interactive graphical representation for architectural style study in 3d virtual worlds

This article was downloaded by: [Columbia University]On: 08 December 2014, At: 22:26Publisher: Taylor & FrancisInforma Ltd Registered in England and Wales Registered Number: 1072954 Registered office: MortimerHouse, 37-41 Mortimer Street, London W1T 3JH, UK

Architectural Science ReviewPublication details, including instructions for authors and subscription information:http://www.tandfonline.com/loi/tasr20

Interactive Graphical Representation forArchitectural Style Study in 3D Virtual WorldsNing Gu a & Jerry Jen-Hung Tsai ba School of Architecture and Built Environment, University of Newcastle , Australiab Faculty of Architecture, Design and Planning , University of Sydney , AustraliaPublished online: 09 Jun 2011.

To cite this article: Ning Gu & Jerry Jen-Hung Tsai (2009) Interactive Graphical Representation for Architectural StyleStudy in 3D Virtual Worlds, Architectural Science Review, 52:2, 99-107

To link to this article: http://dx.doi.org/10.3763/asre.2009.0010

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) containedin the publications on our platform. However, Taylor & Francis, our agents, and our licensors make norepresentations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose ofthe Content. Any opinions and views expressed in this publication are the opinions and views of the authors,and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be reliedupon and should be independently verified with primary sources of information. Taylor and Francis shallnot be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and otherliabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to orarising out of the use of the Content.

This article may be used for research, teaching, and private study purposes. Any substantial or systematicreproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in anyform to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

http://www.tandfonline.com/loi/tasr20

http://dx.doi.org/10.3763/asre.2009.0010

http://www.tandfonline.com/page/terms-and-conditions

http://www.tandfonline.com/page/terms-and-conditions

©2009EarthscanLtd.ISSN:0003-0628(print),1758-9622(online)doi:10.3763/asre.2009.0010www.earthscan.co.uk/journals/asre

ArchitecturalScienceReviewVolume52.2,pp99-107

Interactive Graphical Representation for Architectural Style Study in 3D Virtual Worlds

Ning Gu*† and Jerry Jen-Hung Tsai**

*SchoolofArchitectureandBuiltEnvironment,UniversityofNewcastle,Australia**FacultyofArchitecture,DesignandPlanning,UniversityofSydney,Australia

†Correspondingauthor:Tel:+61249215786;Fax:+61249216913;Email:[email protected]

Abstract: The interactive graphical representation supports multiple design representations and their interactions. Therepresentationconsistsofthespatialsubsystemandthestylisticsubsystemofabuildingtofacilitatedesignandcollaborationin3Dvirtualworlds,fordesignersorcomputationaldesignagentsalike(Gu&Tsai,2008).Theinteractivegraphicalrepresentationhasbeenappliedforarchitecturaldesign,demonstratingitseffectivenessinaddressingsimpledesigntasks,suchasbuildingextensionsandsimplifiedarchitecturalstyletransformations.Thispaperpresentstheapplicationoftheinteractivegraphicalrepresentationfor architectural style study in 3D virtual words, through three complex cases of pavilions, designed by Fischer von Erlach.

Keywords:Architecturalstyle,Graphicalrepresentation,3Dvirtualworlds

IntroductionCollaborativedesignisaprocessofdynamicallycommunicating

and working together in order to collectively establish designgoals, search throughdesignproblemspaces,determinedesignconstraints,andconstructadesignsolution(Hennessy&Murphy,1999; Lahti, Seitamaa-Hakkarainen & Hakkarainen, 2004).3Dvirtualworldsdistinguishthemselvesfromothernetworkedtechnologiesbyhavingplacecharacteristics.Itisnotjustanothercommunicationtoolbuttheultimatedestinationwhereweshop,areentertainedandgeteducated(Kalay&Marx,2001).IntheAEC(Architecture,EngineeringandConstruction)domain,theeverincreasingglobalisationresultsinlargeprojectsthatrequireglobaldesignteamstocollaborateacrossdifferentgeographicallocationsandtimezones. Thisoftendemandsadditionaltimeandfinancialinputsincoordinatingandrelocatinghumananddesignresources.3Dvirtualworldshavethepotentialtomakeamajorimpactonglobaldesignteamsbyprovidinganonlineplacethat support collaborative design activities in distant locationswithout designers being physically present. However, themajorityofdesignrepresentationsintraditional3Dvirtualworldsmainlyfocusontherepresentationsof3Dgeometricformsforsimulations.Specificinformationandnumericaldataareoftenrequiredinapplyingtheserepresentationstodesign.Therefore,thereisaneedtodeveloparepresentationsystemapplicableintheconceptualdesignstagethatisflexibleforrepresentingmorecomplexdesignconceptsandalternatives.

Agraph isa setofdots,calledverticesornodes,connectedbylines,thatis,edgesorarcs.QualitativeArchiBondGraphs(QABGs)(Tsai&Gero,2006a;2006b;2008)areenergy-basedunified representations for buildings, combining graphical

representationsandqualitativeequationsaswellasusingunifiedvariables,elementsandconstitutiverelationships. QABGscanbeappliedtomultipleAECdomainstorepresentandsimulatedynamicbehavioursinbuildings.GuandTsai,(2008)extendedQABGstodeveloptheinteractivegraphicalrepresentationthatsupportsmultipleandinteractivedesignrepresentationsthroughaspatialsubsystemandastylisticsubsystem.Whiledesigning,designerscanflexiblyapplydifferentsubsystemstoaccommodatedifferentdesignneedsandrepresentationpreferences.

Thispaperproposesanddemonstratesanapplicationoftheinteractivegraphicalrepresentationforarchitecturalstylestudyin3Dvirtualworlds,focusingonarchitecturalformmaking.Thepapercommencesfromanintroductionofarefinedinteractivegraphical representation framework, including elements andelement-link-relationshipsinboththespatialsubsystemandthestylisticsubsystem.Thepaperthendemonstratestheapplicationof the interactive graphical representation for architecturalstyle study in Second Life (www.secondlife.com), a popular3Dvirtualworld,withthreecomplexcasesofpaviliondesignsby an Austrian architect of the Baroque period, Fischer vonErlach.Asdemonstratedinthestudy,theinteractivegraphicalrepresentationprovidesdesignerswithmultiple representationsandricherdesignlanguagesfordesignandcollaborationin3Dvirtualworlds.

Interactive Graphical RepresentationExtended from QABGs, the interactive graphical

representation consists of graphical representations for aspatial subsystem and a stylistic subsystem of a building,

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014

ArchitecturalScienceReview Volume52,Number2,2009100

Figure 1. Each subsystem is generated by elements andelement-link-relationships.Applyingtheinteractivegraphicalrepresentation to a building design, the spatial subsystemrepresentsthespatialarrangementofthebuilding.Elementsof the spatial subsystem representdifferent roomsor spacesand the spatial junctions of these rooms or spaces. Whentwo rooms or spaces are linked, there is a bond placed inbetweenthesetworoomsorspaces. Thestylisticsubsystemautomaticallycorrespondstothespatialsubsystem.Elementsof the stylistic subsystem represent the forms or shapes ofthe rooms or spaces as well as their junctions. Bonds arerepresented where two elements link with each other. Thecombinationoftheseelementsandelement-link-relationshipsfordifferentformsorshapesoftheroomsorspacescomposesthearchitecturalstyleofthebuilding.Inthispaper,astyleisconsideredasamannerofdoingsomething,whichischosenfromawiderangeofwaystoachieveasimilarresult. Styleperceptioninvolvestheinteractionbetweenthepreconsciousperceptualrecognitionofstyleelementsandrelationshipsatdifferentscalesandlevelsofabstraction,consciousreasoningabout similarities and categories, and explanatory inferenceto a coherent understanding of the artefact (Stacey, 2006).Architectural styles classify buildings in terms of forms,techniques,materials,timeperiods,andregions.Thespatialarrangementofabuildingcombiningwithdifferentelementsand link-relationships of forms, different techniques, ordifferent materials may result in different architecturaltypes and styles. When applying the interactive graphicalrepresentation to a building design, because the spatialsubsystem and the stylistic subsystem are mapped ontoeach other, if elements or element-link-relationships in onesubsystem change, the corresponding ones in the othersubsystemwillbeadjustedaccordingly.

Spatial SubsystemInthespatialsubsystem,graphicalrepresentationssymbolise

topologies of spatial arrangements. Extending the existingelementsinQABGs,graphicalrepresentationelementsinthespatial subsystem are as follows including terminals (T) andjunctions(J).

• Terminals (T), 1-port elements, include C, CC, CO,CR,IandS,Eq(1).

C:is a container that represents rooms and spaces in abuilding,includingCCandCO.

CC:representsanenclosedspace,suchasaroom.CO:representsanopenspace,suchasacourtyard.

CR: isacontrollerthatrepresentsadoor.I: isaninductorthatrepresentsapassage,suchascorridors

orasetofsteps.S: is the source where people move into a building. It

representstheexternalenvironment.

T={C,CC,CO,CR,I,S} (1)

• Junctions (J), multi-port elements, arespace-junctionsincluding0-junctionsand1-junctions,Eq(2).

A 0-junction implies that people may progress to spacesdifferentfromthespacewheretheycamefrom.

A1-junctionimpliesthatpeoplearenotabletoprogresstootherspacesexceptforreturningtothespacetheycamefrom.

Jspatial={0,1} (2)

Initial element-link relationships for a graphicalrepresentationofthespatialsubsystemincludeaterminal(T)linkedtoajunction(J),T-J,orajunction(J)linkedtoaterminal(T),J-T.Theyhavethefollowingforms:asource(S)linkedtoa0-junction,asource(S)linkedtoa1-junction,a1-junctionlinked toanI-element,a1-junction linked toaCC-element,a0-junctionlinkedtoaCC-element,a0-junctionlinkedtoaCO-element,anda1-junctionlinkedtoaCR-element.Theseelement-linkrelationshipsareillustratedinFigure2.

Stylistic SubsystemInthestylisticsubsystem,graphicalrepresentationssymbolise

topologiesofstylisticcomponentsandtheirrelations.Twoformsofthestylisticsubsystemincludeageneralformandaspecificform.Elementsofthestylisticsubsystemdefinedinageneralformcanbeapplied tobuildingelements ingeneralwithoutspecificstylisticconsiderationsinmind.Withthespecificallydefined stylistic elements, thegraphical representationof thestylisticsubsystemcanbeappliedwithinaspecificarchitecturalstyle. Elements of the stylistic subsystem in a general formincludeterminals(T)andjunctions(J).

• Terminals (T), 1-port elements,includesolidandvoidelements.TheyarerepresentedbyTforsolidelementsandT’forvoidelements.Solidelementsandvoidelementsrepresent enclosed spaces and open spaces respectively.Theseelementsaresimplifiedtoimitateahuman’sinitialspaceexperiences,whichinvolvemassvolumeswithoutanydetailedsupplementarycomponentsordecorations.

• Junctions (J), multi-port elements, are assembling-

building. In this paper, a style is considered as a manner of doing something, which is chosen

from a wide range of ways to achieve a similar result. Style perception involves the interaction

between the preconscious perceptual recognition of style elements and relationships at different

scales and levels of abstraction, conscious reasoning about similarities and categories, and

explanatory inference to a coherent understanding of the artefact (Stacey, 2006). Architectural

styles classify buildings in terms of forms, techniques, materials, time periods, and regions. The

spatial arrangement of a building combining with different elements and link-relationships of

forms, different techniques, or different materials may result in different architectural types and

styles. When applying the interactive graphical representation to a building design, because the

spatial subsystem and the stylistic subsystem are mapped onto each other, if elements or element-

link-relationships in one subsystem change, the corresponding ones in the other subsystem will be

adjusted accordingly.

Figure 1: The interactive graphical representation comprising of a spatial subsystem and a stylistic

subsystem.

Spatial Subsystem

In the spatial subsystem, graphical representations symbolise topologies of spatial arrangements.

Extending the existing elements in QABGs, graphical representation elements in the spatial

subsystem are as follows including terminals (T) and junctions (J).

Figure 1: The interactive graphical representation comprising of a spatial subsystem and a stylistic subsystem.

element, a 0-junction linked to a CO-element, and a 1-junction linked to a CR-element. These

element-link relationships are illustrated in Figure 2.

0

S

1

S

I

1

CC

1

CC

0

CO

0

CR

1

Figure 2: Initial element-link relationships between a terminal and a junction (J-T) for

the graphical representation of the spatial subsystem.

Stylistic Subsystem

In the stylistic subsystem, graphical representations symbolise topologies of stylistic components

and their relations. Two forms of the stylistic subsystem include a general form and a specific

form. Elements of the stylistic subsystem defined in a general form can be applied to building

elements in general without specific stylistic considerations in mind. With the specifically defined

stylistic elements, the graphical representation of the stylistic subsystem can be applied within a

specific architectural style. Elements of the stylistic subsystem in a general form include terminals

(T) and junctions (J).

• Terminals (T), 1-port elements, include solid and void elements. They are represented

by T for solid elements and T’ for void elements. Solid elements and void elements

represent enclosed spaces and open spaces respectively. These elements are simplified to

imitate a human’s initial space experiences, which involve mass volumes without any

detailed supplementary components or decorations.

• Junctions (J), multi-port elements, are assembling-junctions including H-junction and V-

junction, Eq (3). H-junctions, horizontal junctions, are applied to horizontal assemblies of

admin ! 24/3/09 6:25 PM

Comment: Author: is this correct?

Figure 2: Initial element-link relationships between a terminal and a junction (J-T) for the graphical representation of the spatial subsystem.

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014

101NingGuandJerryJen-HungTsai InteractiveGraphicalRepresentationforArchitecturalStyleStudy

junctions including H-junction and V-junction, Eq(3). H-junctions, horizontal junctions, are appliedto horizontal assemblies of stylistic components. Incontrast,V-junctions, vertical junctions, are applied toverticalassembliesofstylisticcomponents.

Jstylistic={H,V} (3)

Terminalsinageneralformforthestylisticsubsystemcanbe extended to be applicable to specific design projects forspecificarchitecturalstyles.However,junctionsforthestylisticsubsysteminbothgeneralformandspecificformarethesame,H-junctionsandV-junctions.

Interactions Between the Two SubsystemsInaninteractivegraphicalrepresentation,abondwilllink

twojunctions,oneinthespatialsubsystemandtheotherinthe stylistic subsystem,whenan interactionoccursbetweenthetwosubsystems.

Figure 3 shows different representations of a simplebuildingdesignexample.Figure3(a)visualisesthedesignasa3Dmodel,Figure3(b)showsthespatialarrangementsofthedesignintheformofaplandrawing,andFigure3(c)extractsandillustratesthestylisticcomponents,inthiscasethestyleoftheroof,andtheirrelationsinthedesign.

In the spatial subsystem of the interactive graphicalrepresentation, the plan drawing shown in Figure 3(b) canbeconvertedintoagraphicalrepresentationtohighlightthespatialarrangementsofthedesignwithspecificelements,i.e.,CC,CR,I,S,0and1,shownontheleft-handsideofFigure4. In the stylistic subsystem of the interactive graphicalrepresentation, a graphical representation with generalelements,i.e.,terminals(T)andjunctions(J),cangraphicallyoutline the topology of the building elements and theirrelations, shownon the right-hand sideofFigure4. There

arefourinteractiverelationshipsbetweenthetwosubsystems,Figure 4. These interactions occur in the design of eachroom, Rooms A to D. When an element or an element-link-relationship in the spatial subsystem has been createdormodified,thecorrespondingelement(s)andelement-link-relationship(s) in the stylistic subsystem will respond andupdateautomatically,andviceversa.

Prototype ImplementationThe interactive graphical representations have been

applied to architectural design, addressing simple designtaskssuchasbuildingextensionsandsimplifiedarchitecturalstyle transformations. The former example demonstratesthe usability and effectiveness of the spatial subsystem. Agraphical representation is extendable and flexible. It canrepresentdifferentspatialarrangementsofabuildingproject.Thelatterexampledemonstratestheinteractionsbetweenthetwosubsystemsforsupportingsimplifiedstyletransformationinbuildingdesign.ThedetailsoftheseexamplesareillustratedinGuandTsai,(2008).

The interactive graphical representation has beenimplementedinSecondLifeasaprototype.Withthesupportof thisprototypesystem,designerscanremotelycollaborateusing the interactive graphical representation through areal-time 3D modelling window powered by Second Life,augmentedwithawebwindow.Designersimmersethemselvesin Second Life to collaboratively design and model. Theydevelopandexplorethespatialarrangementofthedesigninthewebwindow.Theydesignandapplystylisticcomponentsusingthe3Dmodellingwindow. Theinteractionsbetweenthetwowindowsareautomated.ThesystemarchitectureandtheinterfaceoftheprototypesystemareillustratedinFigures5and6respectively.

At the initial conceptualdesign stage, byusing elementsandelement-link-relationships,designerscanfocusspecifically

(a) (b) (c)

Figure 3: A building design example represented as (a) a 3D model, (b) plan drawing representing

the spatial arrangements, and (c) decomposed 3D stylistic components.

In the spatial subsystem of the interactive graphical representation, the plan drawing shown in

Figure 3(b) can be converted into a graphical representation to highlight the spatial arrangements of

the design with specific elements, i.e. CC, CR, I, S, 0 and 1, shown on the left-hand side of Figure 4.

In the stylistic subsystem of the interactive graphical representation, a graphical representation with

general elements, i.e. terminals (T) and junctions (J), can graphically outline the topology of the

building elements and their relations, shown on the right-hand-side of Figure 4. There are four

interactive relationships between the two subsystems, Figure 4. These interactions occur in the

design of each room, Rooms A to D. When an element or an element-link-relationship in the

spatial subsystem has been created or modified, the corresponding element(s) and element-link-

relationship(s) in the stylistic subsystem will respond and update automatically, and vice versa.

Room A

Room B

Room DRoom C

Figure 3: A building design example represented as (a) a 3D model, (b) plan drawing representing the spatial arrangements, and (c) decomposed 3D stylistic components.

(a) (b) (c)

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014


(a) (b) (c)

Figure 3: A building design example represented as (a) a 3D model, (b) plan drawing representing

the spatial arrangements, and (c) decomposed 3D stylistic components.

In the spatial subsystem of the interactive graphical representation, the plan drawing shown in

Figure 3(b) can be converted into a graphical representation to highlight the spatial arrangements of

the design with specific elements, i.e. CC, CR, I, S, 0 and 1, shown on the left-hand side of Figure 4.

In the stylistic subsystem of the interactive graphical representation, a graphical representation with

general elements, i.e. terminals (T) and junctions (J), can graphically outline the topology of the

building elements and their relations, shown on the right-hand-side of Figure 4. There are four

interactive relationships between the two subsystems, Figure 4. These interactions occur in the

design of each room, Rooms A to D. When an element or an element-link-relationship in the

spatial subsystem has been created or modified, the corresponding element(s) and element-link-

relationship(s) in the stylistic subsystem will respond and update automatically, and vice versa.

Room A

Room B

Room DRoom C

Figure 4: Interactions between the spatial subsystem and the stylistic subsystem of the building design example, as shown in Figure 3.

Figure 5: The implementation of the interactive graphical representation in Second Life.

Figure 6: The interface of the interactive graphical representation in Second Life.

At the initial conceptual design stage, by using elements and element-link-relationships, designers

can focus specifically on the conceptual development of the spatial and stylistic properties of the

design. The interactions between the spatial arrangement and the stylistic development are

automated. After the initial design concepts are developed, designers can apply specific data to

elements and element-link-relationships of the spatial arrangement and stylistic components for

detailed design. Therefore, similar to traditional 3D virtual worlds, designers can still use the

above prototype system for design documentation and simulation in the later design stages.

Design Representation

Web Window

Spatial Arrangement

Second Life

Stylistic Component




At the initial conceptual design stage, by using elements and element-link-relationships, designers

can focus specifically on the conceptual development of the spatial and stylistic properties of the

design. The interactions between the spatial arrangement and the stylistic development are

automated. After the initial design concepts are developed, designers can apply specific data to

elements and element-link-relationships of the spatial arrangement and stylistic components for

detailed design. Therefore, similar to traditional 3D virtual worlds, designers can still use the

above prototype system for design documentation and simulation in the later design stages.

Design Representation

Web Window

Spatial Arrangement

Second Life

Stylistic Component


Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014


on the conceptual development of the spatial and stylisticpropertiesofthedesign.Theinteractionsbetweenthespatialarrangement and the stylistic development are automated.Aftertheinitialdesignconceptsaredeveloped,designerscanapplyspecificdatatoelementsandelement-link-relationshipsof the spatial arrangement and stylistic components fordetaileddesign. Therefore,similartotraditional3Dvirtualworlds, designers can still use the above prototype systemfordesigndocumentationandsimulationinthelaterdesignstages.

Interactive Graphical Representation for Architectural Style Study

In this section, the interactive graphical representation isapplied for the study of architectural style, supporting bothspatialarrangementsandstylisticdevelopments.Threecomplexpaviliondesigns,CasesItoIII,bytheBaroquearchitectFischervon Erlach have been used as examples for demonstrationpurposes,Figure7.

Three Pavilion Designs in the von Erlach StyleFirstly, regarding the spatial arrangements of each case as

shownintheir2Dplandrawings,thebottomofFigure7,inCaseI,Figure7(a),theplaniscomposedofspacesinovaland

squareshapes. InCaseII,Figure7(b), thesquareshapesarereplacedbyirregularhexagonshapes.InCaseIII,Figure7(c),comparedtoCaseII,theovalshapesarereplacedwithregularhexagon shapes, and the irregular hexagon shapes furtherreplacedwithovalshapes.

The3DviewsofthethreepavilionsareshownatthetopofFigure7.Thearchitecturalstyleofthepavilionsisdefinedbythecombinationoftheshapesofthespacesandtheformsofthebuildingelements. The3Dviewof thepavilion inCaseI,Figure7(a),consistsofcubes,rectangularcomponentsandovalcomponents,Figure8(a).InCaseII,the3Dviewofthepavilion, Figure 7(b), consists of oval components, irregularhexagonal components and trapezium components, Figure8(b), and two trapezium components can form a regularhexagoncomponent.InCaseIII,the3Dviewofthepavilion,Figure7(c),consistsofovalcomponentsandregularhexagoncomponents, Figure 8(c). To sum up, the 3D elements forcomposingthethreepavilionsinclude:

•Cube.•Rectangularcomponents.•Ovalcomponents.•Irregularhexagoncomponents.•Regularhexagoncomponents.•Trapeziumcomponents.

Interactive Graphical Representation for Architectural Style Study

In this section, the interactive graphical representation is applied for architectural style study,

supporting both spatial arrangements and stylistic developments. Three complex pavilion designs,

Cases I to III, by the Baroque architect Fischer von Erlach have be used as examples for

demonstration purposes, Figure 7.

Figure 7: Three pavilion designs by Fischer von Erlach (Knight 1994).

Three Pavilion Designs in the von Erlach Style

Firstly, regarding the spatial arrangements of each case as shown in their 2D plan drawings, the

bottom of Figure 7, in Case I, Figure 7(a), the plan is composed of spaces in oval and square shapes.

In Case II, Figure 7(b), the square shapes are replaced by irregular hexagon shapes. In Case III,

Figure 7(c), compared to Case II, the oval shapes are replaced with regular hexagon shapes, and the

irregular hexagon shapes further replaced with oval shapes.

Figure 7: Three pavilion designs by Fischer von Erlach (Knight, 1994).

(a) Case 1 (b) Case 2 (c) Case 3

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014


Thesecomponentswithspecificformsareintegratedasa3DcomponentlibraryinSecondLifefordesigningandmodellingpavilionsinthevonErlachstyle.

Interactive Graphic Representation for Pavilion Design in the von Erlach Style

The interactive graphical representation for each of thethreepavilioncasesdesignedbyFischervonErlachareshowninFigures9to11respectively.Ontheleft-handsideofeach

figureisthegraphicalrepresentationforthespatialsubsystem,which also implies the circulation of people movement ineach spatial subsystem. The graphical representation forthe stylistic subsystem in a general formof eachpavilion, asrepresented by terminals (T) and junctions (J), is shown inthemiddleofeachfigurerespectively.Bondsinbetweenthespatialsubsystemandthestylisticsubsystemineachinteractivegraphical representation show the interactions between thetwosubsystemsofeachpavilion.Finallyapplyingthespecific

The 3D views of the three pavilions are shown at the top of Figure 7. The architectural style of the

pavilions is defined by the combination of the shapes of the spaces and the forms of the building

elements. The 3D view of the pavilion in Case I, Figure 7(a), consists of cubes, rectangular

components and oval components, Figure 8(a). In Case II, the 3D view of the pavilion, Figure

7(b), consists of oval components, irregular hexagonal components and trapezium components,

Figure 8(b), and two trapezium components can form a regular hexagon component. In Case III,

the 3D view of the pavilion, Figure 7(c), consists of oval components and regular hexagon

components, Figure 8(c). To sum up, the 3D elements for composing the three pavilions includes:

• Cube

• Rectangular components

• Oval components

• Irregular hexagon components

• Regular hexagon components and

• Trapezium components

These components with specific forms are integrated as a 3D component library in Second Life for

designing and modelling pavilions in the von Erlach style.

(a) Case 1

(b) Case 2

(c) Case 3

Figure 8: Elements of the 3D component library in Second Life for designing and modelling pavilions in the von Erlach style.

Figure 8: Elements of the 3D component library in Second Life for designing and modelling

pavilions in the von Erlach style.

Interactive Graphic Representation for Pavilion Design in the von Erlach Style

The interactive graphical representation for each of the three pavilion cases designed by Fischer von

Erlach are shown in Figures 9 to 11 respectively. On the left-hand side of each figure is the

graphical representation for the spatial subsystem, which also implies the circulation of peoples

movement in each spatial subsystem. The graphical representation for the stylistic subsystem in a

general form of each pavilion, as represented by terminals (T) and junctions (J), is shown in the

middle of each figure respectively. Bonds in between the spatial subsystem and the stylistic

subsystem in each interactive graphical representation show the interactions between the two

subsystems of each pavilion. Finally applying the specific 3D components to replace the general

components in each graphical representation of the stylistic subsystem, the graphical representation

of the stylistic subsystem for each specific pavilion is completed and visualised, as shown on the

right-hand side of each figure respectively. Figure 12 shows the 3D models that visualise the

simplified forms of Cases I to III pavilions in Second Life.

Figure 9: Interactive graphical representation of the Case I pavilion by Fischer von Erlach.

Cube 3D rectangular 3D oval

3D oval 3D irregular hexagon 3D trapeziums

3D oval 3D regular hexagon

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014



Figure 10: Interactive graphical representation of the Case II pavilion by Fischer von Erlach.




Figure 11: Interactive graphical representation of the Case III pavilion by Fischer von Erlach.

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014


3Dcomponents to replace the general components in eachgraphical representation of the stylistic subsystem, thegraphical representation of the stylistic subsystem for eachspecificpavilioniscompletedandvisualised,asshownontheright-handsideofeachfigurerespectively. Figure12showsthe3DmodelsthatvisualisethesimplifiedformsofCasesItoIIIpavilionsinSecondLife.

As shown in the above graphical representations, CasesI and II have very similar structures of their graphicalrepresentationsforboththespatialsubsystemandthestylisticsubsystems. The spatial arrangements in both Cases I andIIare linear. Themaindifferencesbetweenthemareinthespatialsubsystem.CaseIiscomposedofarectangularspace,Room F. However, Case II is composed of two trapeziumspaces, Rooms E and G. Therefore, Case II has a morecomplex spatial arrangement. The difference can be easilyidentified from the spatial subsystem between Cases I andII.Therearealsodifferentinteractionsanddifferencesinthestylistic subsystem between Cases I and II. In the stylisticsubsystem, although the structureof the stylistic subsysteminageneralformremainsthesamebetweenCasesIandII,however,thespecificcomponentsusedinCaseI,thesquareshape components, are replaced by the irregular hexagoncomponents in Case II and therefore produces a totallydifferent design. Comparing Case III with Cases I and II,the situations in Case III are more complicated. Both thespatial subsystem and the stylistic subsystem, including thegeneral form and the specific form, of Case III are alteredcomparedtoCasesIandII.AsillustratedinFigures9to11,theinteractivegraphicalrepresentationclearlyandtruthfullycapturesthecharacteristicsanddifferencesinstyle.

ConclusionThis paper presents an application of the interactive

graphical representation for architectural style study in3D virtual worlds. Previously, the interactive graphicalrepresentation has been applied to architectural design foraddressing simple design tasks such as building extensionsand simplified architectural style transformations. In thispaper, the interactive graphical representation has beenfurthervalidatedthroughamorecomplexarchitecturalstylestudyofpaviliondesigninthevonErlachstyle.Asshowninthestudy,thegraphicalrepresentationiseffectiveincapturingthestylisticcharacterisationsofvariousvonErlachpavilions,andclearlyandtruthfullyrepresentsthedifferencesbetweenthe cases. With the support of the interactive graphicalrepresentation,designersin3Dvirtualworldswillbeprovidedwith alternative representations and richerdesign languagesfor addressing complex design tasks, such as architecturalstyledevelopment.

AcknowledgementTheresearchisfundedbyaUniversityofNewcastleEarlyCareer

ResearcherGrant.

ReferencesGu,N.,&Tsai,J.J.-H.(2008).Aninteractivegraphicalsystemfor

collaborative architectural design in 3D virtual environments,Proceedings ofCAADRIA 2008,ChiangMaiUniversity,ChiangMai,pp.601-608.

Hennessy,S.,&Murphy,P.(1999).ThePotentialforCollaborativeProblemSolvinginDesignandTechnology,International Journal of Technology and Design Education,9(1),1-36.

Figure 11: Interactive graphical representation of the Case III pavilion by Fischer von Erlach.

(a) Case I (b) Case II (c) Case III

Figure 12: Cases I to III pavilions simulated with spatial volumes in Second Life.

As shown in the above graphical representations, Cases I and II have very similar structures of their

graphical representations for both the spatial subsystem and the stylistic subsystems. The spatial

arrangements in both Cases I and II are linear. The main differences between them are in the

spatial subsystem. Case I is composed of a rectangular space, Room F. However, Case II is

composed of two trapezium spaces, Rooms E and G. Therefore, Case II has a more complex

spatial arrangement. The difference can be easily identified from the spatial subsystem between

Cases I and II. There are also different interactions and differences in the stylistic subsystem

between Cases I and II. In the stylistic subsystem, although the structure of the stylistic subsystem

in a general form remains the same between Cases I and II, however, the specific components used

in Case I, the square shape components, are replaced by the irregular hexagon components in Case

II and therefore produces a totally different design. Comparing Case III with Cases I and II, the

situations in Case III are more complicated. Both the spatial subsystem and the stylistic subsystem,

including the general form and the specific form, of Case III are altered compared to Cases I and II.

As illustrated in Figures 9 to 11, the interactive graphical representation clearly and truthfully

captures the characteristics and differences in style.

(a) Case I (b) Case II (c) Case III

Figure 12: Cases I to III pavilions simulated with spatial volumes in Second Life.

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014


Kalay, Y.E., & Marx, J. (2001). Architecture and the internet:designing places in cyberspace, Proceedings of ACADIA 2001,Buffalo,pp.230-240.

Knight,T.W.(1994).Transformations in Design: A Formal Approach to Stylistic Change and Innovation in the Visual Arts,CambridgeUniversityPress,Cambridge.

Lahti, H., Seitamaa-Hakkarainen, P., & Hakkarainen, K. (2004).Collaboration patterns in computer supported collaborativedesigning,Design Studies,25(4),351-371.

Stacey, M. (2006). Psychological challenges for the analysis ofstyle, Artificial Intelligence for Engineering Design, Analysis and Manufacturing (Special Issue: Understanding, Representing and Reasoning about Style),20(3),167-184.

Tsai,J.J.-H.,&Gero,J.S.(2006a).QualitativeArchiBondGraphsforbuildingsimulationofpeoplebehaviourandenergyvariation,Proceedings of SimBuild 2006,MIT,pp.277-284.

Tsai,J.J.-H.,&Gero,J.S.(2006b).QualitativeArchiBondGraphsfor simulation of interactions between people behaviour andbuilding energy, Proceedings of IBPSA Australasia, University ofAdelaide,pp.73-80.

Tsai, J.J.-H.,&Gero, J.S. (2008). ThescalabilityandflexibilityofqualitativeArchiBondGraphsforbuildingsimulations,Proceedings of Innovation in Architecture, Engineering and Construction 2008,Antalya.

Dow

nloa

ded

by [

Col

umbi

a U

nive

rsity

] at

22:

26 0

8 D

ecem

ber

2014

interactive graphical representation for architectural style study in 3d virtual worlds

Documents