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Design Architecture in Virtual Reality Design Architecture in Virtual Reality by Anisha Sankar A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2019 © Anisha Sankar 2019 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. - iii - Abstract Architectural representation has newly been introduced to Virtual Real- ity (VR) technology, which provides architects with a medium to show- case unbuilt designs as immersive experiences. Designers can use specialized VR headsets and equipment to provide a client or member of their design team with the illusion of being within the digital space they are presented on screen. This mode of representation is unprec- edented to the architectural field, as VR is able to create the sensation of being encompassed in an environment at full scale, potentially elic- iting a visceral response from users, similar to the response physical architecture produces. While this premise makes the technology highly applicable towards the architectural practice, it might not be the most practical medium to communicate design intent. Since VR’s conception, the primary software to facilitate VR content creation has been geared towards programmers rather than architects. The practicality of inte- grating virtual reality within a traditional architectural design workflow is often overlooked in the discussion surrounding the use of VR to rep- resent design projects. This thesis aims to investigate the practicality of VR as part of a de- sign methodology, through the assessment of efficacy and efficiency, while studying the integration of VR into the architectural workflow. This is done by examining the creation of stereoscopic renderings, walk- through animations, interactive iterations and quick demonstrations as explorations of common architectural visualization techniques using VR. Experimentation with each visualization method is supplemented with a documentation of the VR scene creation process across an approxi- mated time frame to measure efficiency, and a set of evaluation param- eters to measure efficacy. Experiments either yielded the creation of a successful experience that exceeded the time constraints a common fast-paced architectural firm might allow for the task (low efficiency) or created a limiting experience where interaction and functionality were not executed to meet the required industry standards (low efficacy). This resultant impracticality based on time and effort, demonstrates that a successfully immersive VR simulation is not produced simplisti- cally in VR; requiring a great deal of thought to be placed into design intent. Although impractical, documentation suggests that the user ex- perience of creating VR content might be able to engage new ways of design thinking and impact the way architects conceptualize space, encouraging further research. - v - Acknowledgements I would like to express my sincerest gratitude to my supervisor, David Correa. Thank you for your extensive support, patience, insight, and expertise. You generously helped me sort through ideas with countless discussions, and provided uplifting advice in moments of self-doubt. This thesis would not have been possible without your guidance. Thank you to my committee member John McMinn, for encouraging me to objectively form a critique on the topics of this thesis, in a consider- ation of every architect’s skillset and the design practice at-large. Don McKay, thank you for helping me build both the foundations of this thesis and my knowledge of design. You introduced me to ideas I will continue to ponder on beyond this research. Jane Hutton, thank you for engaging in the discussion of technolo- gy shaping the way architects approach design. Your valuable insight helped me hone in on the conlcusions of my work. To the designers that put in the effort and time. Miguel Guitart and Ivan Vasyliv, thank you for sharing in the conver- sation of virtual reality and architecture with me, and providing your design expertise. To my talented friends, Matt, Amanda, Teresa, Victoria, Michelle, Sa- meerah, and Marc, thank you for your company, support and motiva- tion. You’ve all taught me valuable life lessons and inspired me immea- surably. To my best friend, Pavithra, thank you for your uwavering support, countless suggestions, insight and generosity, no matter the time of day. To my partner Akshay, thank you for always being there for me, and helping me get through each deadline. Last but not least, to my parents and my brother, thank you for your constant love, support and patience. I owe everything to you, and I am eternally grateful. - vi - - vii - Table of Contents iii Author’s Declaration 68 Chapter 6: Narrative VR Journey Creation v Abstract 68 Research Q2 vi Acknowledgements 71 Parameters of Experimentation x List of Figures 72 Process & Documentation of Creating a Scene in Unity xviii List of Tables 72 Part A: Revit to Unity xix List of Abbreviations 80 Part B: SketchUp to Unity 88 Results 1 Chapter 1: Introduction 89 Evaluation of Process 1 Defining “Virtual Reality” 92 Limitations & Current Issues 7 The Gartner Hype Cycle 93 Technical Conclusions 10 Differentiating Between Virtual, Augmented and Mixed Realities 94 Conceptual Conclusions & Revisiting Research Q2 14 On Representation 96 Chapter 7: VR Scene Option Creation 17 Chapter 2: Foundation of Investigation 96 Research Q3 17 Design Process Integration 100 Parameters of Experimentation 20 Identifying Underlying Questions for Creating Content in VR 101 Process & Documentation of Creating a Scene in Unreal 21 Strengths and Weaknesses in Context 109 Results 23 Relevance of VR in the Architectural Field: Communicating Intent 110 Evaluation of Process 24 Importance of VR in the Architectural Field: Presence & Scale 113 Technical Conclusions 114 Conceptual Conclusions & Revisiting Research Q3 26 Chapter 3: Hypothesis 26 Experimental Aim & Scope 116 Chapter 8: Evaluating Software Plugins and Push-Button VR 27 State of the Art: Experimentations with Spatial Representation 116 Research Q4 35 Contextual Viability: Creating Immersive Representation 116 Evaluation of Process 36 Applicability versus Practicality 123 Limitations & Current Issues 124 Conclusions 37 Chapter 4: Methodology 37 Method Behind the Medium 126 Chapter 9: Discussion 37 Experimental Framework 126 Evaluating Previous Assumptions 40 VR Hardware: Room-Scale (tethered) vs. Stationary (mobile) 128 Efficiency & Efficacy 44 Hardware Options: Differentiating Immersion 129 Technical Conclusions 46 VR Software: 3D Image Creation and 4D Scene Manipulation 133 Conceptual Conclusions 48 Software Options: Differentiating Between Game Engines 143 Further Research 49 Tactics of the Trade 50 Current Limitations and Issues in VR 146 Chapter 10: Outlook 146 A Prospective Future 53 Chapter 5: Stereoscopic Scene Creation 147 The Next Best Thing 53 Research Q1 149 Designing for the Senses 57 Parameters of Experimentation 151 Representation Revisited 58 Process & Documentation of Creating a Scene in Unity 62 Result 154 Bibliography 63 Evaluation of Process 65 Limitations & Current Issues 160 Appendices 66 Technical Conclusions 160 Appendix A: VR Space Imagery 67 Conceptual Conclusions & Revisiting Research Q1 162 Appendix B: Glossary - viii - - ix - List of Figures 2 figure 1.01 19 figure 2.03 Drawing of Morton Heilig’s Speciality “Telesphere Mask” Design Stages & The Architectural Process Morton Heilig, “Telesphere Mask”, 1960, Wikimedia Commons. Accessed May 18, 2018. https://tr3.cbsistatic.com/ B1 Architect. “The Design Process We Follow: Our goal on architectural design process is a project accomplish ap- hub/i/2015/02/10/a3371be9-be75-4882-917f-eecf33d7881b/2telesphere.jpg. proach.”, 2016, Accessed April 10, 2019. http://b1-architect.com/wp-content/uploads/2016/10/DESIGN-STEPS.png. 2 figure 1.02 22 figure 2.04 Sketch (top right) and pictures (bottom) of the Sensorama Simulator Brain activations from the bottom to the top of the brain (left to right figures) of participants Morton Heilig. “Sensorama Simulator”, 1960, Wikimedia Commons. Accessed May 18, 2018. https://upload. when performing various simulated driving conditions in Virtial Reality. wikimedia.org/wikipedia/commons/thumb/d/dc/Sensorama-morton-heilig-virtual-reality-headset.jpg/220px-Sen- Tom A. Schweizer, Karen Kan, Yuwen Hung, Fred Tam, Gary Nagile and Simon J. Graham. “Brain activity during driving sorama-morton-heilig-virtual-reality-headset.jpg. https://i1.wp.com/www.virtual-reality-shop.co.uk/wp-content/ with distraction: an immersive fMRI study”, February 28, 2013. Frontiers Media. Accessed April 3, 2019. https://doi. uploads/2015/12/Sensorama-2.jpg?fit=458%2C305&ssl=1. org/10.3389/fnhum.2013.00053. 3 figure 1.03 25 figure 2.05 Timeline of Historical Events Suurounding VR Creation & Implementation Underlying Factors Behind Embodiment By Author. By Author. Source 1: Boon VR. “History of VR”, 2017. Accessed May 18, 2018. http://www.boonvr.com/data/blog/2017/12/19/ 28 figure 3.01 history-of-vr/. Source 2: Upside Learnings. “The Beginnings of VR”, March 27, 2017. Accessed May 18, 2018. https:// Common Wayfinding Signals in High Traffic Urban Environments www.upsidelearning.com/blog/index.php/2017/03/28/virtual-reality-in-corporate-training/beginnings-of-vr/. SEGD. “A multidisciplinary community
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