Here’s an architectural study exploring the possibilities of game engine technologies for architecture.

here’s the link to download and play:

Download (Dropbox)

extract archive anywhere and run spacewarp.exe (no installation required). Use WASD or arrow keys for movement; ESC to quit.



The idea to use computer game technology and virtual reality to present architecture is not new.

This “project” started as a personal research into the topic: is it efficient to use free open source 3d engine (in this case Irrlicht game engine) to present architectural ideas to a client? Irrlicht has number of advantages: the finished map can be distributed easily – there is no need for the client to install anything on their machines, the engine takes a few megabytes, it is free and open source. The disadvantages include long development period it takes to prepare such a presentation, relatively poor visual quality of the renderings.

But as I was preparing a testing map the priorities changed quickly. It became apparent that the game technology provides in itself a new way of thinking architecture. The content created with this technology is not a representation of a building-to-be but a finished work in itself. It defies representation.

This particular “map” explores the fundamental concepts of architecture. It explores spaces around, spaces between and spaces inside an architectural body. It explores the effects of light and shadow. It explores the relationship between masses and voids.

It is an inverted belvedere – directing the viewer not towards a beautiful view that lies outside architecture but towards the architecture itself.

Belvedere and Labyrinth are the two types that find their semiotic trace in this structure. This is how it relates to (history of) architecture. It also share the same theoretical grounds as Bernard Tschumi’s Folies and related writings (Derrida’s, Eisenman’s).

Unlike computer games the map does not give challenges (monsters and other hostile mobs) and puzzles (like for example in Valve’s Portal) to a “player”. It postulates a problem – can architecture alone – devoid of external functional programs – be interesting, immersive, playable.

Video games is a media that provides architects new possibilities to explore. It is becoming evident that the 3d gaming technology should have its place in architectural education. The limits that the physical world imposes are architecture’s allies. 3D engines simulate physical properties of the world (gravity, impassable solid objects, first person perspectives). This way the students will have better awareness on the visual and interactive qualities of their projects.

Second challenge would be to create “maps” that – as said above – are worth playing and interacting with because of their pure architectural qualities. The focus then can shift towards exploring new ways of thinking space – when the expectations we have already acquired from physical world are broken. This last approach has already been explored by computer game industry (Portal 1 and 2…) and indie game creators (games like: Void, The Bridge, Anti-Chamber, Perspective…). In these games we see how the traditional concept of space is broken and/or extended. It makes us imagine new ways of moving through the space and unusual ways of interacting with the environment.

Interesting observations on architectural practices could be made in the creations by Minecraft community. Both in single player and multiplayer maps the players are given a world that they come to see as theirs. Soon they develop sense of a place; often this is followed by giving a name to a place. Marking a place, naming it and making a space (room) from it are the primordial actions of architecture. It is especially interesting to observe how places and structures are made collectively. This clearly relates to an earliest tradition – architecture is a common cause, it is something that a community does together. Of course the most common thing that one encounters in Minecraftia are re-creations that reference (popular) culture: medieval castles, underground laboratories, space-ships. In some cases the players explore what could be called true Minecraft architecture – new types of dwellings that are only made possible by the absolute rule of The Module (block).

Another challenge could lie in creating custom multiplayer maps for popular first person shooters; developing these maps could give unique insight to an architect. In this case the “map” is not a pure architectural sign devoid of pragmatic meanings; the users of these kind of maps (fps fans) expect immersive environment (venustas) together with functionality (utilitas). The “map” should not only be eye-catching but provide the player with numerous possibilities to use it. It is a stage where the players have certain limits and enough freedom to plan their own scenarios. The architect should know the habits and expectations of the community (in this case the gamers) he is designing for.

Traditionally the computer worlds are designed by artists. First a theme is chosen (desert, industrial, tropical, medieval), then a ton of reference images are gathered and made into a kind of collage from the already existing visual materials. The architect, when designing a game world is expected to take a completely different path – he/she is expected to make (new) architecture, instead of a mere interpretation of an already given theme.

The tradition goes on. Bauhaus, Constructivism and other movements have sought to expand the boundaries of architectural thought and practice. Digital age offers new realms beyond the current boundaries.

David Bostanashvili

Georgian Technical University

Studio Poetics of Architecture

Info:

The main volumes of this “map” were modeled in 2008. It took some time to design the labyrinth paths and lightning. I finally found some time to finish it in 2011.

The old technique of pre-rendered lightning (illumination baking) is used instead of more advanced real time HDR lightning. Hence the effects that I expected from this model in 2008 are diminished – at some places the volume is gone and the scene appears flat and dull.

The map comes as a .rar archive. Extract it anywhere and run spacewarp.exe (it just launches the map). the Irrlicht.dll file is the Irrlicht engine (ver. 1.4.2) and res.pk3 is a container for model and textures.

Modeled in 3DS Max. Put together with limited knowledge of C++. Powered by Irrlicht 3D engine.

The model is an original creation. Feel free to distribute the files.