Game Engines

/GAME ENGINES IN ARCHITECTURE
Capita Selecta Design Systems / Game engines in architecture
Students
jeroen brosens / j.s.brosens@stud.tue.nl
rob hoekman / rob@hoekman.org
daan willems / csds@daanwillems.nl
Tutors
ing. J. Dijkstra / j.dijkstra@bwk.tue.nl
prof. dr. ir. B. de Vries / b.d.vries@bwk.tue.nl
3D game engines and architectural design?!
Are 3D Games usable as platform for more serious applications? Don’t we as architectural
designers already have tools such as AutoCAD and 3D Studio MAX? And if one would use a 3D
game engine, would it be useful as a design tool too? What has already been done in this field of
research? In this survey we will try to capture the potential of the game engines of the immense
popular first person 3D shooters for designers in architecture.
Capita Selecta Ontwerpsystemen / 2001 1

The history of 3D game engines

3-Demon (1987)
• 8088 XT PC
• 64 kB conventional memory
• 60 kB harddisk space
• PC Internal Speaker
Wolfenstein 3D (1992)
• 286 Computer (386+ Strongly Recommended) / MS-DOS

• 528k of conventional memory (2Mb total memory recommended)
• 8 meg of Hard Drive Space (for registered)
• Sound Blaster/Sound Blaster Pro or 100% compatible

Doom (1993)
• 386/33 MHz minimum / MS-DOS

• 4MB RAM minimal, 8MB recommended
• 20 meg of Hard Drive Space (for registered)
• Sound Blaster/Sound Blaster Pro or 100% compatible
Quake (1996)
• Personal Computer with a Pentium Processor/ MS-DOS 5.0 or Windows® 95

• 8 megabytes of RAM to play in DOS, 16 megabytes to run in a Win95 DOS Box
• 40 megabytes available hard disk space
• A Sound Blaster or 100% compatible sound card is highly recommended

Quake 2 (1998)
• Pentium 90 MHz processor (133 MHz recommended) / Windows® 95

• 16 MB RAM Required (24 MB recommended)
• Hard disk drive with at least 250 MB of uncompressed space available
• 100% Sound Blaster-compatible sound card
Unreal (1998)
• 233 MHz Pentium MMX or Pentium II / Windows® 98

• 32 or 64 megabytes of RAM
• 3dfx Voodoo or Voodoo2 class 3D accelerator
• 100% Sound Blaster-compatible sound card

Quake3 (1999)
• PentiumII 300 MHz or better / Windows® 98 or better

• 64 megabytes of RAM
• 16Mb or 32Mb OpenGL video card
• Sound Blaster or EAX Sound Blaster Live
Unreal Tournament (1999)
• PentiumII 300 MHz or better / Windows® 98 or better

• 64 megabytes of RAM

Max Payne (2001)
• 700 MHz AMD / Intel Processor (or compatible) / Windows® 98/ME/2000/NT 4.0
• 128 Megabytes RAM
Return to Castle Wolfenstein Demo (2001)
• 700 MHz AMD / Intel Processor (or compatible) / Windows® 98/ME/2000/NT 4.0
• 128 Megabytes RAM

What has changed through the years?
The graphical detail of 3D games has made tremendous progression since the early beginning of
pacman-based 3D games, running in CGA (4 colors) or even Hercules (monochrome).The
explosive rise of the sheer power of desktop PC’s has created an solid frame for the representation
of complex and highly detailed 3D environments in games, in which the player experiences the
levels through a first person perspective. This detail is being realized through a higher polygon-
count and well-considered use of textures; graphical detail which has found hardware support in the
use of specialized 3D processors, supporting Direct 3D or OpenGL, known from the professional
CAD industry.
Although the essence of 3D shooters has remained the same through the years, a shift from the
single player game towards the multiplayer option is noticed. Players no longer only face Artificial
Intelligent opponents, but compete with other players through an Internet or Network connection.

CAD station versus Home PC
The explosive rise of the capabilities of the home PC plays an important part in the development of
new 3D games nowadays. A present mid-range home PC embodies lots of CPU power and RAM,
specifications that used to belong to expensive and specific computers, CAD-stations for instance.
Over and above this every present home PC is equipped with a video card that is capable of
processing complex 3D calculations and supporting widespread graphical interfaces such as
OpenGL and Direct3D. This powerful hardware has become affordable for use at home over the
past few years. The hardware requirements of the latest 3D game engines, comparable with the
hardware requirements of professional CAD applications, tell us that they are being used on a very
large scale.
Level editors
Almost every new 3D game nowadays comes with its own level editor. This extra piece of software,
which could be remotely seen as a CAD application, is used as a tool in which the player can create
their own virtual environments. In this way, the challenge comes at hand to experience your own
levels, created by your imagination. Soon after the release of the first level editors, 3rd party level
design competitions arose. It’s this aspect of the 3D game engines, the level editors, that opens the
way to extend the use of the games to fields other than the primary goal to experience a game.

3D representation in architecture

Alternatives for representation
The use of game engines as a frame for the representation of architectural projects has its origin in
the discontent about the alternatives which were available at that time. Architects, who considered
the representation of a project in 3D mere as a complementary activity, had little possibilities to
create a low cost 3D presentation with relatively little effort.
The available alternatives can be divided into three main groups:
1 presentation of a model using VRML

2 presentation of a model using a 360 degree panorama
3 presentation of a model using a rendered walk-through

presentation of a model using VRML
VRML, Virtual Reality Modeling Language, is a relatively low-cost solution to represent 3D models.
The user is able to explore a virtual environment using a navigation console. The most recognized
disadvantages of this method are however:
a) The modest capabilities of the graphical engine used causes a low framerate and a low
sense of realism in the eyes of the user. The models are strictly limited in size and detail.
This results in either very basic brushes or very intermittent navigation, both leading to
irritation and discomfort.
b) The navigation in a VRML-browser causes a low sense of realism en involvement for the
user of the model.
c) Systems that are capable of handling larger and more detailed models are very expensive
and therefore not an option for most users.

Representation of a model using a 360 degree panorama
A 360 degree panorama of a building or environment is created by joining several photographs or

renderings to give the spectator the feeling he is inside the model itself. Using a sort of hyperlinks
one 'moves' by jumping into another panorama. The most recognized disadvantages of this method
are however:
a) Despite the fact that because of the photographs or photographic renders the user
experiences a certain feeling of realism, the limited freedom of movement and the lack of
interactivity are detrimental to the possibilities to explore the virtual environment.
b) To obtain a photorealistic impression real photos or highly detailed renders are needed to
construct a panorama. This either limits the usage to projects which are already realized or
otherwise demands a lot of time modeling and rendering. The balance between the utility of
the result and the work spent on creating it is therefore often lost.

Representation of a model using a rendered walkthrough
A rendered walkthrough of a model consists of a sequence of images which are rendered along a
pre-defined path through a model. The most recognized disadvantages of this method are however:
a) The user experiences a low sense of interactivity, due to the pre-defined path, created by
the designer. Also the lack of possibilities to explore the model freely leads to an
underdeveloped perception of the model
b) The time and energy spent on modeling and rendering an animation are often out of
proportion to the usefulness of the animation. Animations of just a few minutes can already
lead to render times of a week.
c) These render times limit the feedback a model can give the designer. Often the situation
occurs that an animation has been rendering for days and it doesn’t turn out the way the
designer had in mind.

A solution for all these problems could be the use of 3D Game engines!
Some of the properties of the present game engines which make them extremely suitable for the
earlier mentioned problems are:
1 The game engines have relatively low-cost hardware requirements. Because people usually
play games at home, their desktop pc’s embody enough power to run these engines
smoothly.
2 Because these engines are designed for games which require a highly interactive and up-
tempo environment, they are extremely suitable to allow users to explore a fluent processed
virtual environment, extensively using the video cards that are installed.
3 The possibility to allow multiple persons explore a level (multi-player), can contribute to the
interactivity of the model and her users. People are able to start a discussion with the help of
a chat screen for instance, or show others interesting parts in a design.
4 Because many people are familiar with playing first person shooters, the exploration of a
model is considered to be a user friendly activity, associated with the joy of playing a game.
5 A large amount of games available at present usually has the option of a level-editor. This
feature allows people to model their own environments and explore them real-time. In this
way the 3D experience can become an integral part of the designproces, as opposed to the
earlier discussed alternatives, which always come to play after the completion of a design.
6 The extensive interactive features of the 3D game engine can be used to enlarge an
architectural model with sound, animated objects en Artificial Intelligent characters. In this
way the experience of a model is intensified and in the end the use of it stimulated.
7 The 3D game engines has possibilities to adjust the parameters of the virtual environment in
which a model is presented in real time or at command, for instance the weather conditions
or day and night. Because of this the designer has the opportunity to present his design in
various conditions.

Possible disadvantages of using 3D game
Besides the extensive advantages of the use of 3D game engines as a frame for the representation
of virtual architectural projects, there are some disadvantages to this method, as can be seen by
the experience of people involved in projects linked to this subject.
1 One of the most occurring problems is the lack of acceptance noticed at traditional CAD
users. Most 3D games, and especially first person shooters, have an image that doesn’t
suite many designers and their work, at least in their opinion. However this perception is
slowly changing. The game industry gains more credit for its success and methods of work.
A good example in this case is the Virtual Graz project for EXPO 2000, discussed later on in
this paper.
2 Another major issue is the fact that the design and building of a model or level in an editor
based on a 3D game engine demands specific skills of the user; his CAD experience isn’t
enough. Game levels are designed to limit the polygon count as much as possible, to
ensure smooth playing. CAD models on the contrary, gain more and more detail during their
construction. To overcome this contrast, the designer or developer has to gain experience
and insight in the use of the editor to obtain the desired result. Unfortunately it isn’t possible
to simply import a CAD model in a 3D level editor.
3 There are also a number of technical issues involved during the design or construction,
somewhat related to programming software. For example collision detection, gravity, grip,
and degrees of freedom are aspects which have to be accounted for to create a realistic
model. It is obvious that this knowledge isn’t commanded by traditional architects or even
CAD users, willing to use these applications.
4 Because of the specific method of work desired by the editors, relatively simple brushes
combined with detailed textures, a designer has to pay much attention to the use of well
thought textures to obtain a certain realism level, in stead of increasing the polygon count. It
is obvious that during the design of a project it isn’t always possible to simulate detail with
textures.

The implementation of 3D game engines could be a very useful alternative
In conclusion one could say that the use of 3D game engines as a platform for the representation of
architectural projects is an alternative investigating worth wile.
The relatively low costs for both user and designer, the interaction with the virtual environment and
other users, the user-friendly interface and level of fun while playing, the quick obtaining of result
during the design, all aspects that make the 3D game engine a low-budget but powerful tool,
accessible to a broad audience.

The use of 3D game engines during the design process

Possibilities of the use of 3D game engines during the design process.
Besides the earlier discussed possibilities to represent architectural projects on a 3D engine, the
engines can also serve a purpose during the design of a project. Because the use of the editors
available at present reduces the time between a concept and the visualization of it dramatically, a
conceptual model can give immediate feedback to the designer. In this way, the process of
designing a building or environment can become an interactive process.
A commercial vital example of this thesis is Unrealty, a product based on the Unreal-engine.
Unrealty is a real time level design tool. A model immediately comes to life by adding textures and
lighting maps. During the design process the designer has the possibility to enter the model, even if
it is unfinished, and value his choices in design. The implementation of slight adjustments isn’t
hindered by everlasting render times or the repositioning of cameras to show relevant information.
However the same disadvantages mentioned earlier considering the use of 3D game engines for
representation, apply to the use of the engines during the design of a project. Specific skills are
needed to handle these tools effectively. As mentioned before, this requires a change in opinion by
the traditional CAD users. However, the same restraint could be seen by the introduction of CAD
systems itself. From this point of view it could be seen as an evolutional process.

Possibilities of the use of 3D game engines in environmental research.
3D models generated on a game engine base also can serve another purpose for architectural
designers or engineers. Originally designed as a multi-user game, the engines can process multiple
entrees of persons in a model and obtain information on the effect of the building on one or more
users. All variables which influence the users can be manipulated and measured by their effect. It is
also possible to see how people react at one another in a virtual model of a building, or at the
building itself. Supported by extensive audio possibilities the engines can generate various different
scenarios within one model to test certain changes. Similar research usually encounters problems
such as limited realism and therefore less reliable feedback from the users, and overall high costs.
Games are designed to create am immersive experience, a feature which comes at hand in this
field of research.
However, the purpose of the games is more emphasized on the interaction between different users
or bots, than on the interaction with the environment the user is immerged in. Multiplayer games are
known for their high pace of action; the user has to manage to “stay alive”. It is obvious that in a
research program or a representation these parameters aren’t valid. In other words, attention for
detail and perception of an environment is vital.
An example of a research program in this field of research is the project of two scientists, related to
the University of Applies Arts in Vienna. They have created a virtual museum, based on the Unreal
engine, for a cross-disciplinary exhibition showing items composed out of the collections of ten
musea. The emphasis in this project lay on the perception of the visitor of the spaces and their
semantic relevance for the exhibited pieces. By changing sound, size and appearance of the
spaces and their connections the scientists were able to manipulate the perceptions of the visitors.
Quite contrary to web-based databases and hypertext structures, the connotations between objects
possessed a quality of their own, carrying much more information than would have been able had
they used text.

3D Audio in virtual environments

Introduction
Since the 1970’s engineers have been developing new technologies to succeed the conventional
stereo audio reproduction. The digital revolution of the past few years has made it possible to
process audio in an interactive way, opening doors to use it in virtual reality environments. A well
known application is the use of 3D audio in computer games and the Dolby Surround decoders in
present HiFi systems. Low cost systems offer a consumer the opportunity to immerse himself in a
virtual environment with sound surrounding him.
The next step would be to implement a virtual acoustic model in a representation of a building.
Besides the visual information, the perception of a space is often influenced by the acoustic
parameters. In some cases it is one of the most important starting points in a design, in theaters
and cinemas for instance.
In general, 3D sound will add a reasonable amount of realism, as well in the representation as in
the design of a project.

Comparison 3D audio systems
In 3D audio there are roughly speaking two mainstream systems, namely multi-speaker systems
and positional audio (stereo speakers)
Ad 1: multispeaker-systems
These are systems which often require multiple speakers to produce a surround reproduction: two
main speakers in front, two satellite speakers behind, a centre speaker and a bass reflex speaker.
Also a special decoder is needed to process the audio stream. These systems are well known in
DVD and HiFi systems, as well as in cinemas. Standards such as Dolby Digital Surround and THX
are wide spread phenomena’s in this case. The sometimes extremely expensive systems aren’t
suitable for use in a small scale.
ad 2: positional audio
An alternative is positional audio. The recording of the source takes place by two microphones
located on a dummy head in the inner ears. In this way the sound reaches the microphones in the
exact same way as it would reach a human head. This recording method is called binaural
recording. The difference in phase between the two microphones, reflections on the head and even
the shoulders produce a true to nature recording of the sound recorded. There is also software
available which is able to generate a positional audio model from an abstract source.

Imagine a source located on the left of a persons head. It is easy to understand that the sound
reaches the left ear a fraction of a second earlier than the right ear. The level of the sound on the
left side of the head is a bit higher than on the right as well. This is enough information for our brain
to locate the source of the sound.
A well known effect in this matter is the Doppler Effect. This is well noticeable with a speeding
ambulance passing by. The source, the ambulance, is moving in the space around the observer. A
binaural recording of the ambulance can be processed by a positional audio processor through a
stereo channel, making it sound like a 3D audio experience. This system is much simpler and low
budget than the multispeaker system, with a performance almost as good. .

3D audio and realism
The acoustics of a space are determined by the size of a space, the materials used, objects placed
inside and the presence of people. All these things form the so called timbre. A large place like a
church will have a long resonance, a hall, a theater and a parking garage all have their own
acoustic characteristics.
To be able to represent these characteristics precisely the core sound has to be adjusted to obtain
the right timbre for the room it is representing. The most common adjustment made is to add a
reverberation to the sound signal. This is a calculated result of all reflections of the signal against
the present object. This reverberation increases the realism of a sound in a certain space
dramatically

Using 3D audio in game engines
Modern games extensively use 3D audio to increase the realism and joy of playing the game.
Players can hear their opponents sneak up on them and literally experience bullets flying around
him. These games are all based on an engine, the software core which calculates real time all
movement and interaction of objects, adjusting it to all commands given by the user through a so
called human interface, i.e. a force-feedback joystick or the keyboard and mouse. The engine
combined with the human interfaces is in fact the medium between the user and the virtual
environment.
It is obvious that these real time calculations demand powerful hardware. Present home pc’s are
capable of handling these tasks. Manufactures of audio cards use so called DSP chips (Digital
Signal Processing), which are able to process effects such as reverberation real time and even
polyphonic. This means that they are capable of processing multiple sound signals at one time.

API’s for instructing audio hardware (similar to Direct 3D and Open GL in video)
There are numerous software standards or API’s for the control of the audio hardware. The most
common API’s are:
• EAX (Environmental Audio eXtension) by Creative®

• A3D (Aureal 3D) by Aureal®
• DirectSound 3D (DirectX) by Microsoft®
• Qsound by Q-Labs®
• 3DPA by Sensaura® (used in the X-Box game console)
• RSX (Real Sound eXperience) by Intel®
These standards are similar to the ones available for video, such as Direct 3D and Open GL. The
development of both game engines and API’s are focused on the systems on which the games will
be played, our home pc’s and game consoles available at present. These are relatively low budget
systems, capable however of representing real time 3D environments and audio in an immersive
way.

Internet and multiplayer games
The development of the internet and the available multiplayer games play a major role in this
subject. Nowadays it is possible to play a game online, real time in a virtual environment with a
large number of simultaneous players. Two of the most famous games in this genre are Unreal and
Quake, extensively using all the possibilities the audio and video hardware for home pc’s has to
offer.

The advantages and disadvantages of using 3D audio and game engines
The development in real time VR graphics, 3D audio and online multilayer games is a quite young
phenomenon and will continue for a while. The present level of sophistication used in the applied
techniques is of such a high standard that it opens up possibilities for other markets such as the
architectural engineering. Applications are available to represent virtual 3D environments real time
in a quality that is comparable with dedicated systems such as CAVE’s, running on high end UNIX-
systems, located in special equipped spaces.
Advantages of 3D audio in VR representations:
• enlarged realism, extra sense is stimulated

• navigation in VR becomes more intuitive for the user
• the technique is being endorsed by hard- and software for home use
• game engines are already at hand and are relative cheap in use
Disadvantages of 3D audio in VR representations:
• special audio recording technique required for positional audio

• special speaker configurations are expensive
• there should be a room where the system can be used
• extra (audio) hardware is needed
Very few information about projects using 3D Audio in architecural representation are presented
on the internet. On the other hand, one can find a lot of information on the subject 3D audio on
it’s own. The more these systems are being developed, the more they are being used in
presentation additional to visual information. Especially the game industry endorses the
possibilities of 3D audio systems by integrating this in their products. Since the implementation
of environmental audio the immersive experience of computer games like Quake III Arena and
Unreal Tournament has been significantly increased. Therefore one can expect the
implementation of this technology in representation in other disciplines, for example
architecture.

Expectations
• as for now there is little research about 3D audio in building representations

• development will stimulate the use, 3D audio in games shows possibilities
• immersive experience and realism are significantly enlarged
• the use in other disciplines (like architecture) can be expected
Example: CATT-Acoustic™
This piece of software enables the possibility to create a realistic reproduction of the acoustics of a
3D model. Factors such as reverberation, audience, finishes all are taken into calculation to obtain
the desired result.

Example: The Spat (Spatialisateur)
A project developed at the IRCAM institute in the Centre Pompidou in Paris is called Le
Spatialisateur, an audio processing unit (APU) which enables the modification of the acoustics in a
room, to whatever pleases the user. It is possible to implement the unit in different types of
environments, from a stereo speaker room to a concert hall using multi speaker systems.
The unit enables the opportunity to adjust the acoustics of a room electronically in real time. One
could say it provides virtual acoustics for a real world application. The “default” acoustics of a room
is being recorded and filtered and modified by a number of effect processors. Then it is send back
into the room, altering the acoustics of the room immediately. The variation in the number of people
attending a concert shouldn’t affect the acoustics of the room anymore with this unit.

Examples of projects using 3D game engines

Virtual Graz
• 3d visualization of Graz based on the Unreal engine for world expo 2000
• in this game the user is lead through the city of Graz in a 'green' way
• using interactive possibilities of a game engine for the maximum experience
• very detailed environments, using full screen anti aliasing
Unrealty
• real-time 3d design tool based on the Unreal engine

• one can walk around in the 3D model while modeling
• no rendering times, real time camera views only
• possibility of exchanging files with AutoCAD (DXF format)

VRND - Virtual Notre Dame (1999)
• target: architecturally precise real time 3d on-line 'walkthrough'

• for educational and informative use, with 'animated, talking virtual tour guide'
• based on the Unreal engine, created with UnrealEd (Unreal level editor)
• project costs: $60.000, it has been very quiet around the project lately...
@rchiQuake
• project of former TU/e student Roger Kemp

• design of the Azuma House by Tadao Ando (Sumiyosi, 1976)
• the @rchiQuake model has been created using the Quake 2 level editor
• unfortunately it has been very quiet around the project lately...

Maurer United Architects designs in Quake 3 Arena

environment

P2001 Pavilion
• architectural installation collaboration with graffiti artists Delta and Zedz

• competition entry National Millennium Prize 2000
• Maurer received the first price for this design
• the 3D model of the design has also been adopted in the Quake level
ZEDZbeton
• design in collaboration with graffiti artist Zedz

• competition entry 'Architektur Internetpreis'
• Maurer received the second prize for the design
• the 3D model of the design has also been adopted in the Quake level

Playtime exposition
• held September 01 till October 07, 2001

• Mu Art / 'de Witte Dame' / Eindhoven / Holland
• visitors could play the Quake level on specially designed arcade machines
• the exposition space in Mu was also 3D modeled and adopted in the Quake level

Creating the Quake level
• 3D modeling in AutoCAD 2002

• importing of the 3D model in 3dsmax 4.2
• transformation of the .max file to .pk3 (Quake) at Architectuurproducties.
• fine-tuning of the Quake level in Q3A Radiant (Quake 3 Arena Level editor)
The Maurer Quake 3 level
• the design for the arcade system by graffiti artist Delta

• six of those where in a LAN at the exhibition at MU Art
• six visitors were able to walk around simultaneously in the Maurer level
• a screenshot of the Maurer level at the right

Thanks for reading, for questions please e-mail us!
Students
jeroen brosens / j.s.brosens@stud.tue.nl
rob hoekman / rob@hoekman.org
daan willems / csds@daanwillems.nl
Tutors
ing. J. Dijkstra / j.dijkstra@bwk.tue.nl
prof. dr. ir. B. de Vries / b.d.vries@bwk.tue.nl
special thanks to maurer united architects for the 3d models and their Quake level!

Game Engines

Caricato da

Informazioni sul documento

Descrizione originale:

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Game Engines

Caricato da

Copyright:

Formati disponibili

/GAME ENGINES IN ARCHITECTURE

Capita Selecta Design Systems / Game engines in architecture

3D game engines and architectural design?!

Capita Selecta Ontwerpsystemen / 2001 1

The history of 3D game engines

Capita Selecta Ontwerpsystemen / 2001 2

• 286 Computer (386+ Strongly Recommended) / MS-DOS

Capita Selecta Ontwerpsystemen / 2001 3

• 386/33 MHz minimum / MS-DOS

• Personal Computer with a Pentium Processor/ MS-DOS 5.0 or Windows® 95

Capita Selecta Ontwerpsystemen / 2001 4

• Pentium 90 MHz processor (133 MHz recommended) / Windows® 95

• 233 MHz Pentium MMX or Pentium II / Windows® 98

Capita Selecta Ontwerpsystemen / 2001 5

• PentiumII 300 MHz or better / Windows® 98 or better

Unreal Tournament (1999)

• PentiumII 300 MHz or better / Windows® 98 or better

Capita Selecta Ontwerpsystemen / 2001 6

Max Payne (2001)

Return to Castle Wolfenstein Demo (2001)

Capita Selecta Ontwerpsystemen / 2001 7

What has changed through the years?

Capita Selecta Ontwerpsystemen / 2001 8

CAD station versus Home PC

Capita Selecta Ontwerpsystemen / 2001 9

Capita Selecta Ontwerpsystemen / 2001 10

Alternatives for representation

1 presentation of a model using VRML

Capita Selecta Ontwerpsystemen / 2001 11

presentation of a model using VRML

Capita Selecta Ontwerpsystemen / 2001 12

Representation of a model using a 360 degree panorama

A 360 degree panorama of a building or environment is created by joining several photographs or

Capita Selecta Ontwerpsystemen / 2001 13

Representation of a model using a rendered walkthrough

Capita Selecta Ontwerpsystemen / 2001 14

Capita Selecta Ontwerpsystemen / 2001 15

Possible disadvantages of using 3D game

Capita Selecta Ontwerpsystemen / 2001 16

The implementation of 3D game engines could be a very useful alternative

Capita Selecta Ontwerpsystemen / 2001 17

The use of 3D game engines during the design process

Capita Selecta Ontwerpsystemen / 2001 18

Possibilities of the use of 3D game engines during the design process.

Capita Selecta Ontwerpsystemen / 2001 19

Possibilities of the use of 3D game engines in environmental research.

Capita Selecta Ontwerpsystemen / 2001 20

3D Audio in virtual environments

Capita Selecta Ontwerpsystemen / 2001 21

Capita Selecta Ontwerpsystemen / 2001 22

Comparison 3D audio systems

Capita Selecta Ontwerpsystemen / 2001 23

Capita Selecta Ontwerpsystemen / 2001 24

3D audio and realism

Capita Selecta Ontwerpsystemen / 2001 25

Using 3D audio in game engines

Capita Selecta Ontwerpsystemen / 2001 26

• EAX (Environmental Audio eXtension) by Creative®

Capita Selecta Ontwerpsystemen / 2001 27

Internet and multiplayer games

Capita Selecta Ontwerpsystemen / 2001 28

The advantages and disadvantages of using 3D audio and game engines

Advantages of 3D audio in VR representations: