Autoři
Supranovich, V.; Achten, H.
Publikováno v
In: Digital Architectural Research - DARe. Białystok: Bialystok University of Technology Publishing Office, 2025. p. 368-387. ISBN 978-83-68077-87-2.
Rok
2025
Podkategorie
Stať ve sborníku
Související lidé
Anotace
Virtual reality is an important tool for architects, allowing them to present the future object to the client from the early stages of design. A scene in virtual reality can be presented in two ways: by a VR headset connected to a computer or in standalone mode. With high-quality optimization, standalone VR systems can demonstrate graphics that are not inferior to VR devices connected to a computer, while remaining mobile, allowing the architect to flexibly organize meetings with the client. An effective scene optimization system is also necessary for stable and high FPS, which directly affects the comfort of the user experience and immersion in VR.
Since models for architectural visualization are often not intended for use in VR, optimization of their geometry is necessary. Using manual optimization gives more control over preserving the visual quality of a 3D object and does not violate the UV-map structure, unlike the automatic optimization method. Creating retopology and using normal maps allows to preserve the level of detail of objects without increasing the number of polygons and thus reducing the load on the graphics card.
The experimental part of this work examines in detail the effect of scene optimization on its performance. As part of the study, 2 scenes were created: the first included 3D models of interior elements downloaded from archviz sites, and the second - their optimized versions created as part of this work.
In the next step, the performance of both scenes is analyzed and the impact of 3D object optimization on the overall efficiency of the scene is assessed.
The ability to work with optimization allows the architect-visualizer to create high-quality realistic projects that enable the future structure to be presented favorably and increases efficiency in working with the customer.
Autoři
Supranovich, V.; Kurilla, L.
Publikováno v
In: Digital Architectural Research - DARe. Białystok: Bialystok University of Technology Publishing Office, 2023. p. 322-345. ISBN 978-83-67185-54-7.
Rok
2023
Podkategorie
Stať ve sborníku
Související lidé
Anotace
The latest trends in computer graphics show that developers, in pursuit
of the perfect image, are increasingly creating graphics that are difficult
for the user to perceive. The struggle for impressive graphics has begun to
raise questions among users more and more often, as graphic characteristics are infinitely approaching the level of hyper-realism, which in turn
causes the phenomenon of underrealism and broken immersion in the
virtual space. In connection with this, the question arises - Is there sufficient abstraction of the virtual reality object and space that has the same
effect on user immersion as graphically more complex variants?
This paper is mainly divided to three parts, in first part, before proceeding to the analysis of existing research and examples from various
fields of computer graphics, a few necessary terms are explained at the
beginning of the article. First of all, the differences between the feeling of immersion and the present by the user in virtual reality are determined,
since the level of detail of the scene has a direct impact on the user’s perception of the virtual space. The second necessary concept is the uncanny
valley phenomenon. This phenomenon determines that the realism of the
avatar graphics can produce a negative impression on the user. In this
work, avatars are considered as components of virtual scenes; therefore,
their detailing is important at the level of visualization of the surrounding
spaces in virtual reality.
After introducing the necessary definitions, this article will discuss
and analyze examples of different types of graphics of virtual scenes, such
as architectural visualization, computer game graphics and animated
movies. Each of these fields and industries in its own way affect the development and perception of computer graphics by the user, so it is important to pay attention to each one of them.
The last part of this paper will focus mainly on the methodology of
a future experiment, which is intended to be used to complete the main
objective – find the level of detail and abstraction of virtual reality objects
sufficient to achieve the necessary user involvement and sense of presence
in a given space.
It is important to note that research of a sufficient level of detail
of virtual reality objects will solve several problems at the same time: it
will help the creators of games and virtual environments to use hardware
more efficiently and create less demanding products that will have the
same impact on users as graphically more complex variants and will be
more accessible to a wider group of users.
Autoři
Novotník, A.; Supranovich, V.; Kurilla, L.
Publikováno v
In: Digital Architectural Research - DARe. Białystok: Bialystok University of Technology Publishing Office, 2023. p. 245-259. ISBN 978-83-67185-54-7.
Rok
2023
Podkategorie
Stať ve sborníku
Související lidé
Anotace
Learning in virtual reality (VR) is always happening in a certain digital space. Inspired
by memory techniques such as Method of Loci AKA Memory Palace, we propose to use a
VR 3D space as a form of Memory Palace which would enhance the learning process by
attaching new knowledge to spatial experience. Aim is to create multi-sensory experiences
and help people to form deeper memory traces of learned topics. To achieve desired
efficiency we need easily remembered space, which would help to create rich episodic
memory. It is also important for the environment not to disturb and attract too much
attention from the learning topic. To find this thin line, we tested memorability of VR
space through experiments with 9 different environments each deferring in the level of
abstraction and detail of the scenes. Subjects walked through the environment in VR and
were instructed to perform various memory tasks. Results show that an environment with
a middle level of abstraction and detail was easiest to remember, since it achieved a
certain level of newness while being well comprehensible.
Autoři
Supranovich, V.; Novotník, A.
Publikováno v
In: Forma je téma. Praha: CTU. Faculty of Architecture, 2023. Architektura v rozšířeném poli. vol. 2. ISBN 978-80-01-07262-2.
Rok
2023
Podkategorie
Stať ve sborníku
Související lidé
Anotace
Každý z nás vnímá své okolí prostřednictvím systému pěti smyslů. Vzhledem k tomu, že drtivou většinu informací o svém prostředí člověk vnímá zrakem, je geometrie okolních objektů jedním z hlavních parametrů vnímání prostředí.
Toto se týká i jakékoliv grafiky ve virtuálních 3D prostředích, ve kterých trávíme čím dál více času a která se v poslední době stávají čím dál složitějšími. Důvodem této zvyšující se složitosti je snaha tvůrců maximálně se přiblížit realismu. Ta se však postupně stává nekonečnou, protože čím více se k realismu přibližujeme a čím složitější a propracovanější se stává grafika, tím je jednodušší celkový pocit realismu zničit. Zároveň bychom neměli zapomínat, že za opravdu komplexním a kvalitně zpracovaným obrazem se skrývá mnoho hodin práce týmu specialistů, kteří potřebují kvalitní a drahé vybavení.
Z toho však vyvstává otázka: Je nutné takto složitou grafiku používat při tvorbě virtuálních scén interiérového designu a architektury?
Možná by stálo za to se v tomto bodě vývoje pozastavit a nabídnout uživateli několik variant složitosti geometrie, aby bylo možné sledovat a vyhodnotit jeho vnímání prostředí, které je mu prezentováno.
Tento článek bude zkoumat dopad detailizace geometrie objektů v kontextu architektonické vizualizace na vnímání virtuální scény uživatelem. Zkoumání proběhne na příkladu 1. fáze mého budoucího experimentu. V této fázi dostane uživatel příležitost ohodnotit nábytek s různou úrovní detailů, kterou považuje za vhodnou pro danou úroveň detailizace konkrétního objektu.
Tento výzkum je základem pro práci na fázi 2. Ve 2. fázi experimentu budou z prvků
z 1. fáze sestaveny 3 identické interiéry, lišící se různou úrovní detailů. V dané fázi experimentu bude zkoumán vliv úrovně detailizace komplexní scény interiéru na její vnímání uživatelem.