When Windmills Turn Into Giants: The Conundrum of Virtual Places

While many papers may claim that virtual environments have much to gain from architectural and urban planning theory, few seem to specify in any verifiable or falsifiable way, how notions of place and interaction are best combined and developed for specific needs. The following is an attempt to summarize a theory of place for virtual environments and explain both the shortcomings and the advantages of this theory

'Breaking the glass': preserving social history in virtual environments

New media technologies play an important role in the evolution of our society. Traditional museums and heritage sites have evolved from the ‘cabinets of curiosity’ that focused mainly on the authority of the voice organising content, to the places that offer interactivity as a means to experience historical and cultural events of the past. They attempt to break down the division between visitors and historical artefacts, employing modern technologies that allow the audience to perceive a range of perspectives of the historical event. In this paper, we discuss virtual reconstruction and interactive storytelling techniques as a research methodology and educational and presentation practices for cultural heritage sites. We present the Narrating the Past project as a case study, in order to illustrate recent changes in the preservation of social history and guided tourist trails that aim to make the visitor’s experience more than just an architectural walk through

Growing the use of Virtual Worlds in education : an OpenSim perspective

The growth in the range of disciplines that Virtual Worlds support for educational purposes is evidenced by recent applications in the fields of cultural heritage, humanitarian aid, space exploration, virtual laboratories in the physical sciences, archaeology, computer science and coastal geography. This growth is due in part to the flexibility of OpenSim, the open source virtual world platform which by adopting Second Life protocols and norms has created a de facto standard for open virtual worlds that is supported by a growing number of third party open source viewers. Yet while this diversity of use-cases is impressive and Virtual Worlds for open learning are highly popular with lecturers and learners alike immersive education remains an essentially niche activity. This paper identifies functional challenges in terms of Management, Network Infrastructure, the Immersive 3D Web and Programmability that must be addressed to enable the wider adoption of Open Virtual Worlds as a routine learning technology platform. We refer to specific use-cases based on OpenSim and abstract generic requirements which should be met to enable the growth in use of Open Virtual Worlds as a mainstream educational facility. A case study of a deployment to support a formal education curriculum and associated informal learning is used to illustrate key points.Postprin

Visualisation of semantic architectural information within a game engine environment

Because of the importance of graphics and information within the domain of architecture, engineering and construction (AEC), an appropriate combination of visualisation technology and information management technology is of utter importance in the development of appropriately supporting design and construction applications. We therefore started an investigation of two of the newest developments in these domains, namely game engine technology and semantic web technology. This paper documents part of this research, containing a review and comparison of the most prominent game engines and documenting our architectural semantic web. A short test-case illustrates how both can be combined to enhance information visualisation for architectural design and construction

Indiana Jones and the Joystick of Doom: understanding the past via computer games

In 1997 Jane Murray published "Hamlet on the holodeck: the future of narrative in cyberspace", which forecast the computer as a future platform for interactive drama. Yet a great deal of recent literature has focused on the failure rather than success of virtual environments (particularly three-dimensional ones) as an engaging medium of entertainment and education. In this article I will discuss three key problems in designing virtual environments that in some way depict the values of past cultures. The first problem is how to create a feeling of immersion or of presence in a virtual environment - how we make the past come alive for people so that they feel they are transported "there". This goal is often seen as limited by technical constraints such as the speed of the Internet or network connection, limited processing power, or the computer's capacity to render a large number of objects on the screen in real-time that are seen to impede the production of realistic virtual scenes. By contrast, this article emphasises the need to foster engagement not through realism but interaction. Secondly, our idea of what reality is may be at odds with understanding the past or a distant place from a local perspective. What does reality mean when we are trying to recreate and understand cultural perspectives? Is it useful, desirable or even possible to interact with digital reconstructions of different cultures in a meaningful way? Culture understood from the distance of a hotel or guidebook is obviously not the same as the culture that guides, constrains and nourishes a local inhabitant. I would like to bring the same distinction to culture experienced through virtual environments, and argue that a virtual traveler is not the same as a virtual tourist. Despite or perhaps because they have a goal to solve, and have more constraints and more direct immersion in the local way of doing things, people who travel rather than tour arguably have richer and more interesting experiences. Thirdly, if we do manage to create an engaging and believable virtual environment, will the novelty or entertainment value actually interfere with the cultural understanding gained by the users? In virtual heritage environments this is particularly evident in the conflict between individual freedom to explore and the more pragmatic need to convey historical information. We may for example create an entertaining game but will that allow us to convey varying levels of historical accuracy in reconstructing the past

Virtual reality in theatre education and design practice - new developments and applications

The global use of Information and Communication Technologies (ICTs) has already established new approaches to theatre education and research, shifting traditional methods of knowledge delivery towards a more visually enhanced experience, which is especially important for teaching scenography. In this paper, I examine the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. I discuss various IT applications that have transformed the way we experience, learn and co-create our cultural heritage. I explore a suite of rapidly developing communication and computer-visualization techniques that enable reciprocal exchange between students, theatre performances and artefacts. Eventually, I analyse novel technology-mediated teaching techniques that attempt to provide a new media platform for visually enhanced information transfer. My findings indicate that the recent developments in the personalization of knowledge delivery, and also in student-centred study and e-learning, necessitate the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience

PROJECT ÉVORA 3D: RESEARCH, METHODOLOGY, RECONSTRUCTION AND VISUALIZATION

The Évora 3D project was born from the collaboration between the Municipality and the University of Évora, through the two research centres of CIDEHUS1 and CHAIA2, with the objective of completing a virtual reconstruction of the city in a longtime frame. In the national and international context, the use of new technologies has led to the diversification of this type of proposal, both at the urban level and in the reconstruction of concrete spaces. The application of this same model to Évora, contemplating several chronological layers, seems to impose itself in a city that, in the medieval and modern periods, was one of the most important of the kingdom, as Court city, and that today is classified as World Heritage Site

Place-centred interaction design: situated participation and co-creation in places of heritage

This paper argues that the design of interactive installations for museums and other heritage sites should be concerned with understanding, supporting and augmenting visitors 19 lived experiences in context, thus their ability to actively participate in an exhibition. We use the concept of 18place 19 to refer to the physical environment as it is invested by the qualities of human experience, and to placemaking as the active process of connecting and relating to locations that become meaningful in our lives. We will discuss some of the limitations of existing heritage technologies in considering aspects of active place experience, and will argue how a place-sensitive approach can lead to successful interaction design whereby people establish meaningful and active connections at personal, cultural, social and physical levels to the places of heritage they experience