system. The displays only provide the The quality of the displayed These systems provide the user with images via a helmet images is very high - the field viewer with a narrow field of with a limited field of of view is width and the high view, but the high resolution view, using relative low resolution delivers realistic of the images and the low resolutions, but have a 360 images. cost make it low risk choice. field of regard.

HMD's are non - ergonomical because of their medium to high weight and all the cables, which need to be connected to the helmet. A further concern is visual lag, which can lead to nauseous reactions of users. Control devices vary from Theoretically, semi immersion Most frequently standard input specialized VR input devices systems can use the same devices like a keyboard, like a 6DOF mouse, control devices, including mouse or joystick are used, customized "joysticks" haptic force and auditory but specialized 3D input (called wands) with advanced feedback, as full immersion devices are also applicable. functions, to glove devices. systems. In practice, both full and semi immersion systems Control devices can be seldom make use of all the accompanied by tactile and available technology. kinaesthetic stimuli better known as haptic and force feedback.

The movements and rotations of both eyes and input devices can be tracked by a tracking device Full immersion systems The cost of providing and Not very expensive require high -end computer maintaining a semi immersion

10 systems - together with the system can be very high. They do not require high -end expensive head coupled computer system. displays and control devices, a full immersion system is costly. BOOM Display The Responsive Workbench Augmented Reality

Boom display works almost A special kind of semi according to the same immersion system is the principle as a HMD. The user Responsive Workbench, Augmented Reality is a special of a BOOM display is not developed by GMD. kind of non -immersion system, wearing a helmet, but looking which uses viewing devices into a large box -like Users of the Responsive with half transparent glasses installation. Workbench view (LCD) to display virtual stereoscopic images, which objects over the real world. BOOM displays are quite are projected into a table top popular because, compared to via a projector- and -mirrors AR offers the ability to use real HMD's, they have less systems. The used tabletop life tools in the created ergonomical problems and metaphor is valuable for urban workspace. Additionally, AR provide the user with high- planning applications. enables interaction between resolution imagery and a users, because of the half wider field of view. transparent glasses.

AR has relatively low system requirements and is also used in wearable computing devices, which offer architects possibilities like making actual - size modifications to an existing building.

Summary:

Desktop systems are generally more widely used, principally due to the higher costs and problems of fatigue and motion sickness which have been associated with head -mounted displays. However for the purists full immersion is VR.

11 VII. VR I/O DEVICES

Table 3. VR I/O Devices

VR Type VR I/O Devices Description Simulator VR Uses a physical mockup of Ideal for pilot training, driver vehicle with real controls training, ergonomic (steering, throttle, pedals, analysis, entertainment etc.), with which you can High resolution, easily navigate through virtual networked, optimized for environment multiple participants Time -honored, road -proven approach Issues: Relative high cost "Wearable" VR Uses direct, "body contact" Ideal for digital prototyping, I/O to virtual model or performance animation, environment through such surgical simulation, digital devices as headmounted theme parks, scientific data displays, boom-mounted visualization displays, data gloves, data Provides highly kinesthetic suits, haptic feedback immersive experience systems, motion platforms Issues: Resolution, latency, and single -user limitation Projection VR Large virtual models and Ideal for digital prototyping, environments are projected retail marketing, medical onto vertical and /or horizontal simulation, scientific data and surfaces, using such financial data visualization, technologies as VR Walls, urban simulation, large facility Pyramid CAVE or design, art/education, ImmersaDesk, Fakespace and entertainment Barco workbenches, Panoram High resolution; supports and SEOS displays, Silicon groups of participants; Graphics Reality Centers encourages collaboration Issues: Physical space requirement Desktop VR Monitor serves as window Ideal for scientific data into virtual world; interact visualization, training using shutter glasses, 3D Low -cost alternative to input wearable VR Flexible (easily switch from monoscopic to stereoscopic; easy keyboard access) Issues: Single user approach and lack of full immersion

12 VIII. VIRTUAL REALITY COMPANIES

Table 4. Virtual Reality Companies

Serial No. VR Companies Description 1. Aesthetic Solutions Aesthetic Solutions is an advanced research and software development group dedicated to providing practical and easy -to -use Virtual Reality authoring solutions and content

2. ' Agency for new Media ,3. Apec 3D glasses '4. Apple Computer's QuickTime VR Includes downloadable Virtual Reality viewer 5. Atlantis Cyberspace Virtual Reality entertainment centers

6. ' Caligari Home World Virtual Reality Modeling Language browser CGSD Corporation CGSD Corporation builds high performance custom simulation and virtual reality systems

8. ; Computers and More Sells HMD displays 9. Creative Labs, 3D Blaster for PCs 10. Crystal River Engineering Manufacturer of Audio Reality -true 3D sound, used in Virtual Reality

'11. ' Cyber Mind Interactive Inc Manufacturer of Virtual Reality location -based entertainment

12. ? Deneb ;13. Division dVISE Virtual Reality development system 14. ERG Engineering VR for education and museums '15. Forte Technologies, Inc. VFX head -mounted displays and cyberpucks for Virtual Reality systems 16. General Reality Company Cyber Eye HMD and 5th Glove Virtual Reality equipment ,1 7. Holo -Deck Adventures Virtual Reality entertainment systems 18. Interactive Imaging Systems Makes HMDs '19. Intergraph GLZ boards for PC's

20. , Kasan Deal and develop stereoscopic 3D 21. MultiGen Inc Real time 3d Company Also involved in DIS (Distributed Interactive Simulation) 22. Nu Vision Stereoscopic display solution provider, specializing in stereoscopic monitors, stereo conversion kits for existing monitors & LCD shutter glasses 23. SENSE8 Corp. World Toolkit Virtual Reality development system 24. Silicon Graphics, Inc. 25. Sophis Tech Research Virtual Reality consultancy 26. SRI VR research

13 27. Stereo Graphics 3D LCD shutter glasses 28. Superscape PC based VR software's 29. Theme kit Ltd Virtual Reality graphics engines, software, and tools 30. Victor Maxx Virtual Reality goggles vendor 31. Virtual Presence Ltd. Europe's leading supplier of virtual reality products 32. Visual Synthesis Incorporated Spatialised sound for Virtual Reality systems

33. Virtual- I -O Manufacturer of the 'Virtual glasses -glasses!' for Virtual Reality use 34. Virtuality VR entertainment 35. VR Systems Projection and tracking products 36. WOOBO Electronics 37. 3Dlabs GLINT chip for PCs

IX. WHAT DIFFERENTIATES VR FROM OTHER ARCHITECTURAL REPRESENTATIONS

Even the most sophisticated and complex VR immersive environments have their beginning in three -dimensional CAD models. CAD models grow into virtual environments in the following progressive order of realism:

Static perspective renderings, from wireframe models to textured surface renderings Animated noninteractive walk -throughs Interactive screen -based walk -throughs Immersive virtual environments

A common characteristic of all other architectural representations is the need for preparation prior to presentation. The final rendering or animation can only be seen passively, without any interaction, similar to traditional hand -rendered representations. With the integration of VR technology, computer simulations can be perceived in real -time, offering the advantage of shortened design time and better design evaluation.

14 X. ARCHITECTURAL APPLICATIONS

Table 5. VR Applications in Architecture

VR Applications in Architecture Description Virtual Reality as a Representational tool The use of VR as a representational tool comprises the majority of architectural applications. The sophistication and interactivity of VR tools make them the ultimate rendering interface for unbuilt works of architecture as well as archeological reconstructions.

People gain a higher level of comprehension when able to walk through and around a space at their own pace. They may realistically see how a project will appear. A greater degree of comfort is achieved because people can make an evaluation based upon what is familiar, which VR technology simulates. As a result, architects and their clients may receive feedback and constructive responses before financial risks are taken.

From this standpoint VR could become an affective designer -client communication tool.

Interactive Walk -throughs

Computer-generated walk -throughs of buildings are not a specific VR creation. They existed since the early stage of computer visualization. The major innovation brought by VR is in the interaction and real -time experience, where the participant's movement determines the path to be followed in the succession of images, generating different perceptions of the building. Virtual Reality as Simulation and Evaluation Simulation using three-dimensional models is a tool very effective way of testing architectural designs and the impact they will have on the built environment after their construction.

15 Mistakes and problems emerge more clearly from an immersive evaluation than by looking at two-dimensional drawings such as plan and elevation. Evaluation of designs can greatly improve if the simulation reaches a high level of realism.

Virtual Reality as Simulation and Evaluation Light tool The effect of lighting can be simulated and manipulated to achieve the desired design effect. If the focus is on optimizing natural lighting, VR simulations can greatly aid in the determination of the size of exterior wall openings in relation to the sun exposure. The change of light color and intensity can be interactively simulated according to different sun angles and seasons. The behavior of artificial light also can be accurately reproduced to simulate the effect of certain light on the materials and finishes of the designed environment.

Acoustics

Acoustics effects can be digitally reproduced and expressed through the VR audio system, determining the acoustic characteristics as well as appropriate attenuation materials. A VR audio simulation of a concert hall. for instance, would explore the acoustical properties of the designed space according to the participant's location; acoustic problems could be discovered and resolved in the design phase. before going to construction.

Energy

Energy use can be determining factor in the formal characteristics of a building, in its interior spaces and facades as well. Energy efficiency in consideration of heat dispersion and natural ventilation, can greatly influence the design of openings and room proportions. Flow simulation design and analysis provides

16 the tools to optimize the architectural design for energy efficiency. In an interactive VR simulation the effect of temperature and wind can be intuitively interpreted and modified.

Phoenics VR developed by CHAM (Concentration, Heat and Momentum Ltd.) uses state -of -the art VR technology for data input and output along with CFD flow simulation techniques; it can simulate temperature, humidity, and air flows within buildings and other built structures. The external flow around an individual or groups of buildings can also be simulated and visualized.

Virtual Reality as Simulation and Evaluation tool Urban Planning

VR applications for urban planning closely resemble VR walkthroughs, in a way that they are also used for the exploration of physical space. In the case of urban planning, the focus is on place and context of the buildings in an urban environment, not at the buildings themselves.

VR is the most appropriate presentation and evaluation tool to simulate proposed new areas by showing the impact they have on the existing urban spaces; for instance, how a proposed development in a vacant lot would integrate with the urban texture. It could also show how the proposed development would change circulation patterns and the socio- economical configuration of a certain neighborhood by integration information from a GIS database.

Clients and planners can virtually walk through urban developments, interactively analyzing the commercial and residential use of different zones, and experiencing, at least at a perceptual level, the changes which would be brought by a proposed zoning regulation.

17 Virtual Reconstruction The (re)construction of contemporary and historical designs in a virtual environment will enable the dissemination of design ideas for educational and critical evaluation. Virtual Reality as Design Aid The potential of VR as design aid is the least explored among the VR applications in architecture. Nevertheless, VR could provide a revolutionary paradigm shift in the design environment. The creative process which is traditionally based on two- dimensional representations or sketches can now be transformed to take advantage of an immersive design environment, visualizing ideas and preliminary sketches in a three -dimensional space, such as that provided by a VR implementation.

Immersive design can be defined as the act of designing in a virtual environment, where the designer is inside the product of his designs. This process brings new approaches to the creative act.

Commands at the designer's control would involve actually walking through the plans and exploring alternatives with the prospective client. Being immersed within the plans, depicted by a 3- dimensional graphical universe, the designer along with the client can then interact in this virtual world and can experiment; for example moving partitions, enlarging windows and changing doors. Creating Virtual Worlds Creating Virtual Worlds, in which humans can interact with one another, has implications on quality of life. Architects could potentially help to make the Virtual World a pleasant and stimulating place to work and live in.

18 XI. QUICKTIME VR APPROACH FOR DESIGN SIMULATION

QuickTime VR, a commercial product developed at Apple Computer in the early 1990s, is an example of image -based software that runs on desktop computers. QuickTime VR uses continuous panoramas of "stitched" photographs, rather than modeled and rendered geometry, to create an immersive virtual -reality (VR) environment.

Panoramic VR Movies

A panoramic VR movie is a 360 degrees image viewed from a fixed location in space. It allows a user to look in all directions from a fixed position only. Users can look and pan smoothly in any direction using simple mouse functions. With the change of viewing direction, perspective of the view is automatically updated to adapted to the new position. Using the additional keys on the keyboard, users can zoom in and out the view as they want with limited level of detail.

Object VR Movies

An object VR movie consists of functions to allow users to view a subject from all directions interactively. Users can examine a design option with site layout from various directions. However, the possible viewing angles of a design are pre -defined and there is no transition between one pre -defined position to another. The size of image file need to be increased dramatically in order to improve the smoothness of the transition and increase the range of viewing angle.

Because the system requirement of the QuickTime VR is low when comparing with the VR system setting discussed in the previous chapter, it is affordable by most architectural offices. The initial investment of the system is also moderate. The VR movie created on one platform can be portable to other types of systems. In addition, being user friendly with low cost factors increase its potential to be widely used by building design professionals. The ease and simplicity of the interface design in QuickTime VR reduces the learning curve with restricted viewing functions in performance. The level of the detail of QuickTime VR movies has to be predetermined before generating the movies. Because the computer images or photographs used for QuickTime VR are generated in advance, it can support high degree of photo realistic effect when compared to the real -time stereographic approach.

Besides these two types of QuickTime VR movies, VR scene is also possible. It is a collection of several objects or panoramic movies, which are linked together by interactive "hot spots ". As a result, users can navigate a design solution from one hot spot to another spot within the scene. However, in order to create enough scene to visualize the entire design option, substantial time and disk storage space are required for the VR scene creation.

19 Applications in Architecture

The two types of QuickTime VR movies, discussed above could be effectively applied on evaluating different types of design problems. Combining building site information and rendered computer image, object VR movie could be a powerful tool to be used to study context related issues such as building form and sequences of approach. Meanwhile Panoramic VR movies could be very useful in visualizing the interior spatial quality.

Besides using QuickTime VR on design option evaluation, it could also be applied on other architectural problems, like documenting historical buildings.

XII. VRML (VIRTUAL REALITY MODELING LANGUAGE)

VRML is a computer language, used as a standard for creating three -dimensional scenes. The three -dimensional world implemented in VRML offers linking capabilities to other Web sites or other VRML worlds available on the World Wide Web. The integration of three -dimensional computer -generated environments adds the third dimension to the two- dimensional navigation of the various sites of the web.

The VRML file format is platform- independent, allowing the universality of access to VRML files. Web navigators are enabled not only to walk through the model of a VRML file, but also to follow hyperlinks to other sites of the Web -to text and graphics sites as well as to sound and video formats. The architectural metaphor is usually present, from the modeling stage to the navigation of the model itself, providing actions such as the virtual opening of a door to follow a hyperlink.

The technology initially available in computer games has been extended to the world of cyberspace, making its navigation more intuitive and easier to handle, thanks to the spatial metaphor used for VRML.

The number of VRML worlds which can be accessed on the WWW grows at an exponential rate. Although the use of three -dimensional architectural forms is predominant, VRML cannot be considered a pure VR experience since the immersive environment is missing. Nevertheless the three -dimensionality of the VRML worlds renders the idea of how access of information can be better managed by using an interface, which resembles physical three -dimensional space.

20 XIII. ADVANTAGES AND DISADVANTAGES OF VR

The usability of VR for the architectural design profession is first of all dependable on investments and expertise. Most architectural related virtual environments require high quality visual display devices, which are still expensive. Even if a company wants to invest in high priced technology, expertise on VR should also be available or acquired. Otherwise the equipment cannot be used at full potential because of its non user -friendly characteristics.

Fortunately, the equipment is rapidly getting cheaper and more people are getting trained in the use of VR technology - which is also due to the fact that an increasing amount of universities is conducting research on VR. Furthermore, the availability of VR equipment is also improving: one can already get inexpensive VR glasses via regular mail -order companies.

When the technology and expertise is available, VR can offer interesting possibilities, which are sometimes even unreachable by any other medium.

Advantages

VR is highly interactive and flexible. A user can make alterations to the building with almost real time response. Making alterations to presentation scale models is costly and will take a lot of time, because the whole model has to be built up from scratch.

VR can be a powerful means of communication. First of all, a VE is highly vivid and interactive, enabling natural communication. Additionally, a VE can be used for representation and comparison of different views on the digital object data of a house. In the architectural design process, participants from multiple professions cooperate, who all have their own specific representation technique for technical documents. For many people, like the client, these technical documents are not understandable or multi- interpretable. VR can assist people in the design process by offering lesser ambiguous representations (simulations) of this technical information, compared to the traditional means of representation.

VR offers the user the ability to immerse in a 1:1 scale digital model of a building and experience and view it from multiple sides before it is even built. Immersing in a virtual environment can be used not only for evaluation of the aesthetical aspects of a building, but also to test functional characteristics like virtual way finding (finding your way through the building). VR offers an insight in the building, which is unreachable with any other medium. VR can also displace the traditional (1:1 scale) model house, thereby drastically reducing costs.

21 VR makes it possible to simulate situations, which are normally dangerous for a human being. One can think for instance about a fire drill.

Disadvantages

The technology to built and use a virtual environment can be very costly. Expertise is required to build a virtual environment and install the technology, which is being used. The technology, which enables VR, is not matured - researchers and developers are still facing a lot of technical problems. Some of the technology is very non -ergonomical; helmets (HMDs) can be heavy, people can get entangled in wires which are connected to the devices. One is still facing the controversial problem of health and safety. VR can replace the real world easily - especially the field of VR entertainment is worried about children running through the house with a helmet on, thereby endangering his or her health. Furthermore, VR can cause eyestrain and visual lag, which can lead to nauseous reactions of users.

Conclusion

Architects and other participants in the design process can greatly benefit from VR by being able to experience architectural space in real scale. Furthermore, design changes can be made easily, with almost real time feedback on spatial consequences. VEs can vary from non - immersive to fully immersive environments, differing in the way how visual, auditory and tactile perception is supported. Initially, walkthroughs through a building were the most popular VR supported architectural applications. Lately, walkthrough applications have been extended with limited manipulation possibilities. Conceptual design tools also allow walking through a building, but their functionality is far more based on both designing and review, since there is a large overlap between designing and reviewing. Still VR is not very popular at architectural design companies - most VR equipment can be found only at firms specialized in the development of VR applications.

22 XIV. POTENTIAL FUTURE APPLICATIONS OF VIRTUAL REALITY IN ARCHITECTURE

Virtual Reality (VR) is a tool that provides the ability to convey and visualize complex architectural concepts. It assists architects and their clients for such tasks as site selection, land planning, traffic studies, alternative and best -use studies, pre- construction walk -throughs, interior design and merchandising.

Fubini's Law:

People initially use technology to do what they do now - but faster. Then they gradually begin to use technology to do new things. The new things change life -styles and work -styles. The new life -styles and work -styles change society. and eventually change technology.

The following example of television illustrates Fubini's Law. In the initial stages of television the same things were done using a new technology, for example quiz shows on TV instead of radio. In the later stages different uses such as videogames and videotext were discovered. Likewise, Virtual Reality may eventually be used to do things only made possible through the "new' technology. And it is not difficult to imagine that Virtual Reality will change life -styles, work -styles, and society in general [16].

Rather than wait and look towards the future, architects now need to consider the use of VR in relation to the way they conduct business today. The process of design in architecture is usually consultative, and a "virtuconference" between the architect, consultants and client could be conceivably carried out on the "virtual building site ". Here a few areas where architects may take advantage of VR technology within their practice [17].

Design Virtual Reality could revolutionize the process of design, not only because of it's potential value as a communication and visualization tool, but because it offers a "trial run" in designing architecture. The ability to interact with the design is a tremendous benefit of VR technology. Architects can take conventional design methods and have those designs applied into virtual environments. Architects may also use the technology internally to assist with planning as well as conceptual design. Another advantage of Virtual Reality in design should be the ease of use of the computer as a design tool, due to a more intuitive and interactive interface than that which is currently available with CAD.

23 Modeling VR replaces the need to construct traditional massing and design models. Once completed, it is difficult and costly to make any changes to these models. By using VR instead of traditional models, architects may show options and make instant changes to a design while sitting before a client.

Evaluation and Presentation People gain a higher level of comprehension when able to walk through and around a space at their own pace. They may realistically see how a project will appear. A greater degree of comfort is achieved because people can make an evaluation based upon what is familiar, which VR technology simulates. As a result, architects and their clients may receive feedback and constructive responses before financial risks are taken.

Marketing Marketing is an area that has already benefited from the development of VR technology. In London [18], real- estate agents are using highly powerful graphics computers (also referred to as "desktop VR") to walk their clients through expensive estates. Two advantages of this, apart from the prestige of using a new technology, are that "walkthroughs" are not predetermined (and thus are better than videos), and the convenience of showing estates to clients who might be some distance from the estates.

Conclusion

Virtual Reality could have a tremendous impact on the future of architecture and society in general but it requires many questions to be answered before it can be used effectively in architecture or any field. These questions are technical, conceptual and social. Some foreseeable problems of Virtual Reality in architecture could be:

The computational power required might be so great that very little might be achievable on a day -to-day basis in architectural practice. Technical shortcomings of various VR systems could be a problem. At present "desktop VR" does not fit the definition of VR, mainly because of technical problems which have yet to be solved. It may never be a medium which offers the speed of hand sketching to visualize in 3D (although, you would not have to be an artist to use it effectively).

While the concept of Virtual Reality is simple, the ramifications of VR on architecture and society in general are less easy to imagine. Virtual Reality requires that architects review the way in which they design buildings and their social and ethical responsibility as a profession, to make this technology work for society and not against it.

24 Funding is probably the main reason architects have had limited involvement in the commercial application of this technology. Other factors besides funding which might influence the above findings are consumer marketability and level of acceptance of technological change in a specific field.

There does appear to be a lingering presence of "techno phobia" within the architectural profession that is illustrated by the very slow acceptance of CAD in architectural practice. This could also be related to cost, and the economic climate. There is no doubt that VR could be marketed in architecture. Those architects who have become "technological" are outlaying more and more money on equipment. There is still a large gap between the money available to a large sized firm for "everyday" marketing and the substantial costs of VR technology.

25 [PART B]

XV. THE REALITY OF VIRTUAL SETS

1. Introduction

A virtual set or virtual studio system is a tool, which allows you to place live actors in graphically generated 3D environments for live productions. In a typical virtual studio production, the talent will perform in front of a blue screen background. The actual background that will appear in the final output is a graphic 3 -D image that resides in the computer. The foreground and background images are digitally composited using a chroma -keyer [19].

The concept is much the same as the familiar blue screen and keying technology used for television weather reports [20].

The difference with virtual set technology is that the image keyed onto the blue screen is a three dimensional graphical set that the actors interacts with. More importantly, with virtual sets, you have the ability to move the camera freely, and synchronizing the camera with the 3D graphical set convinces the eye the set is more realistic. It provides a believable and visually interesting show for the viewer.

The computer graphics are produced with modeling software packages and then imported into the virtual studio software [21].

During production, actors move about the virtual set, the camera operators follow the action, and the set is synchronized with a true perspective. Both foreground and background objects may be moved and manipulated in real -time; therefore, an actor can not only go in front or behind virtual objects, but also walk or move inside them.

2. Historical Perspective [22]

In 1902, French filmmaker Georges Melies produced the seminal Le Voyage Dans la Lune (A Trip to the Moon), a fourteen -minute film of Jules Verne's From the Earth to the Moon. The cinematic highlight: a rocket, shot from a cannon, landing square in the eye of the man in the moon.

In 1942, Gene Kelly starred in the movie Anchors Aweigh. The highlight: a long dance sequence combining Kelly and the animated Jerry the mouse.

By 1978, Star Wars and Superman cemented the marriage of real and rendered imagery by producing astounding visual effects using (what were at the time) advanced computers and conventional chroma key techniques.

26 Each of these events represented a step forward in the blending of the real and the unreal for film, video, and live broadcast.

Each country across the world has, over the years, developed its own unique identities to the stage where it is usually possible to guess the country of origin of a program by watching it without the sound turned up. Some countries have adopted the new technology wholeheartedly, while others are just getting there [23].

3. How it Works [24]

A virtual studio system consists of four basic components:

The camera tracking system which will electronically or mechanically extract and calculate the camera position parameters A computer workstation An off -the -shelf 3 -D modeling software package for rendering a 3D virtual set, and A chroma keyer, which combines the foreground and background for the seamless picture.

The virtual set- usually the four walls, the ceiling, and any props that will not be handled by the performers- is created using a number of powerful 3D modeling tools. The sets are then painted and textured using other standard painting tools.

On the stage, which is basically a conventional blue screen stage, the actor performs for the video camera. The image of the actor -at the same moment in time it's captured by the video camera (with a few frames of delay for synchronization) - is integrated into the computer - generated set.

As the camera follows the actor, information is delivered to the computer about the camera's precise position, perspective, and lens setting, Based on this information, the virtual image is rendered to precisely match the live camera shot. When the live actor walks, the virtual set "camera" moves along with him, adapting to every tilt, zoom, pan, truck and dolly the live camera makes. And the ultimate composited image is broadcast.

Camera tracking is crucial to virtual sets. The system must know where the camera is pointing to determine what parts of the set are viewable. All virtual sets use some form of camera tracking to determine where the camera is and what it sees. Information must be gathered about the camera's position in the set (x,y,z) as well as pan, tilt, zoom and focus.

27 All of this data is converted into positional information and is used by the image generator to recreate the scene just as it would look as if viewed through the camera. There are a variety of camera -tracking systems, from mechanical sensors to complex pattern- recognition systems. Virtual set systems may use one technique exclusively or use various techniques in combination.

A. Upto -Mechanical Sensors

This technology has been around for a number of years. Mechanical sensors are mounted and tightly coupled onto a pan /tilt head to measure the pan and tilt motion as the camera is handled. Further, the lens is coupled with mechanical gears, which measure the zoom position. This information is usually combined and sent to the rendering computer to position the 3D model.

The advantages of this system are accuracy and cost -effectiveness in single camera systems. Costs go up, however, with each additional camera simply because of the high cost of the sensor -configured pan /tilt heads.

Other disadvantages are the inability to move the camera for x, y and z and the system calibration require the pan /tilt head to be measured very accurately.

B. Pattern Recognition Method

In the pattern recognition method, a vinyl carpet is painted in two Ultimatte colors (blue and super -blue) in a line formation, the "grid ", on which every point is unique and identifiable by the computer as the image is received from the camera. The vinyl carpet can be any size and is hung flat on a wall.

The foreground video is fed to a fast, parallel processing computer which recognizes the grid and by analyzing the grid angles and applying pre -determined mathematical algorithms the computer can calculate the x, y, z, pan, tilt, zoom and roll camera location. About ten percent of the grid needs to be in the frame of the camera shot for the computer to have enough information to calculate camera position.

The advantage of this method is that cameras can be moved freely - and this is true for handheld stead cams and dollies. It supports multiple cameras and no calibration is required on an on- going basis.

The disadvantage is that the grid must be in the frame of the shot, which limits shooting angle to about 180 degrees.

28 C. Infrared Detection Method

For the infrared detection method, IR beacons and directional receivers are used for automatic location of moving objects in the studio - such as the cameras and actors. IR detection modules are used for automatic depth- keying and other functions, which require precise locations.

Billions of computer operations are required to render a single image. The image generator breaks the rendering operation down into a sequence of incremental, or pipelined, processes. While this helps speed the process, it also introduces transport delay (lag time through the system). The amount of transport delay is based on the camera tracking method and the image generator.

4. Technical Aspects [25]

A. Chroma Key

Chroma key is over 30 years old technique that makes it possible to overlay - to key or to superimpose - an image over another in a way that a specific color range in the foreground image becomes transparent. The use of chroma key is often referred as blue screening for the reason that blue is the most common color to be replaced, although green has become increasingly popular.

The most typical place to see a chroma key in use is a weather forecast, where a meteorologist is standing in front of a colored background, which is replaced by weather report or forecast images. The meteorologist is superimposed over or keyed to the forecast image. The traditional chroma key may be considered as a simple form of a virtual set.

To create a realistic image out of multiple image components, the following attribute conditions should be matched as closely as possible.

Camerawork - pan, tilt, roll, 3D positioning, zoom, focus Lighting - color temperature, intensity, direction of light source, and so forth Filming conditions - resolution of cameras, recording characteristics Environmental conditions - fog, shadows Interaction between objects.

The basic use of a blue screen works well as long as the camera is fixed. If we move the camera or change the focal length or even focus, we should make changes to the background image respectively, otherwise proper integration of these two images fail. Also, if we had several cameras, we should have different background image for each of them, even though the cameras themselves would be fixed.

29 Ultimatte 9: Incorporates a number of features specifically requested by virtual set users. It provides defocusing of the background, blending of foreground edge with background, lighting and control over shadow detail [261.

B. Camera Tracking

Virtual sets of today utilize the chroma key technique to superimpose actors, actresses and other real objects over a computer generated background image. We could conceptualize the idea of virtual sets by thinking two cameras ganged together in a way that any movement of camera A makes the camera B to move the same way, as illustrated in figure.

Stre et Blue scre en 1- Window

Curtain C urtain

Came m A CameraB

I1 1 tj,

Foreground and background cameras ganged together

Figure 1. (Source: 011ikainen, Ville. The Assets of Virtual Sets in Television Production)

With virtual sets camera B would be a virtual camera taking pictures of computer -generated objects in a computer -generated space. The position of camera A as well as the lens parameters (especially the focal length) of camera A have to be accurately known in order to maintain the correct perspective.

Camera position can be defined in two ways:

Active Positioning Passive Positioning

30 In Active positioning a servo -control system drives the camera according to an external control.

In Passive systems camera position is measured with different kind of sensors. Passive systems are often referred as camera tracking systems.

Whatever the positioning system is, its accuracy should be preferably of the order of t1 mm and the angular accuracy about ±0.01 °. The positioning system should be well calibrated before filming.

With current technology, real objects can be superimposed to the virtual image if and only if they have a chroma key background. The virtual set - however - may continue outside the area of chroma key: you may have 360 degree virtual set horizontally and vertically as long as the tracking system is able to handle it.

C. 2 and 3- Dimensional Visualization

Most of the systems sold so far are actually 2D, although the advertising may lead you to believe otherwise. So what is 2D as opposed to 3D? Well, the basic difference is in the movements the foreground camera can make. In a 2D system the base of the camera does not move, while in a 3D system the camera base does move; a simple distinction that is then muddied by the ways of generating the background picture. The important fact here is that television is two- dimensional. Depth is given by good set design, lighting and focus [27].

All 2- dimensional systems use some form of video store, linked to a camera. The processing power needed for 2- dimensional models is relatively low, and thus less expensive equipment can handle it gracefully. 2- dimensional systems are generally easier to use, and integrate more easily into existing broadcast facilities.

When it comes to 3- dimensional systems, complexity of the model, required level of realism and feasibility of pre- or post- rendering define how much computing power is needed. Generally speaking, a lot is needed.

A. If camera motion and settings are known, it is possible to pre- render the virtual set frame by frame and run the rendered material from a hard disk recorder

B. In post- rendering the images from a virtual set are calculated afterwards according to the recorded camera movement and lens parameters. Pre -rendering and post- rendering do not have to take place in real time, which makes it possible to create more complex scenes. As a drawback of post- rendering, actors, actresses and the studio staff are not able to see the virtual environment while recording.

Whenever there is no pre- or post- rendering, the entire rendering must take place at the video frame rate, which is 25 frames per second in Europe. So, basically the computing power should

31 be equal to calculate 720x576 pixel (or 960x576 pixel in wide screen productions) virtual images every 40 milliseconds from the 3- dimensional model.

D. Typical Implementations

General requirements for all virtual studios include:

- Silicon Graphics Onyx or Onyx2 computers, - Dedicated hardware to take care of care of camera tracking, chroma keying and information gathering for Z- mixing, - Blue screen area.

The computer graphics are produced with modeling software packages and then imported into the virtual studio software.

Because of the lack of computing power, real time 3- dimensional virtual sets can get close to an illusion of real sets only in very rare cases.

Models typically have a fairly low polygon count and make heavy use of textures.

5. Advantages of Virtual Sets [28]

A. Virtual Sets Save Space

Where space is at a premium, virtual sets can give small studios an illusion of grandeur, and allow different shows to be shot back -to -back using the most striking sets imaginable . Any live television show can sport an eye -catching, avant -garde presentation.

A typical virtual studio set up requires approximately 10'x10' of stage for the blue screen environment. This is a substantially smaller space then that which is generally associated with physical sets, and yet the end result can appear as a much larger space.

B. Virtual Sets Save Money

Through the use of virtual sets, savings can be achieved by eliminating the costs associated with the construction, storage and maintenance of physical sets. Other space related costs such as lighting, air conditioning and so on are also dramatically reduced.

Location costs are also reduced as designers, freed from the laws of physics, can recreate a stadium, a city or even a planet in a studio the size of a small room.

32 C. Virtual Sets Are More Flexible

Virtual Sets can be struck with a few keystrokes, stored on a disk and shipped anywhere in the world over the Internet.

A single virtual set can be used to produce several programs, and that means you will no longer need to tie up a studio with one on -going project. When a project is completed for the day, simply load in the software for the next set and you can be ready to go in as little as 30 seconds.

Virtual sets can be built much more quickly than traditional sets, and the entire process is also much more flexible. During the design phase of a project, virtual studio technology allows you to change set designs as the program or commercial format and theme materializes. Later, changes to existing sets can easily be accomplished to accommodate new trends, formats or even special offers without incurring substantial costs.

D. Virtual Sets Expand Creative freedom

A set designer's creativity/ imagination is absolutely limitless, as virtual environments are not hindered by space, budget or gravity.

A news anchor, once restricted to a news desk and a few square feet of space, can now report from anywhere in the world -or in the universe [29].

6. Applications of Virtual Sets

A. Virtual Sets in Television Production [30]

Virtual sets are being used in the studios of major networks as well as at local call letter stations and even small production houses. Applications range from local news production and talk shows to music videos and sporting events.

Following are a few examples of virtual -set technology applications made possible by the technology's lower cost:

Local News Origination: No longer just a network technology, virtual sets can allow local stations the creative freedom needed to capture a larger piece of their markets. By applying sets in a creative way, these stations can develop a new level of interest in their programming. New venues can be created to support the news, weather and sports components of news broadcasts, with different sets for times of the day, seasons, holidays and special reports.

33 Corporate Training: In today's aggressive marketing environment, more companies are maintaining their competitive edge by enhancing the training they provide to customers and employees. Imagine going inside an engine to teach mechanics how to do a tune -up.

Children's Programming: Whether it's an educational program or a Saturday- morning feature, virtual -set imagery can captivate children of all ages. In this type of application, virtual sets can achieve their creative peak by building environments of teachers and educators where anything is possible.

Real -Time Special Effects: Once a virtual set has been designed, unique special effects are almost free. Kiosks can rise from the ground or float from the sky. TV screens can float in midair, with on -air talent in the foreground or background. Lines of text can fly in and encircle the talent. Walls can move; the ceiling can vanish to reveal a midnight sky; the floor can morph from brick to wood to marble, all in the blink of an eye. The creative possibilities are enormous.

B. Virtual Sets and the Movies [31]

Considering that Hollywood is known for its love of 3D special effects, it's natural that virtual set technology is now finding a home for itself in films. New tracking systems are currently being developed to allow compatibility with film cameras and the technology can be used to create simple versions of 3D sets which can be viewed during shoots.

C. Virtual Sets on the Web [32]

Another application for virtual sets (being touted by vi [z] rt) is an online solution for broadcast graphics and virtual set design.

D. Virtual Advertising

The U.S. broadcasters are beginning to express interest in Ad Insertion Technology and Virtual Advertising is finding real success.

In Jul 1999 the Seven Network used Orad's sophisticated virtual advertising system IMadGINE, to superimpose a Reebok logo over a small section of the crowd during a Gledisloe Cup match. A huge legal and ethical debate erupted which also resulted in virtual advertising being banned from the Sydney Olympics.

34 The Seven Network is continuing to experiment with virtual advertising and audiences will soon not be able to differentiate between "real" location banners and those superimposed by the broadcasters.

E. VR at Sydney Olympics [33]

This year's Olympics in Sydney featured more 2D and 3D virtual technology than ever.

Australian viewers watching the recent Sydney Olympics 2000 Qualifying Swimming Trials saw the world debut of Orad's Virtual Swimming World Record Line, a unique application of CyberSport from Orad Hi -Tec Systems.

The Virtual World Record Line is an animated graphic usually shown as a line, which moves around a sports track. The line represents the existing world record and is shown in conjunction with the live sports event so viewers can easily see where the contestants are in relation to this record.

This system was first used as Virtual Runner in the 1999 Bislet Games in Oslo where it depicted Gabriel Selasie's unbeatable world record - a CG runner competes with the athletes in real -time.

The Orad Virtual World Record Line system uses camera head together with zoom and focus details from the camera lens. This information is fed into Orad's Digital Video Processor (DVP), a multiple parallel computing system developed in- house. This is the heart of the system that provides real -time processing to adjust the position of the graphic overlay relative to the camera's viewpoint.

An SGI 02 Computer is used to provide an on- screen interface for the DVP unit and to generate the graphical World Record Line.

7. Known Key Players In The Virtual Set Industry [34]

A. Accom, Inc. www.accom.com

Accom expanded its ELSET virtual set system into a product line including: ELSET -Live, ELSET- Post, ELSET -NT and ELSET -Live NT, so users can match the best tool for the job.

ELSET -Live, the original system, runs on an SGI Onyx -2. It is a full- featured, high -end virtual set system for rendering live to air.

35 The companion system, ELSET - Post enables producers to post- render the sets automatically, using an SGI 02 workstation on which camera data is stored and captured during production. This enables the use of sets previously considered too complicated or elaborate to be rendered in real -time, even with an Onyx.

ELSET -LiveNT works with REAL 3D's PRO -1000 Professional Series real -time graphics engine. ELSET -Live NT is a companion to ELSET -Post NT; a Windows NT- based virtual set creation system built around Kinetix 3D Studio Max animation software. ELSET integrates with Accom's Axess Still and Clip Store and WSD /Xtreme DDR's as well as the Ultimatte keyer.

B. Blue screen 3D Studios Blue screen compositing

C. Brainstorm Multimedia User-friendly Virtual Set system ESTudio TM, designed for television producers. No advanced technical knowledge is required to use their product.

D. Devlin Design Group www.ddotv.com

The company now has a virtual content library of set designs, called SoftSet that contains between 80GB and 100GB of data comprising over six years worth of computer -generated data sets.

In April 1998, Devlin Design Group formed a strategic alliance with Discreet Logic to package the Frost real -time 3D graphics system with its SoftSet library. With Soft Set, the award- winning designer of news sets has extended its expertise into the new virtual set arena, and now resells it as part of a complete Frost system.

E. Discreet Logic www.discreet.com

Discreet Logic's Frost real -time 3D graphics system now includes every live graphics tool from over -the -shoulder to full real -time 3D virtual set design and production using the Vapour add -on module.

Vapour is an ultra- high -end solution running on the Onyx -2 platform, with fully integrated set design, camera tracking, and real -time keying, compositing, and rendering live to air, Unique to Frost is the ability to incorporate timely data, such as election results or financial reports, directly into the animatable real -time graphics and virtual sets.

36 F. Evans & Sutherland www.es.com

A Windows NT -based system, the MindSet Virtual Studio makes possible exceptionally realistic 3D environments rendered in real -time, complete with shadows, interactive lighting, surface textures, and animation.

A total turnkey system, MindSet integrates the real -time E &S MindSet Image Generator: the Camera Trackers; and the Video Delay unit, as well as FuseBox Control Software, which is the virtual set creation tool and calibration control component.

Stressing affordability and customization, E &S's MindSet can be configured for backgrounds only, or background and foreground keying. The Virtual Technician feature tracks the status of every aspect of the MindSet system, and assists in trouble- shooting. The Virtual PropShop is a library of 3D objects, animations and sets that are ready -to -use, as well as customizable.

G. For -A

www. for -a.co.ip/enq /products /dioiwarp.htm

FOR -A offers digiWarp, a cost -effective virtual set system consisting of the FOR -A VIP -100 Virtual Image Processor, which interfaces with Orad's DVP -50 pattern recognition processor and camera positioning grid.

Unique to digiWarp is the ability to add digital video effects and shadows to the chromakey, facilitated by an Ultimatte, as well as the ability to key graphics onto a blue ceiling for a greater illusion of space.

The system does not require an SGI Onyx for most system configurations, and it responds to standard PC_AT control. Depending on the version selected, digiWarp offers warps/modifiers /keys, real -time imaging and compositing, and the addition of 3D objects onto the foreground within the studio environment.

H. ORAD Hi -Tech Systems

www.orad.co.il

CyberSet -O A high -end SGI -based real -time virtual set, offers unrestricted camera movement through its patented two -tone blue screen pattern recognition technology. Enhancements include a mobile application, as well as defocus and texture mapping.

CyberSet -M A mid -range system for half the cost; is ideal for less complicated sets.

37 SyberSet -E The entry-level system brings high -end features to the SGI 02 platform.

CyberSet For Post Applies the camera tracking data captured during production to virtual set creation in postproduction.

Orad now has Virtual Sports Broadcast Tools including: Tactical Replay, Virtual Replay, and SoccerSet, which enable 3D graphical representations of game action. Also, Web Replay and Virtual Live bring 3D graphics and game highlights to sports fans over the Internet.

I. Photron Limited www.Dhotron.com

Photron makes virtual set technology affordable to a broad base of customers by eliminating the need for UNIX -based supercomputers.

The PSEUDIO virtual set system replaces the computer- intense process of rendering and compositing sets live to air with the use of pre- rendered backgrounds stored on a frame buffer.

Under a Windows PC's control, PSEUDIO creates the virtual set illusion using: An encoded monitor bead for determining pan, tilt, zoom and focus parameters A remote control camera head A special purpose processor with digital zoomer Frame Buffer: DVDA digital video disk recorders, and PRIMATTE PRO 100 for real -time blue screen compositing of backgrounds.

J. Play, Inc. www.pllay.com

While it is not known as a virtual set system per se, Trinity's custom -designed circuitry, video processing hardware, and powerful Warp Engine enable this workstation to composite virtual backgrounds and multiple live video streams in real -time.

This system maps live video onto 3D animating objects photo-realistically, as well as creates virtual sets for delivery to air in real -time.

Designed as a TV studio -in -a -box, this Windows NT- controlled system incorporates D -1 quality uncompressed non -linear editing, titling, paint and graphics creation and composting for about US $10,000 US. It also imports graphics and animation files created on third party systems, and through a merger with Electric Image, will also include sophisticated 3D animation and visual effects capability.

38 K. Polhemus 3D tracking sensors

L. Radamec Broadcast Systems Std. http: //www.radamec.com/

The Radamec Virtual Scenario is a cost -effective alternative to supercomputer -based virtual sets because it is based on a dedicated, proprietary hardware platform.

The processing is handled by a special purpose DVE which manipulates and alters the background perspective according to data derived from Radamec's pan and tilt head, precision sensors that read zoom and focus data, and an RS422 serial data link to a touch screen user workstation which controls the system's operation. The final illusion is created in the key channel by any popular chromakeyer.

Virtual Scenario also offers an optional D -Focus hardware unit that realistically defocuses backgrounds according to camera movement.

Radamec's 435 Pan and Tilt head is frequently incorporated into virtual set by third -party manufacturers.

M. Real -Time Synthesized Entertainment Technology (RT -SET) VI [Z] RT www.rtset.com

RT-SET is a fully- integrated, turnkey virtual set system available in two configurations: Larus An SGI Onyx or Onyx -2 -based system, which enables real -time integration of live actors with 3D virtual sets during live -to -air program shooting.

Lbis An economical SGI 02 -based system, which provides 3D effects for live -to -air, programmed shooting. RT -SET integrates live actors with 3D virtual sets in real -time, without limiting the number of cameras that can be controlled and managed by a single computer head, The system gives cameras 360 degrees of unrestricted movement, with pan, tilt, and zoom capability, and even allows them to shoot outside the blue screen area.

The RT -SET configuration is flexible, and customers can choose camera -tracking systems from Thoma, Vinten, Radamec and others.

39 N. Silicon Graphics www.sgi.com

Makers of the very popular ONYX TM' computers used to produce and render virtual sets in real time.

O. The Virtual Studio (VIST) Developing virtual studio sets

P. Thoma www.thoma.de

Thoma's camera support and calibration devices are a popular choice with manufacturers of virtual set systems. Thoma's product line includes:

32 -bit measuring and analysis electronics An incremental encoder for deriving zoom and focus data from the camera lens A variety of camera heads outfitted with mounted incremental encoders for pan and tilt, and A remote system for pan, tilt, zoom and focus that can be outfitted with special encoders that measure the pan and tilt movement.

Q. Ultimatte http: //www.ultimatte.com Blue screen compositing

R. Xync http://www.xync.com

8. Challenges And Hurdles [35]

The speed with which this exciting technology is adopted will hinge on three factors: cost, ease of use, and visual quality.

A. Cost: The price tag on a turnkey 3D Virtual system still puts it out the range of most television stations annual budgets. It is not a onetime expense, the price of setting up the studio for 3D Virtual, equipment maintenance costs, ongoing design costs as well as training the staff to operate it adds a significant additional cost to the bottom line.

40 A. Ease of Use: They are finicky, and like most computer systems, need constant vigilance to prevent a "data drift" away from the initial established setup.

B. Visual Quality: 3D Virtual Scenery still does not look real. One reason could be inconsistent lighting between the real and virtual objects; the shadows of the real objects shouldn't be missing or different than those of the virtual objects. The other is tracking inaccuracy, inadequate calibration or incorrect perspective, which inflict relative positions to become incorrect. Virtual camera position and lens parameters should have an exact match with the real camera.

Currently, radiosity and bi- directional ray tracing are the most advanced commercially available methods to simulate realistic lighting. Although these methods produce very good results, ultimate reality is still unreachable and far from real time. Therefore, the only way to combine a degree of realism with real -time performance is to preprocess diffuse lighting.

Still 3D Virtual Scenery, while far from perfect, is the catalyst for a new design methodology, and will provide a doorway into the New World of Media that awaits our entrance.

9. The Role of a Virtual Set Designer [36]

As virtual -set systems become easier to use and the workstations driving them drop in price, an increasing number of broadcasters are turning to the virtual technology to gain a competitive edge. But simply purchasing and learning how to use virtual -set hardware and software does not guarantee the user a good set.

That's where virtual -set designers come in. Strong set design has a tremendous impact on viewers' perceptions when it comes to broadcast applications.

It makes no difference whether the scene viewed is a computer generated 3D model or a picture; the output is always 2D. Hence the essence of a good set is not which system it is run on, but how well it is designed and lit. This is not to say that each virtual set vendor is the same, nor are their variously priced systems the same, but just spending a lot of money on the latest SGI Onyx2 Infinite Reality mk3 will not guarantee a usable set. The craft skills (of a designer) are still required and often offer the correct solution to a requirement rather that the technical one [37].

Sets reflect current trends and tastes and their quality is determined primarily by the skill of the virtual set designer. Shows have become self -referential. We have nostalgia programs that emulate the styles of other decades, such as "That 70's Show," which uses its decor as a

41 comedic character. Enter the Virtual Set Designer, and watch the scenery respond to plot lines and emotional tone.

The role of the Virtual Set Designer has grown and integrated with the digital output of the graphics department, and no longer can scenery be described as the "background" in a television environment. It is actually a "database" (not exactly a design school term) and as such, is capable of a more active role in the production. How does this expand the Virtual Set Designer's job?

A. In designing a virtual set, the "decision tree ", has become much more complex. Now a set designer working on a virtual set must consider many more parameters "up front ". Set blocking, lighting, and surface treatments have to be considered much earlier than in the traditional set design process.

B. There are limitations to the quantity of the scenery in each scene due to its "expense" or the load the creation of its image 60 /sec will put on the computer generating the virtual set in the system.

C. Lighting changes require the construction of many layers of textures for the virtual set, as well as some additional models, so this has to all be worked out with the Lighting Director well before rehearsal days.

D. The Virtual Set Designer by virtue of the burgeoning impact of CG graphics must become a leader of sorts. He should lead the production, by providing a framework or structure upon which to base the graphics aesthetics as well as the workflow in the project.

E. The Virtual Set Designer needs to remain in contact with all phases of the graphics creation. From the textures going on the set, to the logos flying over the talent's head, a Virtual Set Designer will have to imagine how all of this will combine with the elements that the Lighting Director and Virtual Set operator will be bringing into the look as well.

F. The Virtual Set Designer will also need to stay abreast of the software development in all the fields that relate to the creation of Virtual Scenery. This means frequent contact with the Virtual Set system vendors, as well as the model and paint system vendors.

For the Virtual Set designer that has come out of a traditional non -computer based background, there is an Everest -like learning curve to understanding the CG methodologies necessary to creating a new virtual set.

For the CG expert with no real set design experience there is a universe of invisible factors and aesthetics that must be seen in the mind's eye in order to create a believable virtual environment that actually works physically for the production.

42 Both fields of knowledge are critical to this craft. They are mutually supportive and interactive in a good virtual set design, one that can function well physically and hit the mark aesthetically.

The Virtual Set Designer stands at the nexus of these crossroads. Scenery is being redefined by Virtual Set Designers, and the New Medias that are growing out of television will continue to demand this innovation.

10. Conclusions

Virtual set technology has developed very fast. Today, virtual sets have moved from the position of expensive esoteric technology only suitable and affordable for very high -end applications into the mainstream of broadcast -- now affordable for most applications. Techniques and computer processing power have improved to the point where now virtual sets are no longer criticized for their lack of realism. Today, virtual set techniques allow for closer interaction of the actors with the virtual set. Actors can walk in front of or behind virtual objects, or even inside them [38].

The technology has advanced so much that users no longer simply attempt to create sets that are valid imitations of real life. Their aspirations are greater now. In fact, many virtual set users have it as there goal to create totally unique visual experiences -- experiences that are better than "real" [39].

43 [PART C]

XVI. A VIRTUAL SIMULATION OF FRANK LLOYD WRIGHT'S FALLINGWATER House For Edgar J. Kaufmann, Bear Run, Pennsylvania, 1936

1. Project

Current virtual reality research and development on architecture applications are extensive, from its use as a representational tool, to its use as a simulation and evaluation tool, creating virtual worlds etc. all of which have been discussed in Chapter X [Part A]. The purpose of this project is to demonstrate the possibility and extent of application of VR technology to reconstruct built environment in virtual space.

2. Objective

To develop an interactive walkthrough of Frank Lloyd Wright's "Fallingwater" as a case study to demonstrate the use of VR technology for preserving the built environment.

"Fallingwater" - Wright's masterwork - is considered his sublime integration of building and nature. Deep in the lush Pennsylvania forest, Fallingwater rises as a testament to Wright's genius. Nowhere else is his architecture felt so warmly or appreciated so intuitively. Wright's deep understanding of nature and of man's place in nature is presented through this architectural icon [40].

The key to the setting of the house is the waterfall over which it is built. The site had long been one of the favorite places for the Kaufmann family in their woodland retreat. When they saw the architect's first sketches, they expressed surprise that Wright had placed the house not on the slope looking down to the falls, but directly over them, but Wright had no intention either of having the house face north, an inappropriate orientation for the sun, or to have the waterfall present merely as an image to be looked at from the house.

The long, horizontal, cantilevered terraces create the illusion of almost floating in space with no visible supports. The genious of Fallingwater is that it is rustic, yet at the same time quintessentially modern and technologically sophisticated.

Fallingwater was the weekend home of the Kaufmann family till 1963, when the house, its contents, and grounds were presented to the Western Pennsylvania Conservancy by Edgar Kaufmann, Jr.

Falling water is the only remaining great Wright house with its setting, original furnishings, and artwork intact. Even though Fallingwater has been reinforced and repaired over the years, it has not experienced structural failure as many of the engineers had predicted when examining Wright's plans for Fallingwater. It has stood the test of time and remains the greatest and most famous example of Modern Architecture the world has ever seen.

44 3. Project Methodology Adopted

A. Document all relevant information about the house for use in the final model. B. Develop wireframe model of the house using available software and hardware. C. Define colors, scan textures and create light sources to simulate the effects of sunlight into the house. D. Master the animated renderings into VHS tape for a non -immersive presentation. E. Geometric Conversion - Convert wireframes into VR model. F. Assign interactivity to VR model, like enabling the opening of doors, changing colors and collision detection (so you are unable to walk through solid objects like walls) G. Optimize the model, like generating levels of detail.

The project began by a full documentation of the house - sketches, construction drawings, photographs, and writings from various sources. Based on the information assembled, 2D plans and sections were developed in AutoCAD. A system of layers was developed based on object type, location and material to be applied. These were used as templates for creating the model in FormZ. The model was constructed in a manner analogous to the way it was actually built, to demonstrate the delicate balancing of forces and counterforces, transforming into spaces thrusting horizontally, vertically and diagonally, that the building possesses.

The model was then exported in DXF to 3D StudioMax, where lighting parameters were set to simulate sunlight into the house. Miniature cameras were introduced into the scale model and walk- through paths were defined by identifying key views around the building.

The model was rendered using sun -angle data to control 3D Studio Max's light- source positioning. These renderings explain why Wright placed Fallingwater above and to the north of the falls, ensuring a southern orientation for the house.

The animated renderings show that the house over the falls allowed Wright to bring direct sunlight into the major rooms because of the greater elevation of the chosen site, and its location on the north bank. Had Wright chosen any other site, the house's relationship to the symbol of nature's hazards would necessarily have been passive; a composition standing apart from the waterfall rather than wedded to it.

To make the renderings realistic, illustrations and site photographs were scanned to determine appropriate colors and material textures. The texture maps were then applied to the models' surfaces, adjusting the scale of the texture maps by comparing the resulting renderings to the site photographs.

A five- minute animation was created on a render farm of 8 computers in the Department of Architecture computer lab using 3D Studio's network- rendering capabilities. The animation was compiled at the Multimedia and Visualization Lab at the University of Arizona in Media 100 software and mastered to a VHS tape.

45 The non- immersive presentation was divided into following sections explaining the concept of the house as it relates to the surrounding site, and highlighting the organic nature of the house.

Section I. A. The Natural Setting and the Site. B. The waterfall with the house in place. C. C. Plans of the house revealing its dynamic, reactive character.

Section II. A tour of the exterior.

Section III. The Use of Materials.

Section IV. Walkthrough of the interior.

Section V. The different seasons.

Section VI. Summing up.

Section VII. Concluding Statements

4. Script of the Presentation

The presentation opens with music and animated graphic images with the following titles superimposed:

A VIRTUAL SIMULATION OF

FRANK LLOYD WRIGHT'S "FALLING WATER"

HOUSE FOR EDGAR J. KAUFMANN, BEAR RUN, PENNSYLVANIA, 1936

A PRESENTATION BY KARTIK DAKSHINAMOORTHY

46 Section I. A. The Natural Setting and the Site.

Narration Edgar Kaufmann commissioned Wright to build a family retreat in the lovely wooded hill country of Southern Pennsylvania, land that came complete with its own waterfall. Edgar Kaufmann loved the look of the land and the sound of the water and this would be a house that would reflect both.

Bear Run, the stream over which the house is placed, was typical and unexceptional before it became the site for Fallingwater.

The site had long been one of the favorite places for the Kaufmann family in their woodland retreat. When they saw the architect's first sketches, they expressed surprise that Wright had placed the house not on the slope looking down to the falls, but directly over them, but Wright had no intention either of having the house face north, an inappropriate orientation for the sun, or to have the waterfall present merely as an image to be looked at from the house. He told Kaufmann, 'I want you to live with the waterfall, not just to look at it'.

B. The waterfall with the house in place. Wright placed Fallingwater above and to the north of the falls, ensuring a southern orientation for the house.

Narration The site over the falls allowed Wright to bring direct sunlight into the major rooms because of the greater elevation of the chosen site, and its location on the north bank,

Had Wright chosen any other site, the house's relationship to the symbol of nature's hazards would necessarily have been passive; a composition standing apart from the waterfall rather than wedded to it.

47 C. Plans of the house revealing its dynamic, reactive character.

Narration The plan moves in staggered bays and alcoves, with stone walls reiterating the stone cliffs and creating a sheltered, almost cave- like, atmosphere. But immediately over the waterfall and facing the glen and its foliage, the plan dramatically opens the house up to expansive sweeps of glass windows and French doors giving onto projecting cantilevered terraces.

Thus, the main floor area is jagged on the side of the house that is anchored to the cliff ledges, while on the side opposite and on both ends, it is open to clean, clear lines of glass with little obstruction. The house has three levels, each with its own terrace, and outside stairways leading to the other terraces.

Section II. A tour of the exterior.

Narration Fallingwater is that rare work, which is composed of such delicate balancing of forces and counterforces, transformed into spaces thrusting horizontally, vertically and diagonally, that the whole achieves the serenity, which marks all great works of art.

The exterior can be "read" as opposing horizontal thrusting terraces, bridges, walks, drives, balconies and trellises, each with an elongated axis, extending through space. These horizontal thrusts are arranged in a complex spatial order, often interpenetrating each other, and in many different planes. The great terraces twist and turn, much in the same manner as the waterfall twists and turns as it falls over each horizontal rock ledge to the one below.

These balanced thrusts are juxtaposed, horizontal to vertical (solid fireplace mass, piers, walls or vertically oriented voids, as well as the vertical movements of trees, and the water fall itself) creating a composition of magnificent tension, vitality and sustained energy. The thrusts are under complete control, resulting in the paradox of a building full of movement: turning,

twisting quivering movement- that is , at the same time, calm, majestic and everlasting.

48 Section III. The Use of Materials

Animated Images show how Wright used concrete and stone in the structure of Fallingwater.

Narration The use of materials is largely symbolic. All supports are rough stone All horizontal elements are of concrete and seem to spring through space and beyond, giving the great sense of movement and tension that the building possesses.

The cantilevers at Fallingwater can be described as nothing short of daring. The house seems to soar in all directions, defying the laws of gravity.

An important and most significant feature of Fallingwater is in the detail of the balcony edges and the parapet edges throughout the house This soft, curvilinear treatment is not only in marked contrast to the rugged stonework of the masonry walls, but also to the clean surfaces of the parapets themselves.

Section IV. Walkthrough of the interior.

Main Floor

Narration The main floor affords views in three directions, with terraces leading out in two: one terrace opens upstream, the other projects over the rocks and cascades. The main level contains a large living space, with a dining alcove adjacent to the fireplace.

Upon entering the living room, we are surrounded by low walls with built -in bookcases, desks and long seats, the only exception being the glass doors diagonally across the room.

The upward thrust of the hearth beyond the surface of the living area floor is couterbalanced by the opening in the living area floor and ceiling with the suspended, weight -less stairs floating down to the water's surface below.

The interior space is animated by controlled natural light flooding the southern -eastern -western portion of the main living area with its brightest area through the skylight over the stairs to the gorge.

49 2 "d Floor

Narration The second floor level contains a large master bedroom, with a dressing room on one side, and a guest room to the other, each with its own private bath. The master bedroom opens onto a large terrace directly over the living space below.

As one moves from the interior spaces outward onto the many terraces of Fallingwater, it is always by way of a transitional experience provided by a deeply overhanging eave as though one were gradually emerging from under the foliage of a dense forest grove into an open meadow.

Glass is everywhere. In no earlier building, and in few subsequent ones, did Wright open panorama to this extent.

3RD Floor

Narration A third floor level provides a study, with an outdoor staircase to the terrace serving the dressing room below. A small gallery adjacent opens onto yet another terrace above the master bedroom.

Wherever one is within the building, the glory of the natural surrounding is accentuated, brought in, and made a component part of daily life.

Section V. The different seasons

Fallingwater takes on differing readings with the changing seasons; spring, summer, autumn and winter each bring out specific aspects of the design, from the emphasis on horizontal staked stone and terraces when they are covered with snow, to the golden color of the concrete and red of steel window mullions which echo the leaves in autumn.

Narration The house responds and renews itself with the changing seasons, thereby speaking through its "voice of silence ".

50 In the summer the house can hardly be seen due to the denseness of the green vegetation; in the autumn the colored leaves, complementing the light golden color of the concrete terraces, add an element of beauty that is extraordinary; in the winter, with snow cloaking the flat roofs and terraces, the house appears to be an extension of the flat rock layers of the waterfall more than at any other season.

Section VI. Summing up

Narration Inside and out, light and dark, rough and smooth -- Wright used many of his favorite contrasts in this famous house.

The beauty and drama of Fallingwater's streamlined design has earned it as place in architectural history as the most significant residence built in the United States. But the real achievement of Fallingwater is the simple, quiet, and yet magical way in which the building sets man in nature.

Wright uncharacteristically praised himself for this: "Fallingwater is a great blessing - one of the great blessings to be

experienced here on earth. I think nothing yet ever equaled the coordination, sympathic expression of the great principle of repose where forest and stream and rock and all the elements of structure are combined so quietly that really you listen not to any noise whatsoever although the music of the stream is there. But you listen to Fallingwater the way you listen to the quiet of the country."

Section VII. Concluding Statements

Narration The genious of Fallingwater is that it is rustic, yet at the same time quintessentially modern and technologically sophisticated.

Fallingwater was the weekend home of the Kaufmann family till 1963, when the house, its contents, and grounds were presented to the Western Pennsylvania Conservancy by Edgar Kaufmann,

51 Jr. Falling water is the only remaining great Wright house with its setting, original furnishings, and art work intact.

Fallingwater is a realized dream. It is every man's dwelling, and yet unattainable. It touches something deep within us about which, finally, none of us can speak.

Music and credits finish the presentation

WRITTEN, NARRATED AND DIRECTED BY KARTIK DAKSHINAMOORTHY UNIVERSITY OF ARIZONA

SPECIAL THANKS TO

FRED MATTER CARL RALD OSCAR BLAZQUEZ

AND

MULTIMEDIA AND VISUALIZATION LAB UNIVERSITY OF ARIZONA

5. OBSERVATIONS AND CONCLUSIONS

The project presentation of Frank Lloyd Wright's "Fallingwater" gives viewers a far more realistic impression of the building than they could get from two- dimensional drawings.

The virtual simulation allows for better understanding and critical evaluation of the design. It provides a design environment, which is more realistic and therefore is likely to evoke responses, which are more similar to the response to real buildings.

52 While the basis of virtual architecture will be taken from lessons of traditional design professions, the virtual realm consists of vastly different conditions and characteristics. In fact, the nature of the virtual universe is such that it is anti -architectural, one of universal and infinite space and not of one place [41].

Many architects believe that architecture is too creative to be computerized. It is true that creativity cannot be computerized. It is the intuitive quality of belonging to the human beings that practice architecture. However creativity becomes valueless if it cannot be translated into reality. To translate creativity architects need a medium. Virtual Reality presents the most sophisticated medium to illustrate architect's creativity.

The sophistication and interactivity of VR tools make them the ultimate rendering interface for unbuilt works of architecture as well as reconstruct built environment in virtual space. A virtual model would represent an instrument of observational simulation in order to inspect the simulated object more thoroughly, more exactly and more carefully.

Unlike standard computer animations, which present preprogrammed travel paths to viewers, virtual reality would allow users to explore and discover environments at their own pace and according to interest [42]. An Important function that sets these systems apart from ordinary paint or draw programs is that the schematic model can be viewed in 3D. This is critical because architecture is inherently three -dimensional [43].

In virtual environments, participants are free to look, move and see most closely to the way they would in the real environment. Virtual interfaces thus become the ultimate perspective drawing, the ultimate model, the ultimate computer animation for describing an Architecture project.

53

XVII. VR TERMINOLOGIES USED IN THE PAPERS [44]

[A] Actuator: Usually mechanical (hydraulic) or electric means used to provide force or tactile feedback to a user. Ambient light: Naturally occurring illumination arising from outside the apparatus (e.g., HMD). Articulation: Objects composed of several parts that are separately movable. Artificial reality: Simulated spaces created from a combination of computer and video systems. Coined by VR pioneer Myron Krueger in 1974. Aspect ratio: Ratio of width to height of the field of view. Assistive agents: Artificial intelligence algorithms developed to guide participants through a VR world, and to coach on available choices within the world. Augmented reality: The use of transparent glasses on which a computer displays data so that the viewer can simultaneously view virtual and physical objects. Avatar: A participant's graphical persona inside a virtual world.

[B] Back clipping plane: A distance beyond which objects are not shown. Backdrop: The stationary background in a virtual world. The boundary of the world which cannot be moved or broken into smaller elements. Backface removal: The elimination of those portions of a displayed object that are facing away from the viewer. Bi- ocular: Displaying the same image to each eye. Sometimes done to conserve computing resources when depth perception is not critical. See also: stereoscopic. Biosensors: Sensor devices that monitor the body's electrical activity for the purpose of computer input.

[C] Clue conflict: A kind of motion sickness caused when the body tries to interpret conflicting clues being received by the senses. Usually attributed to faulty calibration of eye devices or delay between the sensory inputs and output display. Concept map: Terms, definitions, or icons arranged in semantic proximity. Convergence: Occurs in stereoscopic viewing when the left and right eye images become fused into a single image. Convolve: To filter and intertwine signals (e.g., sounds) and render them three -dimensional. Used in VR applications to recreate sounds that give directional cues. Coordinates: A set of data values that determine the location of a point in a space. The number of coordinates corresponds to the dimensionality of the space. Culling: Removing invisible pieces of geometry and only sending potentially visible geometry to the graphics subsystem. Simple culling rejects entire objects not in the view. More complex systems take into account occlusion of some objects by others, e.g. a building hiding trees behind it.

[D] Data sonification: Assignment of sounds to digitized data which may involve filtering to give illusion of localized sound.

54 Data spatialization: Assignment of orientation (yaw, pitch) and position coordinates (x,y,z) to digital sounds assigned to data. DataGlove: A glove wired with sensors and connected to a computer system for gesture recognition and navigation through a virtual environment. Known generically as a "wired glove ". Depth cueing: Use of shading, texture, color, interposition, or other visual characteristics to provide a cue for the distance of an object from the observer. Digital prototype: Simulation of an intended design or product to illustrate the characteristics before actual construction. Usually used as an exploratory tool for manufacturing designers/engineers or as a communications tool for persons reviewing proposed designs. Doppler effect: An apparent increase in the frequency of sound or light as its source approaches an observer or a decrease if it moves away. Deformable Object Technology (DOT): Virtual objects which bend and deform appropriately when touched. dynamic lighting: Changes in lighting effects as objects or the observer move. Dynamics: The rules that govern all actions and behaviors within the environment.

[E] Effectors: Interfacing devices used in virtual environments for input/output, tactile sensation and tracking. Examples are gloves, headmounted displays, headphones, and trackers. Egocenter: The sense of one's own location in a virtual environment. Environment: In VR terms, this is a computer -generated model that can be experienced by an observer as if it were a place. Exoskeleton: mechanically linked structure for control of and feedback from an application. Eye clearance: The most accurate figure of merit used to describe the HMD positioning relative to the eye. Eye tracking: Measurement of the direction of gaze. Eyeball in the hand: A metaphor for visualized tracking where the tracker is held in the hand and is connected to motion of the projection point of the display.

[F] Field of view (FOV): The angle in degrees of the visual field. Since a human's two eyes have overlapping 140 degree FOV, binocular or total FOV is roughly 180 degrees in most people. A feeling of immersion arises with FOV greater than roughly 60 to 90 degrees. Force feedback: Output that transmits pressure, force or vibration to provide the VR participant with the sense of resisting force, typically to weight or inertia. This is in contrast to tactile feedback, which simulates sensation (e.g., texture) applied to the skin. Fractal: A self-similar graphical pattern generated by using the same rules at various levels of detail. That is, a graphical pattern that repeats itself on a smaller and smaller scale. Frustum of vision: Three -dimensional field of view in which all modeled objects are visible.

[G] Gesture: Hand motion that can be interpreted as a sign, signal, or symbol.

[H] Haptic interfaces: Use of physical sensors to provide users with a sense of touch at the skin level, and force feedback information from muscles and joints.

55 Head tracking: Monitoring the position and orientation of the head through various tracking devices. Head -coupled: Displays or robotic actions that are activated by head motion through a head tracking device. Head -related transfer function: A mathematical transformation of sound spectrum that modifies the amplitude and phase of acoustic signals to take into account the shape effects of the listener's head. Heads -up display: A display device that allows users see graphics superimposed on their view of the real world. Hidden surface: A surface of a graphics object that is occluded from view by intervening objects. Head mounted display (HMD): A set of goggles or a helmet with tiny monitors in front of each eye to generate images seen by the wearer as three -dimensional. Often the HMD is combined with a head tracker so that the images displayed in the HMD changes as the head moves.

[I] Immersion: The observer's behavioral (subjective) reaction to the virtual world as being part of it, or virtual model as being actual. Interaural amplitude: Differences between a person's two ears in the intensity of a sound, typically due to the location of the sound. Interaural time: Differences between a person's two ears in the phase of a sound, typically due to the location of the sound. Interface: Any device, software, or technique that allows people to perform tasks with a computer. Inverse kinematics: A specification of the motion of dynamic systems from properties of their joints and extensions.

[K] Kinesthesis: Sensations derived from muscles, tendons and joints and stimulated by movement and tension. Kinesthetic dissonance: Mismatch between feedback or its absence from touch or motion during VR experiences.

[L] Latency: Lag between user motion and tracker system response, sometimes measured in frames. Delay between actual change in position and reflection by the program. Delayed response time. Liquid Crystal Display (LCD): Display devices that use bipolar films sandwiched between thin panes of glass. They are lightweight and transmissive or reflective, and are often used in HMDs. Level of detail (LOD): A model of a particular resolution among a series of models of the same object. Greater graphic performance can be obtained by using a lower LOD when the object occupies fewer pixels on the screen or is not in a region of significant interest.

[M] Metaball: A surface defined about a point specified by a location, a radius, and an "intensity." When two metaballs come in contact, their shapes blend together.

56 Metallic distortion: Noise interference or degraded performance in electromagnetic trackers when used near large metallic objects. Model: A computer -generated simulation of something real. Motion parallax: A means whereby the eyes can judge distance by noticing how closer objects appear to move more than distant ones when the observer moves. Motion platform: A controlled physical system that provides real motion to simulate the displayed motion in a VR world.

[N] Navigation: Purposeful motion through virtual space.

[O] Objects: Discrete 3 -D shapes within the virtual world with which an operator can interact. Occipital cortex: The back of the brain receiving retinotopic projections of visual displays. Occlusion: Hiding an object or a portion of an object from sight by interposition of other objects.

[P] Pan: The angular displacement of a view along any axis or direction in a three -dimensional world. Parallax: The difference in viewing angle created by having two eyes looking at the same scene from slightly different positions, thereby creating a sense of depth. Parietal cortex: An area of the brain adjacent and above the occipital cortex, thought to process spatial location and direction information. Perspective: The rules that determine the relative size of objects on a flat viewing surface to give the perception of depth. Pitch: The angular displacement of the lateral axis about a horizontal axis perpendicular to the lateral axis. Portal: Polygons or icon that a user can pass through in a virtual space to automatically load a new world or execute a user -defined function. Position sensor: A tracking device that provides information about its location and /or orientation. Position trigger: A hotspot, sensitive spot, or button that causes a change in the application when touched in some way. Presence: A feeling of being immersed in an environment, able to interact with objects there. A defining characteristic of a VR system.

[R] Radiosity: A diffuse illumination calculation system for graphics based on energy balancing that takes into account multiple reflections off many walls. Ray tracing: A technique for displaying a three -dimensional object with shading and shadows by tracing light rays backward from the viewing position to the light source. Real time: Action taking place with no perceptible or significant delay after the input that initiates the action. Real -time imaging: Graphics or images synchronized with real -world time and events. Refresh rate: The frequency with which an image is regenerated on a display surface. Roll: Angular displacement about the lateral axis.

57 [S] Scene view: Virtual display viewed on a large screen or through a terminal window rather than with immersive devices. Shutter glasses: Glasses that alternately block out the left and right eye views in synchrony with the computer display of left- and right -eye images to provide stereoscopic effect. Simulator sickness: Various disturbances, ranging in degree from a feeling of unpleasantness, disorientation, and headaches to extreme nausea, caused by various aspects of a simulator. Possible factors include sensory distortions such as abnormal movement of arms and heads because of the weight of equipment; long delays or lags in feedback, and missing visual cues from convergence and accommodation. Six degrees of freedom (6DOF): Ability to move in three spatial directions and orient about three axes passing through the center of the body. Thus the location and orientation are specified by six coordinates. Spatial navigation: Self orientation and locomotion in virtual worlds. Stereopsis: Binocular vision of images with different views by the two eyes to distinguish depth. m Tactile displays: Devices that provide tactile and kinesthetic sensations. Telemanipulation: Robotic control of distant objects. Telepresence: Virtual reality experienced from remote locations. Remote control with adequate sensory data to give the illusion of being at that remote location. Terrain: Geographical information and models that can be either randomly generated or based on actual data. Texture mapping: A bitmap pattern added to an object to increase realism. Tracker: A device that provides numeric coordinates to identify the current position and /or orientation of an object or user in real space.

[U] Universe: The collection of all entities and the space they are embedded in for a VR world.

[V] Viewpoints: Points from which raytracing and geometry creation occurs. The geometric eye point of the simulation. Virtual environments: Realistic, interactive, immersive simulations of places and scenes. Virtual human: Robotic humanoid or photo-realistic, animated character; may be embedded with neural networks /Al -based autonomous behavior for training simulation or telepresence tasks, or may be a properly proportioned representation of a human figure for purposes of human factors/ergonomics analysis. Virtual surgery: Use of computer models and specialized interaction devices that mimic surgical tools to allow medical personnel to practice surgical procedures. Virtual world: Whole virtual environment or universe within a given simulation. Voxel: A cubic volume pixel for quantizing three -dimensional space.

World in the hand: A metaphor for visualized tracking where a tracker is held in the hand and is connected to the motion of an object in a display.

58 VIII. FOOTNOTES

[PART A]

[1] Schnabel, Aurel Marc. An Overview of the Status Quo of Virtual Realities. Are Computer Generated Virtual Environments Analogous to Architecture? CAADRIA' 99 Conference Paper Abstract http: //arch. hku. hk /- marcaurel /caadria99abstract.html

[2] Schnabel, Aurel Marc. An Overview of the Status Quo of Virtual Realities. Are Computer Generated Virtual Environments Analogous to Architecture? CAADRIA' 99 Conference Paper Abstract http: // arch. hku. hk/-- marcaurel /caadria99abstract.html

VR: Architecture and the Broader Community - Preamble http://www.fbe.unsw.ed.au/Research/StudentNRArch/intro.htm

Term coined by Jaron Lanier, the founder of the first commercial VR company - VPL Inc., in 1989.

Architectural Education and Virtual Reality Aided Design (VRAD) http: / /www. uni- weimar.de/ architektur/InfAR/publific /BK96 /wilev.htm

See section XVII - VR Terminologies for explanation of this term.

Sherman and Judkins. Glimpses of Heaven, Visions of Hell, p 122

Sherman and Judkins. Glimpses of Heaven, Visions of Hell, p 22

See section XVII - VR Terminologies for explanation of this term.

Virtual Reality: Architecture and the Broader Community http: / /www.fbe.unsw.edu.au /Research /StudentNRArch/

See section XVII - VR Terminologies for explanation of this term.

See section XVII - VR Terminologies for explanation of this term.

Virtual Reality Market place '93: An American Annual Directory of the Commercial VR Market place.

Virtual Reality Market place '93: An American Annual Directory of the Commercial VR Market place.

59 [15] Adapted from: Moving Sketches - Virtual Reality and Architecture http: // Kwetal. ms. mff. cuni .c2 /- ernst/moving /vr-arch.htm

[16] Future Applications of VR - Effects on the Design and Practice of Architecture. Virtual Reality: Architecture and the Broader Community http: / /www.fbe.unsw.edu.au /Research /StudentNRArch/

[17] Adapted from: Virtual Reality: Architecture and the Broader Community http: / /www.fbe.unsw.edu.au /Research /StudentNRArch/

[18] Sherman and Judkins. Glimpses of Heaven, Visions of Hell, p 66

[PART B]

[19] Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 68

[20] Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 68

[21] Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 68

[22] Adapted from: Bieger. Virtual Sets http: // timara. con.oberlin.edu / program /classes /archive /bieoer.html

[23] Popkin, Danny. 2000. Sets in Practice: Virtual Sets. IBC 2000, Daily News, Sep 10, 2000, p 30 -32

[24] Adapted from: Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 69

[25] Adapted from: 011ikainen, Ville. The Assets of Virtual Sets in Television Production. Tik- 111.590 Research seminar on digital media, fall 1999: Computer as theater. Telecommunications Software and Multimedia Laboratory, Helsinki University of Technology. http: / /www.tml.hut.fi /Opinnot/Tik- 111 .590 /1999s /paperit/virtualsets/

[26] Popkin, Danny. 2000. Sets in Practice: Virtual Sets. IBC 2000, Daily News, Sep 10, 2000, p 30 -32

[27] Popkin, Danny. 2000. Sets in Practice: Virtual Sets. IBC 2000, Daily News, Sep 10, 2000, p 30 -32

60 [28] Adapted from: Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 70

[29] Tubbs, David. Virtual Sets: Studios in a box. Broadcast Engineering Nov 1998 http: / /www2.broadcastengineering.com /archives/1198/199811 be4l .html

[30] Adapted from: Tubbs, David. Virtual Sets: Studios in a box. Broadcast Engineering Nov 1998 http: / /www2.broadcastenaineerinq.com /archives/1198/199811 be41.html

[31] Collins, David. 2000. Almost there. Creation, Sep 2000, p17

[32] Collins, David. 2000. Almost there. Creation, Sep 2000, p19

[33] Adapted from: Collins, David. 2000. Almost there. Creation, Sep 2000, p17

[34] Virtual Sets: Background Research http:// longwood. cs. ucf. edu/- FCDM / /proiectsNSETSNirtualSets.html

[35] Adapted from: Cudworth, Ann. Ann Cudworth Designs Virtual Scenery Is there a Future For Virtual Sets in Television Production. http: / /www.vsets.net/events.html

[36] Adapted from: Cudworth, Ann. Ann Cudworth Designs Virtual Scenery The Role of the Virtual Set Designer in TV, where it is now, where it could lead http://www.vsets.net/events.html

[37] Popkin, Danny. 2000. Sets in Practice: Virtual Sets. IBC 2000, Daily News, Sep 10, 2000, p 30 -32

[38] Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 67

[39] Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999, p 71

[PART C]

[40] Waggoner, Lynda S. 1996. Fallingwater: Frank Lloyd Wright's romance with nature/ by Lynda S. Waggoner; foreword by Thomas M. Schmidt. Western Pennsylvania Conservancy; New York, NY: Universe, 1996.

[41] Campbell, A Dace. Vers Une Architecture Virtuelle http: / /www.hitl.washington.edu/ people /dace /portfolio /arch560.html

61 [42] Mays, Patrick. 1998. Making Virtual Reality Real. Architecture, Oct 1998, vol.87 issue 10, p162, 4p

[43] Novitski, B J. 1998. An Architecture Awakening. Computer Graphics World, June 1998, vol.21 issue 6, p22, 8p, 11c

[44] SGI Virtual Reality FAQ

htti: ti,X .S corn, virtL,al <<,; ;¡ ,o\í \iewif glossa ry.htno

XIX. REFERENCES

[PART A]

1. Ataman and Bermudez. 1999. ACADIA '99. The Virtual Reality Casebook

2. Fred, Moody. 1999. The Visionary Position

3. Fan, Dai. 1998. Virtual Reality for Industrial Applications

4. Jean -Claude Heudin (Ed.). 1998. Virtual Worlds: First International Conferences VW'98 Paris, France July 1 -3, 1998 Proceedings

5. John, Beckmann. 1998. The Virtual Dimension: Architecture, Representation, and Crash Culture

6. John, Vince and Rae, Earnshaw. 1998. Virtual Worlds on the Internet

7. Neil, Spiller. 1998. Digital Dreams: Architecture and the new alchemic technologies

8. Pierre, Levy. 1998. Becoming Virtual: Reality in the digital age

9. Daniela, Bertol and David, Foell. 1997. Designing Digital Space: An Architect's Guide to Virtual Reality

10. Oscar, Ojeda and Lucas, Guerra. 1996. Hyper Realistic: Computer Generated Architectural Renderings

11. Patrica, Mclutosh and Filiz, Ozel. 1996. ACADIA '96: Design Computation Collaboration, Reasoning, Pedagogy

12. David, Harrison and Mark, Jaques. 1996. Experiments in Virtual Reality

62 13. Carl, Machover. 1995. The CAD /CAM Handbook

14. Conway Lloyd Morgan and Giuliana, Zampi. 1995. Virtual Architecture

15. Jerzy, Wojtowicz. 1995. The Virtual Design Studio

16. Nathaniel, Durlach and Anne S Mayor. 1995. Virtual Reality: Scientific and Technological Challenges. National Research Council

17. Steven, Jones. 1995. Cybersociety: Computer- Mediated Communication and Community

18. Casey L. Larijani. 1994. The Virtual Reality Primier

19. Carl Eugene Loeffler and Tim, Anderson. 1994. The Virtual Reality Casebook

20. Grigore, Burdea and Philippe, Coiffet. 1994. Virtual Reality Technology

21. Ken, Pimentel and Kevin, Teixeira. 1994. Virtual Reality: Through the new looking glass

22. Earnshaw R.A with Gigante M.A and Jones H. 1993. Virtual Reality Systems

23. Michael, Heim. 1993. The Metaphysics of Virtual Reality

24. Robert. J. Carande. 1993. Information Sources for Virtual Reality

25. Roy S. Kalawsky. 1993. The Science of Virtual Reality and Virtual Environments

26. Steve, Aukstakalnis and David, Blatner. 1992. Silicon Mirage: The Art and Science of Virtual Reality

27. Sherman and Judkins. Glimpses of Heaven, Visions of Hell

[PART B]

28. Collins, David. 2000. Virtual Sets. Creation, Sep 2000, p 16 -19

29. Popkin, Danny. 2000. Sets in Practice: Virtual Sets. IBC 2000, Daily News, Sep 10, 2000, p 30 -32

30. Cudworth, Ann. 1999. Virtual Sets Still Need Dose of Reality to Work Well. TV Technology, Nov3, 1999, p34

31. Jarrett, John. 1999. Orad Expands Ontv News Sets. TV Technology, Nov 17,1999, p52

63 32. 011ikainen, Ville. 1999. The Assets of Virtual Sets in Television Production. Telecommunications Software and Multimedia Laboratory, Helsinki University of Technology. Tik- 111.590 Research seminar on digital media, fall 1999: Computer as theater.

33. Pegg, Jonathan. 1999. Virtual Ads Finding Real Success: U.S. Broadcasters Begin to Express Interest in Ad Insertion Technology. TV Technology, July 28, 1999.

34. Reveaux, Tony. 1999. Virtual Set Technology Expands. TV Technology, July 28, 1999

35. Straeb, Matt. 1999. The Reality of the Virtual Set. Broadcast Engineering, Aug 1999

36. Gibbs, S. 1998. Virtual Studios. IEEE Multimedia, v 5 n 1 Jan -Mar 1998, IEEE Comp Soc CA USA, p 17, SN 1070 -986X

37. Wojdala, A. 1998. Challenges of Virtual Set Technology. IEEE Multimedia, vol 5, issue 1 Jan -Mar 1998, IEEE Comp Soc CA USA, p 50 -57, SN 1070 -986X

38. Crinklan, Don. 1997. Action on the Set. Communicator, June 1997, p 18 -21

39. Popkin, D. 1997. Virtual Studios - the BBC's experience. EBU Technical Review, n 272 Summer 1997, European Broadcasting union Geneva Switzerland, p 19 -23, SN 1019 -6587

40. Wisehart, Cynthia. 1997. Virtual Sets Enter the Real World. Millimeter, Sep 1997, p 53 -64

41. Collins, David. 2000. Almost there. Creation, Sep 2000, p17

[PART C]

42. Hoffmann, Donald. 1978. Frank Lloyd Wright's Fallingwater: The house and its history/ by Donald Hoffmann; with an introduction by Edgar Kaufmann, Jr. New York: Dover Publications, 1978.

43. Kaufmann, Edgar. 1986. Fallingwater: A Frank Lloyd Wright country house/ by Edgar Kaufmann, Jr.; with an introduction by Mark Girouard. New York: Abbeville Press, c1986.

44. Levine, Neil. 1996. The Architecture of Frank Lloyd Wright.

45. Waggoner, Lynda S. 1996. Fallingwater: Frank Lloyd Wright's romance with nature/ by Lynda S. Waggoner; foreword by Thomas M. Schmidt. Western Pennsylvania Conservancy; New York, NY: Universe, 1996.

46. Smith, Peter. 1985. Frank Lloyd Wright's Fallingwater: The House and its History / by Peter Smith. 2nd rev edition, March 1985.

64 47. Novitski, B J. 1998. Reconstructing Lost Architecture: Archaeological remains and demolished buildings rise again through 3D modeling. Computer Graphics World, Dec 1998, vol.21 issue 12, p24, 6p, 12c

48. Warniers, Randall. 1998. Every Picture Tells A Story: Image -based modeling and rendering introduces new methods for creating photorealistic imagery. Computer Graphics World, Oct 1998, vol.21 issue 10, p25, 6p

49. Novitski, B J. 1998. An Architecture Awakening. Computer Graphics World, June 1998, vol.21 issue 6, p22, 8p, 11c

50. Mays, Patrick. 1998. Making Virtual Reality Real. Architecture, Oct 1998, vol.87 issue 10, p162, 4p

XX. WWW REFERENCES

[PART A]

1. Schnabel, Aurel Marc. An Overview of the Status Quo of Virtual Realities. Are Computer Generated Virtual Environments Analogous to Architecture? CAADRIA' 99 Conference Paper Abstract http: // arch. hku. hk/- marcaurel /caadria99abstract.html

2. VR: Architecture and the Broader Community http: / /www.fbe.unsw.ed.au /Research /StudentNRArch /intro.htm

3. Architectural Education and Virtual Reality Aided Design (VRAD) http: / /www. uni -weimar.de /architektur /I nfAR/publific /BK96 /wiley.htm

4. Moving Sketches - Virtual Reality and Architecture http: // Kwetal. ms. mff. cuni .c2 /- ernst/movinq /vr- arch.htm

[PART B]

5. Cudworth, Ann. Ann Cudworth Designs Virtual Scenery A. Is there a Future For Virtual Sets in Television Production. B. The Role of the Virtual Set Designer in TV, where it is now, where it could lead C. Virtual Sets are Promise, not Reality of Future of TV Scenery http://www.vsets.net/events.html

6. Virtual Sets: Background Research http: // longwood. cs. ucf. edu/- FCDM //proiectsNSETSNirtualSets.html

65 7. 011ikainen, Ville. The Assets of Virtual Sets in Television Production. Tik- 111.590 Research seminar on digital media, fall 1999: Computer as thr Telecommunications Software and Multimedia Laboratory, Helsinki Unive Technology.

http : //www.tml.hut.fi /Opinnot/Tik- 111 .590 /1999s /paperit/virtualsets/

8. Tubbs, David. Virtual Sets: Studios in a box. Broadcast Engineering Nov 1998 http: //www2.broadcastengineerinq .com /archives/1198/199811 be4l .html

9. Gilmer, Brad. Virtual Sets http:// www .broadcastengineerinq.com /html /2000 /april /columns /00 04 virtual sets.htm

10. Media Technology. Peak Broadcast: Virtual Sets, Real Technology http: //mediatechnoloay.com/

11. Bieger. Virtual Sets http: //timara. con.oberlin.edu /program /classes /archive /bieger.html

[PART C]

12. Galinsky. Fallingwater: Bear Run, Pennsylvania http: //www.ds.arch.tue.nl /edcation/ students/MultiMedia /FallinqWater/

13. Steve's Sheet. Fallingwater Links httb://www.leighmqt.com/SteveSheet/wrbearrun.htm

14. Teller. Fallingwater: An essay by Teller http: //www.sincity.com /teller /articles /wright.html

15. Western Pennsylvania conservancy: Fallingwater http: //www.pbs.orçt /flw/ buildings /fallingwater/fallinqwater.html

16. Campbell, A Dace. Vers Une Architecture Virtuelle http: / /www.hitl.washington.edu/people /dace /portfolio /arch560.html

66