Visual communication in urban planning and urban design

This report documents the current status of visual communication in urban design and planning. Visual communication is examined through discussion of standalone and network media, specifically concentrating on visualisation on the World Wide Web(WWW).Firstly, we examine the use of Solid and Geometric Modelling for visualising urban planning and urban design. This report documents and compares examples of the use of Virtual Reality Modelling Language (VRML) and proprietary WWW based Virtual Reality modelling software. Examples include the modelling of Bath and Glasgow using both VRML 1.0 and 2.0. A review is carried out on the use of Virtual Worldsand their role in visualising urban form within multi-user environments. The use of Virtual Worlds is developed into a case study of the possibilities and limitations of Virtual Internet Design Arenas (ViDAs), an initiative undertaken at the Centre for Advanced Spatial Analysis, University College London. The use of Virtual Worlds and their development towards ViDAs is seen as one of the most important developments in visual communication for urban planning and urban design since the development plan.Secondly, photorealistic media in the process of communicating plans is examined.The process of creating photorealistic media is documented, examples of the Virtual Streetscape and Wired Whitehall Virtual Urban Interface System are provided. The conclusion is drawn that although the use of photo-realistic media on the WWW provides a way to visually communicate planning information, its use is limited. The merging of photorealistic media and solid geometric modelling is reviewed in the creation of Augmented Reality. Augmented Reality is seen to provide an important step forward in the ability to quickly and easily visualise urban planning and urban design information.Thirdly, the role of visual communication of planning data through GIS is examined interms of desktop, three dimensional and Internet based GIS systems. The evolution to Internet GIS is seen as a critical component in the development of virtual cities which will allow urban planners and urban designers to visualise and model the complexity of the built environment in networked virtual reality.Finally a viewpoint is put forward of the Virtual City, linking Internet GIS with photorealistic multi-user Virtual Worlds. At present there are constraints on how far virtual cities can be developed, but a view is provided on how these networked virtual worlds are developing to aid visual communication in urban planning and urban design

A semantic and language-based representation of an environmental scene

The modeling of a landscape environment is a cognitive activity that requires appropriate spatial representations. The research presented in this paper introduces a structural and semantic categorization of a landscape view based on panoramic photographs that act as a substitute of a given natural environment. Verbal descriptions of a landscape scene provide themodeling input of our approach. This structure-based model identifies the spatial, relational, and semantic constructs that emerge from these descriptions. Concepts in the environment are qualified according to a semantic classification, their proximity and direction to the observer, and the spatial relations that qualify them. The resulting model is represented in a way that constitutes a modeling support for the study of environmental scenes, and a contribution for further research oriented to the mapping of a verbal description onto a geographical information system-based representation

Neural codes for one’s own position and direction in a real-world “vista” environment

Humans, like animals, rely on an accurate knowledge of one’s spatial position and facing direction to keep orientated in the surrounding space. Although previous neuroimaging studies demonstrated that scene-selective regions (the parahippocampal place area or PPA, the occipital place area or OPA and the retrosplenial complex or RSC), and the hippocampus (HC) are implicated in coding position and facing direction within small-(room-sized) and large-scale navigational environments, little is known about how these regions represent these spatial quantities in a large open-field environment. Here, we used functional magnetic resonance imaging (fMRI) in humans to explore the neural codes of these navigationally-relevant information while participants viewed images which varied for position and facing direction within a familiar, real-world circular square. We observed neural adaptation for repeated directions in the HC, even if no navigational task was required. Further, we found that the amount of knowledge of the environment interacts with the PPA selectivity in encoding positions: individuals who needed more time to memorize positions in the square during a preliminary training task showed less neural attenuation in this scene-selective region. We also observed adaptation effects, which reflect the real distances between consecutive positions, in scene-selective regions but not in the HC. When examining the multi-voxel patterns of activity we observed that scene-responsive regions and the HC encoded both spatial information and that the RSC classification accuracy for positions was higher in individuals scoring higher to a self-reported questionnaire of spatial abilities. Our findings provide new insight into how the human brain represents a real, large-scale “vista” space, demonstrating the presence of neural codes for position and direction in both scene-selective and hippocampal regions, and revealing the existence, in the former regions, of a map-like spatial representation reflecting real-world distance between consecutive positions

VRpursuits: Interaction in Virtual Reality Using Smooth Pursuit Eye Movements

Gaze-based interaction using smooth pursuit eye movements (Pursuits) is attractive given that it is intuitive and overcomes the Midas touch problem. At the same time, eye tracking is becoming increasingly popular for VR applications. While Pursuits was shown to be effective in several interaction contexts, it was never explored in-depth for VR before. In a user study (N=26), we investigated how parameters that are specific to VR settings influence the performance of Pursuits. For example, we found that Pursuits is robust against different sizes of virtual 3D targets. However performance improves when the trajectory size (e.g., radius) is larger, particularly if the user is walking while interacting. While walking, selecting moving targets via Pursuits is generally feasible albeit less accurate than when stationary. Finally, we discuss the implications of these findings and the potential of smooth pursuits for interaction in VR by demonstrating two sample use cases: 1) gaze-based authentication in VR, and 2) a space meteors shooting game

Exploring the impact of 360° movie cuts in users' attention

Virtual Reality (VR) has grown since the first devices for personal use became available on the market. However, the production of cinematographic content in this new medium is still in an early exploratory phase. The main reason is that cinematographic language in VR is still under development, and we still need to learn how to tell stories effectively. A key element in traditional film editing is the use of different cutting techniques, in order to transition seamlessly from one sequence to another. A fundamental aspect of these techniques is the placement and control over the camera. However, VR content creators do not have full control of the camera. Instead, users in VR can freely explore the 360° of the scene around them, which potentially leads to very different experiences. While this is desirable in certain applications such as VR games, it may hinder the experience in narrative VR. In this work, we perform a systematic analysis of users'' viewing behavior across cut boundaries while watching professionally edited, narrative 360° videos. We extend previous metrics for quantifying user behavior in order to support more complex and realistic footage, and we introduce two new metrics that allow us to measure users'' exploration in a variety of different complex scenarios. From this analysis, (i) we confirm that previous insights derived for simple content hold for professionally edited content, and (ii) we derive new insights that could potentially influence VR content creation, informing creators about the impact of different cuts in the audience's behavior