Virtual Architectural Heritage

CALL FOR IMAGES - VIRTUAL WORLDS MEMORABILIA

2009-11-23T04:30:00.000-08:00

Hi,
I am preparing a book on demand dedicated to the memorabilia of the virtual worlds. Here I would like to collect many objects related to the history of Second Life and other virtual worlds.
I would be grateful to you, if you could send me some images of these kind of objects:

action figures, invitations for exhibitions, books, brochures, press kits, works of art made in real life and inspired by virtual worlds, comics, conference pass, dvd, cd, posters, business cards, ect.

Here are some examples:

- The invitation by Dior for the jewels collections in SL
- The issue of Business Week with Anshe Chung on the cover
- The T shirt made for the anniversary of Parioli in SL
- The World of Warcraft action figures
- A famous avatar business card

Anyone interested in this project could send one or more hi-res images (300 dpi, 20 cm width) to:

virtualcollectibles@gmail.com

New Architectural issues in SL

2009-06-22T21:01:00.000-07:00

On Wednesday 6/24 at 5 PM Second Life Time (8 PM U.S. Eastern Standard Time), SL builder and architect Times Sands will demonstrate the first of a line of new products that vastly expand the designs that virtual builders/architects can deliver to their customers, and even redefine the RELATIONSHIP between building creators and customers. (Customers will be able to reconfigure and redesign buildings they’ve purchased at any time, without having to ask the builder to do it for them or to request editing privileges for the structure.) This SL6B Expo exhibit is also the most configurable building ever rezzed in Second Life! Its uniquely Interactive Architecture can become whatever you wish... a two-story house, elevated single-floor store, multi-shop mall, four-story office, or more… simply by clicking its prims. In fact, the 30x30x20m structure has more than "2 times 10 to the 112th power" possible configurations! Also on display are: (1) a Phantom-panel technology that, though part of the structure’s linkset, can be clicked to allow passage through (without turning the whole building Phantom)… after which it reverts back to solid non-Phantom; and (2) a pioneering "Relative Teleporter" that sends avatars to their correct TP destinations regardless of how much a building (or vehicle) is moved, rotated, rezzed in different locations, or even TILTED (and this teleporter does NOT require that its scripts be resynced or reprogrammed after such moves). So come here at 5 PM SLT on 6/24, watch a quick demo, hang around to ask questions, play with the new technologies, and design your OWN structure!

Rinascimento virtuale Florence Oct 08-Jan 09

2008-06-06T10:23:00.000-07:00

Second Life: 2nd Architecture For Meltemi Editore

2007-08-03T22:09:00.001-07:00

Meltemi Architectural Competition

2007-07-23T23:11:00.001-07:00

July 24th, at 20.00 CET (11 am in SL), in Second Life - Myrsine Island (128;128;0), Press conference for the nomination of the winner of the competition, supported by Italian Ofice for Foreign Affairs, "Second Architecture For Meltemi Editore" for the head office building of Meltemi in Second Life.
The winner, selected by a jury of architecture experts, will receive a prize of 5000 euros.

SECOND ARCHITECTURE FOR MELTEMI EDITORE
CONCORSO PER LA COSTRUZIONE DELLA SEDE DI MELTEMI IN SECOND LIFE
Con il Patrocinio del Ministero degli Affari Esteri
IL PROGETTO
La Meltemi è impegnata da tempo in un’esplorazione di quanto avviene nel web 2.0,
non solo attraverso i libri che pubblica, come Second Life di Mario Gerosa, ma lavorando
alla trasformazione del suo stesso modo di essere nella rete, non limitandosi a
usarla. Il progetto di costruire una sede in Second Life nasce dalla volontà di creare
uno spazio aperto in cui promuovere attività creative e tutelare il patrimonio artistico
pensato e prodotto in SL.
IL CONCORSO
Per far questo si è pensato a un concorso pubblico, bandito l’11 aprile 2007, con
l’obiettivo di stimolare la produzione di architetture originali in SL.
La risposta degli architetti è stata interessante. Hanno partecipato al concorso 18
concorrenti, presentando ciascuno una creazione originale. Diciotto architetture digitali
sorprendenti per gli standard di SL, progetti suggestivi in cui gli spazi virtuali
sono stati pensati sulla base di criteri funzionali ed estetici.
LA GIURIA
La giuria incaricata di valutare le opere è stata così composta:
Marco Brizzi (architetto, Beyond Media), Marco Cadioli (artista, reporter in SL), Luisa
Capelli (direttrice editoriale Meltemi), Alfredo Desideri (architetto, attivo in RL e SL),
Mario Gerosa (giornalista, autore di Second Life), Ute Hicks (giornalista, editor di SL
Business), Luigi Prestinenza Puglisi (architetto, direttore di PresS/Tletter), Mosè Ricci
(architetto, Babele editor).
LE ARCHITETTURE
Nella fase successiva, i progetti sono stati sviluppati sull’isola di Myrsine (uno spazio
nel mondo virtuale di SL offerto provvisoriamente da Gabetti Proprerty Solutions), e
sono rimasti inaccessibili fino al 19 luglio, giorno in cui le architetture sono state rese
pubbliche e visitabili.
I PARTECIPANTI
Gli autori delle costruzioni che hanno partecipato alla finale del concorso sono:
Acme, Andrè Bonfanti, Arco Rosca, Brian Meeks, Cezary Ostrowski, Dan, EcletticaE,
Federico Morisco, Giuseppe Nelva, Jonathon Potter, Josh Eikenberry, Luca Minischetti,
Nogravity, Nucleo, Paolo Ruffino, Roberto Navone, Sintetika, Worlds Apart
Per chi non avesse la possibilità di accedere a Second Life, qui trova le foto scattate durante la
costruzione degli edifici: http://www.flickr.com/photos/9818711@N06
Sul nuovo sito della Meltemi, www.meltemieditore.it, è possibile vedere un video suggestivo,
girato da Giuseppe Nelva, che conduce il visitatore tra le diciotto architetture finaliste.

Concorso per la sede di Meltemi in Second Life - recall

2007-04-18T09:55:00.000-07:00

FIRST DESIGN COMPETITION FOR SA (SECOND ARCHITECTURE)

Ente banditore: Meltemi Editore
Iscrizione entro il: 20 Maggio 2007
Consegna elaborati entro il: 20 Maggio 2007

Concorso in due fasi promosso dalla casa editrice Meltemi Editore per la costruzione di una sede virtuale all’interno di Second Life.
Obiettivo del concorso, a partecipazione libera senza vincoli di età e di titolo, è stimolare la riflessione sul tema dell’architettura virtuale. I partecipanti sono invitati a esprimere la propria visione di uno spazio dalla forte capacità comunicativa, di interattività e attrazione all’interno del mondo di Second Life, progettando un ambiente che offra la possibilità di consultare il catalogo delle pubblicazioni, organizzare conferenze on line e allestire mostre ed esposizioni.
Una giuria composta da:Mario Gerosa (giornalista)Luisa Capelli (Meltemi Editore)Mosè Ricci (Babele editor)Marco Brizzi (BEYOND MEDIA, festival internazionale di architettura e media)
Selezionerà, tra il materiale ricevuto entro il giorno 20 Maggio 2007, venti proposte che saranno invitate in seconda fase.

Concorso per la sede della Meltemi in SL - Architectural competition for the Meltemi building in SL

2007-04-14T08:26:00.000-07:00

La casa editrice Meltemi Editore ha in programma la costruzione di una propria sede virtuale all'interno di Second Life (SL). Per la progettazione e realizzazione dello spazio virtuale viene indetto un concorso in due fasi a partecipazione libera senza vincoli di età e di titolo. Non è richiesto l'anonimato da parte dei candidati ed è possibile intervenire singolarmente o in gruppo.Una giuria composta da:Mario Gerosa (giornalista)Luisa Capelli (Meltemi Editore)Mosè Ricci (Babele editor)Marco Brizzi (BEYOND MEDIA, festival internazionale di architettura e media)Selezionerà entro il giorno 17 Giugno 2007 venti proposte che saranno invitate in seconda fase.Oggetto della progettazione è la creazione di un ambiente che offra la possibilità di organizzare conferenze online, allestire mostre ed esposizioni con lo scopo di promuovere le attività creative e tutelare il patrimonio artistico originario in SL. La struttura dovrà prevedere l'accesso al catalogo della casa editrice visualizzando le copertine dei volumi pubblicati e una breve descrizione degli stessi. Dovranno anche essere disponibili link esterni a SL diretti al sito internet di Meltemi Editore (http://www.meltemieditore.it).Obiettivo del concorso è stimolare la riflessione sul tema dell'architettura virtuale: i partecipanti sono invitati a esprimere la propria visione di uno spazio dalla forte capacità comunicativa, di interattività e attrazione all'interno del mondo virtuale di SL. I progetti proposti non dovranno necessariamente essere assimilabili alle categorie funzionali e strutturali di un'architettura reale: saranno valutate interpretazioni che suggeriscano, coerentemente con le richieste del bando, nuovi elementi, sistemi e occasioni di interazione.La giuria di seconda fase sarà integrata da architetti ed esperti in costruzioni virtuali di fama internazionale: ai venti progettisti invitati in seconda fase verrà messa a disposizione un'isola di SL su cui realizzare e proporre le proprie costruzioni. Una collocazione definitiva e permanente sarà successivamente destinata al progetto vincitore. La fase di costruzione delle venti architetture finaliste, che avrà luogo a partire dal 18 Giugno 2007 e terminerà entro il 7 Luglio 2007, sarà fotografata e documentata per essere oggetto di una mostra allestita, a conclusione del concorso, nella struttura vincitrice.MODALITÀ DI PARTECIPAZIONEI progetti presentati in prima fase dovranno essere elaborati attraverso la costruzione di un modello sviluppato internamente a SL tramite l'object editor proprio al programma. Le costruzioni potranno essere effettuate in Sandbox libere o in terreni di proprietà dei candidati. È possibile utilizzare script per funzioni di interattività avanzata, purché questi siano testati e coerenti con le regole interne a SL.Il progetto finito dovrà essere elaborato in funzione di un terreno di 4096 mq per un totale di 937 Primitive, comprensive della struttura architettonica e degli elementi di arredo ed allestimento. I progettisti che intendono partecipare al concorso dovranno inviare entro le ore 12.00 del giorno 20 Maggio 2007, tramite posta elettronica all'indirizzo nicobarto@gmail.com, il seguente materiale:· Una cartella in formato word illustrativa del cv del presentatore del progetto senza allegati né foto.· Un testo di massimo 2000 battute che esprima la sintesi dell'idea progettuale.· Una tavola 1200 x 900 pixel in formato jpg, risoluzione 72 pixel/pollice, contenente 4 immagini del progetto a discrezione dei candidati, di cui almeno una, non rielaborata con altri software, sia uno snapshot del modello inserito in una qualsiasi Sandbox o terreno (pubblico o privato) interno a SL.Entro il giorno 17 Giugno 2007 i venti progettisti (o gruppi di progettazione) invitati a partecipare alla seconda fase riceveranno comunicazione via e-mail allo stesso indirizzo da cui sarà stato inviato il materiale.AGGIUDICAZIONEIn data 10 Luglio 2007 sarà scelto il migliore progetto realizzato tra i venti che avranno avuto accesso alla seconda fase del concorso in base a criteri di significatività dell'immagine proposta, di funzionalità dello spazio comunicativo e di coerenza costruttiva e di programmazione in relazione alle esigenze tecniche interne a SL.Per l'autore (o gli autori) del progetto vincitore è previsto un premio di 5.000 euro.Il giorno 14 Luglio 2007 si terrà in SL un evento per festeggiare la proposta selezionata e la nuova costruzione.SCADENZE· 20 Maggio 2007: termine ultimo per l'invio del materiale per la prima fase del concorso.· 17 Giugno 2007: comunicazione via e-mail ai venti progettisti (o gruppi di progettazione) invitati a partecipare alla seconda fase.· 18 Giugno 2007: inizio delle costruzioni dei progetti finalisti su un'isola in SL messa a disposizione dei candidati da Gabetti.· 07 Luglio 2007: termine ultimo per il completamento delle costruzioni.· 10 Luglio 2007: nomina del vincitore e inserimento del progetto nella sua destinazione definitiva, scelta da Meltemi Editore.· 14 Luglio 2007: evento in SL per festeggiare il vincitore e la nuova costruzione.CURATORILuisa Capelli, Mario Gerosa, Mosè Ricci. Nicola Bartoccelli segreteria tecnico scientificaFIRST DESIGN COMPETITION FOR SA (SECOND ARCHITECTURE)A COMPETITION FOR THE CREATION OF MELTEMI EDITORE'S SEAT IN SECOND LIFE [italiano][download pdf] INTRODUCTIONMeltemi Editore, an Italian Publisher based in Rome, decided to create a virtual seat in Second Life (SL).A two-steps competition is being launched for the design and implementation of the virtual space. Anyone can participate, without limits of age or qualification. Applicants don't need to maintain anonymity and can take part in the competition both as individuals and as groups.A jury made up by:Mario Gerosa (journalist)Luisa Capelli (Meltemi Editore)Mosè Ricci (architect, editor collection's «Babele»)Marco Brizzi (BEYOND MEDIA,international festival of architecture and media)will select within June, 17, 2007 twenty proposals between the ones received during the second step of the competition.The aim of the competition is the designing of an environment where to organize on line conferences, set up exhibitions and promote creative efforts in SL, protecting its original artistic heritage. The structure of this space will include the access to Meltemi's catalogue, visualizing the covers of its printed books and a short description of each volume. It will also include links outside SL, to the internet site of Meltemi Editore (http://www.meltemieditore.it).The purpose of competition is to stimulate meditations on the subject of virtual architecture: participants are asked to develop their own view of a space with strong communicative impact, but also interactive and attractive, placed inside the virtual world of SL. Projects submitted are not supposed to fulfil functional and structural features of a real architecture: we will evaluate interpretations suggesting new systems, opportunities and forms of interaction, consistent with the guidelines set up in this ban. In the second step of the competition, the jury will be integrated by internationally renown architects and experts in virtual building and design: the twenty designers selected at the end of the first stage will be given an island in SL, where they can create and articulate their own projects. The winning project will be subsequently allocated in a final and stable position. The construction phase of the twenty finalist architectures will start in June, 18, 2007; it will end in July, 7, 2007. The overall process will be photographed and recorded, in order to prepare an exhibition at the end of the competition, which will be hosted in the winning structure. HOW TO PARTICIPATEProjects submitted in the first step must involve the construction of a model, articulated inside SL and through the object editor of the main software.Virtual buildings could be raised in free Sandbox, or in fields of which the candidates are owners. It is possible to use scripts for advanced interactivity functions, provided that they are tested and congruent with the rules in force at SL.The final project must be developed in order to occupy a field of 4096 mq, for a total amount of 937 Primitives (including architectural structures, equipment and furniture).Designers interested in participating to the competition must send before 12.00 AM of May, 20, 2007 via email, at the address nicobarto@gmail.com, the following items:· A text in word format, max. a page length, with the CV of the candidate. No annexes or photos will be accepted.· A text max. 2000 characters, synthesizing the basic idea of the project. · A table 1200 x 900 pixel jpg format, 72 pixel/inch resolution, with 4 pictures of the project selected by candidates. At least one of the pictures must represent a snapshot of the model located in a Sandbox or a public or private field in SL. No elaboration of this snapshot through the use of other software will be allowed.Before June, 17, 2007 the twenty individual designers (or groups of designers) invited to participate to the second step of the competition will receive an official communication via email, at the same address from which they sent the abovementioned stuff.AWARDIn July, 10, 2007 the best project submitted and completed will be selected within the twenty participating to step two of the competition. The main criteria on which the scrutiny and evaluation will be based are the significance of each proposal in terms of a visual aesthetics, the functionality of the communicative space, and the coherence in its design and programming which must comply with technical requirements of SL.Designer(s) of the winning project will be rewarded with a prize of the amount of 5.000 euros.In July, 14, 2007 there will be an event in SL, to celebrate the winning project and the new virtual building.DEADLINES· May, 20, 2007: deadline for sending the materials required in the first stage of competition.· June, 17, 2007: official communication, via emails, to the twenty designers (or groups of designers) admitted to participate in the second stage.· June, 18, 2007: starts creation of finalist projects in an island of SL at the exclusive disposal of candidates, sponsored by Gabetti.· July, 7, 2007: deadline for the completion of the virtual buildings.· July, 10, 2007: appointment of the winner, and allocation of the winning project in its final position, chosen by Meltemi Editore.· July, 14, 2007: an event in SL will celebrate the winner, and the new virtual building.ORGANIZERSLuisa Capelli, Mario Gerosa, Mosè Ricci. Nicola Bartoccelli, technical-scientific secretariat

Prof Peter Ludlow suggests to create a register of virtual properties and architectures

2006-10-22T22:02:00.000-07:00

Professor Peter Ludlow, one of the most influential people in the field of virtual worlds, well known for his reportages in The Sims online and in Second Life, launched the idea of creating a register of virtual properties and architectures to be preserved.I think that is a great suggestion. From now I would like that people would post their comments, telling which are the architectures worthy to be saved and preserved.

Here some notes about Peter Ludlow:

"His popular books include High Noon on the Electronic Frontier and Crypto Anarchy, Cyberstates, and Pirate Utopias. His professional books include Semantics, Tense and Time: an Essay in the Metaphysics of Natural Language. Ludlow participated as a member of the online community The Well, and also participated in virtual gaming communities such as Second Life and The Sims Online, where he took the character of an online journalist.
MTV.com has described Ludlow as one of the 10 most influential video game players of all time, in part due to his role in showing how video game companies can be challenged as part of the gameplay". (from Wikipedia)

The Metaverse Messenger talks about virtual architecture with Frank Koolhaas

2006-10-20T22:12:00.000-07:00

The Metaverse Messenger, one of the leading magazines of Second Life, interviewed Mario Gerosa aka Frank Koolhaas about the role of architecture in synthetic worlds.

Here you can read the article.

Svarga as a virtual National Conservation Park. A proposal by Gilbert Frederick

2006-10-19T21:05:00.000-07:00

Svarga.
The name, itself, resonates vividly. Imagine the island.

To many residents, it is one spectacular exemple of achivement in Second Life.
To the others, it might not mean much but make no mistake, it should ring a bell or two.

Simply said, Svarga is the experiment of one dedicated owner with exceptionnal skills in very diverses domains: architecture, textures, modeling and scripting. The many talents of that person percolate everywhere on the island.

Surrounded by an ecosystem that evolves slowly lies a skycrapper castle with accents.of far away places. Nature and culture are in high concentration in Svarga. Breathtaking.

But this could vanish in oblivion. The passion is lost.
The sim could disappear soon. Time is running out.

A group of people has come with ideas to save the sim.
One proposition is simple in essence yet a challenge to tackle:

Buy back Svarga from the owner.
Invest and become shareholders.

Constitute a National Conservation Park Monetize afterward to recoup the investment.

Maintain the legacy of Svarga in Second Life.
Call yourself a Friend of Svarga.

Are you up to it?
I am.

Gilbert Frederick

An appeal for Svarga

2006-10-19T14:01:00.000-07:00

Svarga, one of the most beautiful places in Second Life, risks to be destroyed.
We launched an appeal to save it.
Here are the names of the first who said we must keep this architectural treasure.

Frank Koolhaas
Sitearm Madonna
Chip Poutine
Garret Bakalava
Ute Hicks
Nick Rhodes
Ancora Quintus
Poinky Malaprop
Hipernova Sol
Poinky Malaprop
Hipernova Sol
Aimee Weber
Nethermind Bliss
Matteo Bittanti
Rukos Lange
Dafne Demar
Shinya Takakura

from Second Life Insider:

See Svarga before it vanishes
Posted Sep 25th 2006 1:18PM by Caliandris Pendragon
Filed under: News

Laukosargas Svarog reports on a number of threads in the SL Forums that she is selling Svarga sim. It is hard to tell from the posts whether this is a case of SL-fatigue, or someone trying to get their SL/RL balance back. Certainly Laukosargas posted a very angry comment on the weekend of the security breach.

A thread has been started about saving exceptional sims for posterity, but it looks as though Laukosargas is hoping for rather more than the purchase price of the sim as she is willing to hand over the sim build too, although the eco-system that exists there will be frozen in time.

If you haven't visited the sim yet, despite my previous recommendation, perhaps it would be as well to pack in a visit before the sim vanishes, as it may do if no benefactor can be found to save it.

Living architecture in Second Life

2006-10-19T13:58:00.000-07:00

this is a copy of a conversation Dane Benford had with Sitearm Madonna, trying to find a suitable definition af your living architecture, hope it has some useful points in it.

[12:12] Dane Benford: I was thinking about the points you made last night...
[12:12] Sitearm Madonna: ye-es :) ?
[12:12] Dane Benford: that there are two immediate questions that need to be answered
[12:12] Dane Benford: what is virtual architecture?
[12:13] Dane Benford: and what is living architecture?
[12:13] Sitearm Madonna: ah yes :)
[12:13] Dane Benford: well, virtual architecture can be easily defined as " any 3d structure in a virtual environment"
[12:14] Dane Benford: it can be living architecture as well but living architecture is not necessarily virtual in nature
[12:14] Dane Benford: so that leaves, what is living architecture?
[12:15] Dane Benford: I consider architecture in itself a form of art
[12:15] Dane Benford: and I also believe art is life
[12:16] Dane Benford: but like all art I don't think it can be defined, it is above a simple explanation
[12:16] Dane Benford: you said that we shouldn't try to define it as a whole, but rather try to define what it means to us.
[12:17] Dane Benford: I have to agree with this
[12:17] Dane Benford: so what do you think living architecture is, or rather, what is it to you?
[12:19] Dane Benford: to me I think it is an original and inspiring structure that is rooted in tradition yet embodies the future without being abstract
[12:19] Sitearm Madonna: I like your definitions :)
[12:20] Sitearm Madonna: I was looking up the etymology of "architect"
[12:20] Sitearm Madonna: from Greek architektn "chief artificer, master builder", from archi- "chief" + tektn "workman, carpenter"
[12:22] Sitearm Madonna: and also looking up the roots of "art" ..
[12:22] Sitearm Madonna: art-, ars skill, Greek arariskein "to fit"; basic meaning: "joining, fitting"
[12:22] Sitearm Madonna: art = joining
[12:30] Dane Benford: so it basically means master joining craftsman?
[12:31] Dane Benford: chief craftsman... who is a joiner or an artist
[12:32] Dane Benford: is confusing self
[12:35] Sitearm Madonna: well I think of art as putting things together in a way the artist sees as the way to put them together
[12:35] Dane Benford: yes it brings people together, joining them
[12:35] Sitearm Madonna: kind of "channeling" from what does not yet exist to reality
[12:36] Sitearm Madonna: yes there is art of putting people together
[12:36] Sitearm Madonna: as there is art in putting materials together
[12:36] Sitearm Madonna: or ideas etc.
[12:36] Dane Benford: then virtual art is every bit as legitimate, if not more so ;)
[12:36] Sitearm Madonna: yes
[12:48] Sitearm Madonna: so email this to Frank [Mario]
[12:48] Sitearm Madonna: he will post it and it will keep our virtual architecture discourse going
[12:49] Sitearm Madonna: this is how you water seeds to grow, now that they have been planted , so to speak

Virtual architecture - Real life meets Second Life

2006-10-07T12:25:00.000-07:00

What are the aesthetics of architecture done in a virtual world? Second Life project manager Sitearm Madonna shares thoughts after a first year of building "in world" with visionary clients...

QUESTION: HOW DID YOU COME TO WRITE THIS ARTICLE?
LONG ANSWER:
Sitearm Madonna:
Poinky Malaprop asked if I would talk about the concept of bringing the city building genre of computer gaming into a virtual reality platform. This is a concept I have tagged as "World of City Building" (WOC), kind of like World of Warcraft but with more building and economic and people game logic in it. It's only a concept for now but in a way I have been "city building" in Second Life with real world clients making places like Ancient Rome and Modern Dublin. :)
I met Poinky at the opening of the "World of City Building Presents Caesar IV" display on Annenberg Island Sim. This Sim is owned by the University of Southern California, Public Diplomacy and Virtual Worlds Project. They promote the concept of virtual reality as a place for people from all over the world to meet and promote the "public" (vs. formal) side of countries learning to get along.
Annenberg Island is what I call a Concept Sim: a kind of display and exhibit space where people come to look and learn in an amusing manner. I contrast this first type of Concept Sim, which has exhibits added every few months, to "Entertainment Sim", which has hosted events every few days. Many Sims in Second Life have a little bit of both.
LINK: http://www.fengshuichat.com/sitearm/world_of_city_building_presents_caesar_iv.htm
Poinky was kind enough to invite me to learn more about the Kuurian Expedition group and to schedule a presentation. Then YOU (Frank Koolhaas) contacted me and we had this interesting conversation....

Frank Koolhaas:
My ideas for architecture in virtual reality include a sort of museum with the best architectures of SL and other virtual worlds - not pictures, but 3D replicas of architectures. We could do it here in SL.

Sitearm Madonna:
Yes! But I am particularly interested in "living structures" - ones that people visit a lot. I find that what attracts people regularly to Sims in Second Life are 1. Other People, and 2. Interesting Stuff They Never Heard of or Saw Before. (laughs) So whether it's a concept Sim with information displays and walk-through builds, or an entertainment Sim with live music and social events, both have to have advertisement in media and word of mouth. So all my projects have a substantial events and communications component in addition to the actual building.
I am also interested in structures that are a sort of "modern" take or reinterpretation of the ancient civilizations. For example, I love the builds in the "World of City Building Presents Caesar IV" display. They LOOk ancient Romanish but are based on 1. The builder Dane Benford's artistry, and 2. Tilted Mill game artists. These builds "feel" right: they are "living, breathing" and attractive.

Dane Benford:
Art is life, Site :)

Sitearm Madonna
The interesting thing about virtual reality is its interaction with "real" reality. Somehow, one enhances the other. Both end up richer. Virtual reality starts out to emulate real things. In doing so it is like art. When making a painting you cannot recreate the real thing so you must somehow instead create a new thing that has the essence. And the new thing in virtual reality is so cool and different, that people go back to real life to tell others about it!
One reason "Dublin in SL" looks good is that Ham Rambler, the owner, was born in and lived there. Shukran, the builder, WENT there with Ham and toured the city, took pictures and of course loved the city. If you look at Dublin in SL you will see lots of rough spots, where textures overlap or there's a gap between two prims. These rough spots are like brushstrokes as on a canvas in a great painting. Yet the total impact is totally convincing - it "feels" right.
As an example of architecture in Sl starting to be documented in the real world, look at www.DublinSL.com. Not only are real pictures shown of Grafton Street, for example, so are the virtual reality pictures. Grafton is an example of the "living, breathing" component of virtual reality architecture. It's a place to walk in and listen to itinerant musicians playing for tips, or even better, to BE one of the musicians being tipped by your friends. Even the shops and homes in Dublin in SL are part of the living architecture. Besides being a replica of the Clarence Hotel or Heineken Building, virtual world residents are making a home or a living right there in the virtual city.
LINK: http://www.dublinsl.com/

Frank Koolhaas:
I wrote a book about virtual worlds. The images come from the producers and distributors.

Sitearm Madonna:
The book is brilliantly done! The pictures are a good illustration of what I was saying. Some avatars are a bit too simple to be convincing - too "flat"[IMAGE - THERE] . Some avatars are almost TOO detailed, at least for VR fast simulation, too close to RL [IMAGE - BATTLE AXE CARRIERS]. But some can be done in SL with good texturing on the clothes and skin that are just convincing enough and can run in VR [IMAGE - RED WARRIORESS]. They are not the real life person but again they are something new, the "essence plus".
Regarding ancient or historical structures built in Second Life, I find that I prefer more what I call "3D" builds of ancient or historical structures. I have seen a lot of "flat prim with a texture on it" work. It looks like children's play blocks. Has no depth, no solidity, feels "light". Now if, on top of good, detailed, three dimensional modeling using solid prims (primitive objects), THEN you add superb Textures. Now you have a truly inspiring combination
As an example of building style that I like, look at the "Temple of Zeus" on Annenberg Island by Dane Benford (builder of most of World of City Building Presents Caesar IV display). It is solid and feels right. Look at the railings - solid banisters. Look at the columns and doors. They FEEL massive. As another example of great historical structures in Second Life, I also recommend Aura Lily. Look at her Egyptian builds - superb!

Dane Benford:
Multiple different layers add to the character and make it more interesting.

Sitearm Madonna:
Now the trick to build interesting original structures in virtual reality that are inspired by real modern or historical real life locations, is to find people who love those structures. To find people who find pictures of the originals, and have or have learned modeling and texturing skills in SL.

Frank Koolhaas:
Yes, or take lessons for those skills here in Second Life. I am very interested in the little (or long) essay about your vision of in world virtual architecture.

Sitearm Madonna:
Alright I will draft something up and drop it on your INVentory.
AND *THAT* IS HOW THIS LITTLE ARTICLE GOT WRITTEN!
[END ARTICLE]
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Questions:
Sitearm Madonna
Specialist in Second Life Virtual Worlds Projects
sitearm@gmail.com

La "Convention" en français

2006-10-04T22:27:00.000-07:00

CONVENTION POUR LA PROTECTION DE L'HERITAGE ARCHITECTURAL VIRTUEL.

Par Mario Gerosa
Avec la collaboration de Sam Shahrani (Université de l'Indiana)
Traduction française Yann Leroux

Les membres signataires de cette convention :

Considérant qu’un héritage architectural se développe en mondes virtuels synthétiques, simples et multijoueurs, et que cet héritage évolue sous une forme créatrice et désordonnée qui n'est pas en juste proportion étudiée et archivée,

Considérant que l'héritage architectural virtuel des jeux en ligne massivement multijoueurs (MMOGs) est une grande expression de la société du 21e siècle, et constitue une expression extraordinaire des nombreuses facettes de l'acquis culturel du monde numérique qui doit, à ce titre, être préservé,

Identifiant l'importance de la préservation de l'architecture et des environnements qui constituent la base de ces mondes synthétiques, à des fins de conservation historique et comme base pour le développement de futurs mondes synthétiques.

Recommandent

Article 1 But de la convention

1.1
Depuis la Renaissance, il y a eu de nombreuses recherches sur les villes idéales et l'architecture imaginaire. Elles étaient souvent des visions idéalistes et utopiques qui ont tracé de nouvelles directions pour l'architecture. Certaine étaient des projets architecturaux d'avant-garde, alors que d'autres reflétaient les aspirations sociales d'une culture particulière.

De la peinture de La cité Idéale du Urbino Palazzo Ducale aux schémas de Lequeu et de Sant' Elia, ces représentations nous apprennent beaucoup d’une période historique donnée.

Il existe aujourd’hui une nouvelle forme d'architecture idéale, celle des jeux vidéo (jeux vidéo solo et multijoueurs). Cette architecture n'est pas physique et est même immatérielle mais ces constructions ne sont pas complètement imaginaires, car elles peuvent être considérées comme une forme de schémas architecturaux. En un certain sens, elles existent comme vraie architecture, mais pas sur un plan physique normal. Elles existent seulement à l'intérieur des ordinateurs qui les calculent, et sur les supports de stockage qui contiennent leurs données.
Dans la dernière décennie beaucoup de nouveaux mondes synthétiques sont nés, comme les bien-nommés MMOGs Jeux massivement multijoueurs) et MMORPGs Jeux de rôle en ligne massivement multijoueurs). Dans ces nouveaux mondes, on peut trouver de nouvelles formes d’architecture. Certaines sont basées sur des conceptions qui rappellent les formes architecturales de la vie réelle, d’autres sont des mondes d’un style totalement nouveaux. Ces expressions d’un art original et en mouvement doivent être préservées.

Ces mondes sont soumis à un intense et anarchique développement urbain, le plus souvent non contrôlé par quelque forme d’autorité que ce soit. Le risque que ces architectures et les environnements créés pour peupler ces mondes disparaissent et soient perdus à jamais existe.

Au premier regard, l’architecture des mondes synthétiques est plus abstrait et que les représentations papier de l’architecture traditionnelle, mais ils sont aussi réels, parce que des personnes y vivent et interagissent avec ces constructions tout comme dans le monde réel, bien que d’une manière différente qui rend compte des différences entre monde réel et monde synthétique

Les schémas et représentations traditionnelles de l’architecture imaginaire ne sont pas habités. Ils sont statiques quelques soient les changements que le concepteurs peut faire. L’architecture virtuelle des jeux vidéos, en particuliers celle des MMOs, a la potentialité d’évoluer constamment. L’architecture des jeux solo est aussi sujette aux modifications que ces joueurs peuvent y apporter

Voici un point crucial : certains indiqueront que nous n’avons pas besoin d’une convention pour la protection de l’héritage architectural virtuel, parce que les jeux font déjà l’objet d’une conservation par des institutions qui gardent une copie de chaque jeu publié, comme le sont les films etc. Il y a, cependant, une grande différence : ici, nous ne nous référons pas au jeu vidéo lui-même comme objet d’art mais à l’architecture et aux environnements contenus dans les jeux vidéos qui, pensons nous, représentent de nouvelles formes esthétiques qui reflètent l’esprit de notre temps et qu’ils sont également un exemple des nouvelles directions prises par l’architecture contemporaine. Cela deviendra plus évident lorsque, dans un futur proche, des architectes de premier plan commenceront à dessiner pour les jeux vidéos ; il y gagneront une réputation différente tandis que les architectures déjà existantes « en jeu » verront leur valeur augmenter.

1.2.
Un concept central pour l'architecture des jeux vidéo est qu'elle fait partie de l'action. Elle vit avec les personnages. Il y a souvent une architecture dramatique et théâtrale, avec des pièges, des murs mobiles, des trappes etc. Elle réagit aux mouvements du joueur : de ce point de vue, elle est une architecture vivante. Mais elle est aussi vivante parce que visitée, admirée et que des personnes interagissent avec elle.

1.3.1
Le premier problème est de déterminer quelles architectures et environnements sont dignes de la préservation. De fait, toutes les architectures ne sont pas intéressantes et nous devons définir quelques règles esthétiques. Ces règles n'ont pas nécessairement besoin de refléter les règles appliquées à l'art et à l'architecture du réel. C'est une nouvelle forme entière d'architecture, qui comporte sa propre chronologie et quelques nouvelles typologies

1.3.2
L'architecture des jeux vidéo n'est pas nécessairement identique que celle du monde physique. En général nous trouvons quelques divergences. Voici quelques unes des typologies architecturales les plus reproduites:
- Bureaux avec des dispositifs de climatisation (ceux-ci représentent un espace labyrinthique parallèle à l’architecture de l’histoire)
- Laboratoires scientifiques
- Bases spatiales
- Forteresses
- Cavernes
- Entrepôts et d'autres zones de stockage

Pour ces typologies nous devons détailler quelques exemples qui définissent les étapes importantes de cette nouvelle esthétique
Nous pouvons choisir trois critères:
1) Première critère : chronologique.
Nous supposons que les tous premiers jeux vidéo sont la référence dont descendent tous les jeux suivants. Ainsi les lignes de Pong deviennent l'équivalent du Menhir, les labyrinthes de PacMan sont le parallèle de l'architecture grecque tôt et nous arrivons à l'architecture baroque de Syberia et de Final Fantasy.[1]
2) Second critère manière : stylistique
Nous supposons qu'en jeux vidéo il y a quelques excellents accomplissements architecturaux à partir desquels d’autres ensembles architecturaux vont descendre. Par exemple, le Black Mesa Complex de Half-Life est inégalé et peut être considéré comme une référence qui établit les canons esthétiques pour tous les bâtiments futurs de ce type et s’appuie sur les implémentations de bâtiments similaires implémentés dans les jeux passés.
3) Troisième manière : mélangé.
On pourrait indiquer que l'esthétique des jeux vidéo est une évolution de l'esthétique réelle et les designers utilisent de l'architecture réelle comme référence.
.
Article 2
Définition de l'héritage architectural virtuel
2.1
Pour les buts de cette convention, voici les objets à préserver.

Monuments : tous les bâtiments et structures d'intérêt artistique. Dans ce groupe il y a : les maisons, hôtels, ressources, disco, barres, boîtes de nuit, laboratoires de médecins fous, points d’émergence [2], téléporteurs, labyrinthes, bases spatiales, réseaux d’air conditionné, églises, châteaux, etc.

Sites : secteurs qui sont topographiquement définissables et ont un intérêt spécial pour le sens social ou artistique ou encore pour le gameplay.

2.2.
Nous avons à établir une classification pour que l'architecture soit préservée.
Dans cette classification nous devons considérer différents points, par exemple :
- l’intérêt esthétique
- l’intérêt social
- le gameplay
- la valeur économique du bâtiment (spécifiquement lié aux MMOGs)
- les dispositifs théâtraux (voir le point 1.2)

2.3
Nous devons créer une documentation de l'architecture aussi bien pour des jeux spécifiques que pour les tendances architecturales des mondes synthétiques en général.
Nous devrions commencer par la documentation par des captures d’écran en haute résolution et sous des angles variés des sites concernés. Nous devrions également inclure, si nécessaire, une information sur l’endroit dans le jeu où les photos ont été prises (cartes pour les MMORPGs, nom du niveau et cartes pour les jeux solos). Idéalement, nous chercherions à rassembler également les modèles de base, les textures et d'autres données pour les structures, permettant une étude plus approfondie sur demande, en dehors du contexte et des limitations liées au gameplay d'un jeu spécifique.

2.4
La solution idéale serait de créer une sorte « de musée d'architecture numérique», où les gens pourraient se promener autour et dans des recréations exactes l'architecture numérique.
Il n’est pas suffisant de collecter des superbes vues de l’architecture, car cela ne serait qu’une petite parcelle de l’expérience. De la même façon que visiter aujourd’hui la Tour Eiffel où les pyramides de Giza produit un effet complètement différent que d’en regarder la photographie, l’architecture d’un jeu vidéo doit être expérimentée pour être totalement comprise. Que l’on pense à un Duke Nukem [3] ou à un Quake[4] qui sont beaux à voir, mais dont l’architecture à été conçue pour qu’un joueur interagisse avec elle et, de fait, elle doit être jouée pour être appréciée. Comme déjà dit plus haut (point 1.2), l’architecture des jeux vidéos n’est pas abstraite et doit être prise comme un ensemble.

Nous avons donc à penser comment restaurer ces sensations. Montrer l’architecture d’un jeu vidéo de façon abstraire n’est raconter qu’une part de son histoire : pour l’apprécier réellement, il faut montrer comment cette « machine à habiter »[5] fonctionne.

Article 3
Formation d'un comité scientifique pour la protection de l'héritage virtuel.

Nous devons définir un comité scientifique pour écrire une esthétique des jeux vidéo, de sorte que le public puisse comprendre et évaluer quels objets et environnements présentent une architecture intéressante. Au sein de ce comité international, nous pourrions avoir des historiens d'art, des architectes, des concepteurs de jeu, des directeurs d'art de jeux vidéo
.
Le comité devrait refléter le fait que l'architecture numérique est le travail non seulement des concepteurs de niveaux, mais graphistes, des programmeurs, des ingénieurs du son, des, designers etc. La conception d’un niveau de jeu vidéo et l'architecture numérique sont très semblables à la conception d’un film ; ce n'est pas le travail d'un seul, mais celui d’une équipe.

Article 4
Identification de l'héritage
Le comité scientifique contribuera également à l’établissement d un inventaire des endroits les plus significatifs, l'architecture et les environnements dans MMOGS par exemple, une sorte d'atlas qui sera constamment mise à jour.
Nous ne devrions pas nous limiter juste aux structures qui existent dans un jeu, mais être sûr d’inclure l’entité jeu-espace. C'est-à-dire que nous devrions essayer de capturer et recréer toute partie du monde, si elle est une part de l’architecture du jeu, qu’il s’agisse d’un paysage, d’une structure, d’un modèle, d’une créature, ou d’un effet sonore

Article 5
Accords avec les programmeurs
Un des buts principaux de cette convention est la mise en place d’une autorité artistique reconnue par les programmeurs, et dont ils accepteront le regard. Les suggestions du comité scientifique de la convention seront soumises aux programmeurs.

Article 6
Unicité d’un bâtiment et crossover potentiel
La duplication de bâtiments déjà existants où de sites ne sera pas autorisée dans un jeu vidéo. Par contre, il serait souhaitable de créer un jeu vidéo comme Civilization inspiré par l’histoire du jeu vidéo. A cette fin, on disposerait des architectures les plus célèbres des jeux vidéos et créerait un monde ou, suivant la chronologie ; il y aurait l'architecture Steampunk du XIXe siècle, l’architecture contemporaine et l’architecture futuriste. D'ailleurs, il serait souhaitable de créer un jeu vidéo basé sur des croisements, où l’on pourrait voir la meilleure architecture de jeux vidéo et rencontrer différents personnages, de différents jeux vidéo. Par exemple, Lara Croft [6] rencontrerait Duke Nukem ou Gordon Freeman. Et, dans le même temps, il serait possible de visiter différentes architectures vidéoludiques.

Article 7
Procédures de protection (partie 1)
Pour empêcher la défiguration où la démolition de propriétés protégées nous proposons les changements suivants:
a) Que toute démolition d’une architecture protégée fasse l’objet d’un accord d’une autorité non gouvernementale.
b) Que toute modification d’une architecture protégée fasse l’objet d’un accord d’une autorité non gouvernementale.

Article 8
Procédures de protection (partie 2)
Si du fait d’un problème tel qu'une panne de serveur, un défaut mécanique, électrique, où d’une attaque malveillante un bâtiment ou une partie de l’environnement venaient à être endommagés, ou dans le cas où un joueur déciderait de détruire ce qu’il a construit, les développeurs auront à rebâtir l’objet protégé, ou prévoir un lieu ou la recréation de l’objet sera possible

Article 9
Fin d'un monde
Au cas où un monde virtuel serait fermé par les développeurs ou les éditeurs, des archives numériques des environnements virtuels de ce monde seront préparées, permettant la récréation du monde sur les serveurs non officiels à des fins de d’étude. Alternativement, on pourrait développer un programme qui permettrait l'exploration du monde lui-même sur un ordinateur individuel sans pouvoir se relier à un plus grand monde, c'est-à-dire de permettre l’exploration du monde, mais aucune interaction avec d'autres joueurs via le réseau

Il devrait également avoir autant de documentation possible du monde « vivant » avec des films, des captures d’écran, des descriptions

La protection des mondes des jeux vidéos solos est plus aisée puisqu’une simple copie valide et mise à jour du jeu est suffisante. . Afin de faciliter ceci, quand un jeu atteint un certain âge, une version non protégée du titre devrait être rendue disponible aux archivistes, permettant la distribution et le jeu du titre lorsqu’il n’est plus un enjeu commercial et/ou il n’y a plus des termes contractuels qui empêchent cette démarche.
[1] Titres célèbres de l’histoire des jeux vidéos. Pong (1972) est un jeu de ping-pong (console Odyssey) et qui a été repris sous des noms divers ; Pac-Mac (1980) est un jeu d’arcade qui a été décliné sur tous les supports : une boule jaune dévore des pastilles dans un labyrinthe en évitant de se faire manger par des fantômes ; Syberia (2002) est un jeu d’aventure en troisième personne dans un environnemetn steampunk. Final Fantasy est un jeu de rôle dont l’histoire est parallèle à celle du jeu vidéo. Le premier de la série date de 1987 et le jeu a été porté sur tous les supports. Nous en sommes a FF XIII
[2] Traduction de spawn point, litt. « point de ponte ». Lieu ou l’on apparaît dans le monde virtuel
[3] Personnage célèbre du jeu de GT Interactive, Duke Nukem 3D.
[4] Jeu de tir en première personne sorti en 1996 et qui va révolutionner le genre
[5] En Français dans le texte
[6] Lara Croft est l’héroïne de Tomb Raider, d’Eidos. Sorti en 1995, c’est méga hit, sur console comme sur PC. C’est la première fois que le héros d’un jeu vidéo est une femme.

Lo stato dell'arte

2006-09-30T12:20:00.000-07:00

Un intero blog dedicato al progetto della salvaguardia del patrimonio architettonico virtuale rappresenta un traguardo significativo: in questi mesi i contatti con appassionati e professionisti si sono intensificati e si è reso necessario avere più spazio per dibattere su tale questione.

In particolare, il progetto per la salvaguardia ha suscitato l’interesse di vari professori del Politecnico di Milano e di alcuni professionisti, tra cui Matteo Esposito de IMille, con cui sto lavorando per porre le basi di un convegno e di una mostra.

A suo tempo, l’iniziativa è stata salutata con entusiasmo dalla stampa (articoli sul Sole 24 Ore, sul supplemento scientifico della Stampa e su AD Architectural Digest), mentre oggi sta sfociando in un comitato scientifico atto a valutare gli esempi più interessanti nel campo delle architetture virtuali.

Il tema, ripreso in decine di siti internet, è stato discusso anche on line, in Second Life, nel corso di una conferenza che ho tenuto presso la Society for Virtual Architecture, di cui sono membro.

Nei prossimi mesi vorrei studiare forme di possibili sinergie e relazioni con Internet Archive e con The Digital Game Archive. Inoltre cercherò di avere un confronto con chi si occupa della tutela dei beni culturali del mondo reale.

Scientific contributions/contributi scientifici

2006-09-30T08:26:00.000-07:00

This blog is open to scientific contributions about the Virtual Architecture in video games and in virtual worlds.

Questo blog è aperto a contributi scientifici sul tema dell'architettura virtuale nei videogames e nei mondi virtuali.

mail: mario.gerosa@fastwebnet.it

La "Convenzione" (testo aggiornato, settembre 2006)

2006-09-30T07:53:00.000-07:00

Convenzione per la Protezione del patrimonio architettonico virtuale

di Mario Gerosa
Con la collaborazione di Sam Shahrani (Indiana University)

(versione rivista e aggiornata, settembre 2006)

I membri che sottoscrivono questo documento ritengono che:

nei mondi sintetici, siano essi single player o multiplayer, si sta sviluppando un patrimonio architettonico, e che questo patrimonio sta evolvendo in una forma creativa e caotica, non documentata e archiviata in modo adeguato;

il patrimonio architettonico virtuale dei massively multiplayer online games (MMOGs) costituisce una straordinaria espressione delle molteplici sfaccettature del patrimonio culturale digitale del mondo, e che in quanto tale deve essere preservato, come espressione della società del XXI secolo;

debba essere riconosciuta l’importanza della tutela dell’architettura e dei contesti urbani e paesaggistici che costituiscono la base di questi mondi sintetici, al fine di garantire una memoria storica e per porre le basi del futuro sviluppo dei mondi sintetici.

Per tali ragioni, si raccomanda che:

Articolo 1

Scopo della Convenzione

1.1

Dal Rinascimento si è sentito un forte afflato verso le città ideali e l’architettura immaginaria. Spesso queste visioni idealizzate e utopiche tracciarono nuove direzioni per l’architettura. Alcuni erano progetti avanguardistici, altri riflettevano le aspirazioni sociali di una particolare cultura. Dal dipinto della Città ideale a Palazzo Ducale a Urbino, fino ai disegni di Lequeu e Sant’Elia, queste invenzioni architettoniche sono importanti testimonianze di determinati periodi storici.

Ora è comparsa una nuova forma di architetture ideali, quella dei videogames, single o multiplayer. Questa architettura non è fisica, è del tutto immateriale, però queste costruzioni non sono totalmente immaginarie, dato che possono essere considerate come una sorta di disegni architettonici. In un certo senso esistono come architetture reali, ma non fisicamente. Esistono solo nei computer e nei supporti che contengono i loro dati.

In particolare, nell’ultima decade sono nati molti nuovi mondi sintetici, i cosiddetti MMOG (Massively Multiplayer Online Games) e MMORPG (Massively Multiplayer Online Role-Playing Games). In questi nuovi mondi si possono trovare molte architetture inedite. Alcune si basano su progetti che richiamano le forme architettoniche della realtà, altre fanno riferimento a uno stile affatto originale, proprio di un determinato mondo.

Per tale ragione devono essere considerate espressioni artistiche originali e innovative, e quindi vanno tutelate. In questi mondi c’è uno sviluppo urbano intenso e caotico, che non è controllato da alcun organismo, e c’è il rischio che le architetture e gli scenari urbani e paesaggistici creati per questi mondi scompaiano per sempre.

Di primo acchito, l’architettura dei mondi sintetici è più astratta dei progetti e delle rappresentazioni dell’architettura tradizionale, ma in effetti sono molto affini alle costruzioni della realtà, perché la gente vive e interagisce con tali manufatti, proprio come accade nel mondo vero, seppur in un modo che riflette le differenze tra mondo reale e mondi sintetici.

I progetti e le rappresentazioni delle architetture immaginarie non sono abitate, e per tale ragione appaiono statiche, fatte salve le possibili modifiche effettuate dall’autore. Alle architetture virtuali dei videogames, in particolar modo quelle dei MMOG, è connaturata la possibilità di evolvere costantemente. Le architetture dei videogame single player dipendono dai giocatori, e sono soggette a (seppur minime) modificazioni da parte degli stessi.

Questo è un punto cruciale: si potrebbe dire che non c’è bisogno di una Convenzione per la protezione del patrimonio architettonico virtuale, perché i videogame sono già conservati da istituzioni che custodiscono una copia di ogni videogioco in commercio. Ma c’è una sostanziale differenza: qui non ci riferiamo al videogame in quanto prodotto creativo nel suo complesso, ma alle architetture e agli scenari contenuti nel videogame, ritenendo che rappresentino nuove forme estetiche che riflettono lo spirito del nostro tempo, e che siano esempi delle nuove direzioni prese dall’architettura contemporanea.

Tale premessa teorica sarà più esplicita in un futuro prossimo, quando (almeno è auspicabile), famosi architetti inizieranno a creare progetti per i videogames. Quando i maestri dell’architettura si cimenteranno con gli scenari videoludici, questi ultimi assumeranno un differente statuto e anche le architetture videoludiche esistenti saranno maggiormente considerate.

1.2

Un concetto centrale delle architetture dei videogame concerne la loro appartenenza alla sfera dell’azione. Esse vivono assieme ai personaggi e spesso hanno una natura teatrale, con trappole, passaggi segreti, trabocchetti, ecc. rispondono ad ogni movimento del giocatore e in tal senso sono architetture viventi e organiche. Ma vivono anche perché sono visitate e ammirate, e soprattutto perché interagiscono con la gente.

1.3.1

Il primo problema consiste nel determinare quali architetture e quali contesti paesaggistici e urbani siano meritevoli di essere tutelati. In effetti, non tutte le architetture dei videogames sono interessanti, e bisogna definire alcune regole estetiche. Queste norme non devono necessariamente fare riferimento ai principi applicati all’arte e all’architettura del mondo reale. E’ una forma totalmente nuova di architettura, con la sua storia e le sue tipologie.

1.3.2

L’architettura dei videogame non è necessariamente quella del mondo reale. In generale, troviamo architetture leggermente diverse. Ecco alcune delle tipologie ricorrenti:

-Uffici con sistemi di aria condizionata (che sono l’equivalente degli spazi labirintici nelle architetture storiche)
-Laboratori scientifici
-Basi spaziali
-Fortezze
-Caverne
-Magazzini e depositi

Per queste tipologie vanno enucleati alcuni esempi che definiscono le pietre miliari della nuova estetica.
Di seguito, tre grandi filoni:

1) Primo filone: cronologico
I primi videogames sono il riferimento da cui discendono tutti gli altri. Così le linee di Pong diventano l’equivalente del menhir, i labirinti di PacMan sono il corrispettivo dell’architettura greca, fino ad arrivare al neobarocco di Syberia e Final Fantasy.

2) Secondo filone: stilistico
Nei videogames ci sono alcune eccellenti realizzazioni architettoniche che derivano da altri tipi di costruzioni. Per esempio, il Black Mesa Research Complex in Half-Life rimane ineguagliato e può essere considerato una referenza che stabilisce i canoni estetici per tutti gli edifici di questo tipo a venire.

3) Terzo filone: misto
L’estetica dei videogames è un’evoluzione dell’estetica del mondo reale e i progettisti utilizzano alcune architetture del mondo vero come referenze.

Articolo 2

Definizione del patrimonio architettonico virtuale

2.1

Nell’ambito di questa Convenzione, ecco le tipologie da preservare.

Monumenti: tutti gli edifici e le strutture di interesse artistico. In questo gruppo ci sono: case, alberghi, resort, discoteche, bar, nightclub, laboratori di scienziati pazzi, regeneration points, teleporters, convention centres, labirinti, basi spaziali, sistemi di aria condizionata, chiese, castelli, ecc.

Siti: aree che sono topograficamente definibili e che hanno uno speciale interesse sociale, estetico o per il gameplay.

2.2

Bisogna stabilire una classificazione per le architetture da tutelare.
In questa classificazione vanno considerati diversi punti, come:
-interesse estetico
-interesse sociale
-interesse per il gameplay
-valore economico dell’edificio (specie se riferito ai MMOGs)
-meccanismi teatrali (vedi punto 1.2)

2.3

Bisogna creare un archivio che documenti le realizzazioni architettoniche nei giochi specifici, definendo anche i trend in atto nei vari periodi.

Si dovrebbero documentare luoghi precisi con screenshot di alta qualità pesi da varie angolazioni. Sarebbe opportuno includere informazioni sulle suddette location, aggiungendo mappe e livelli.

Molto utile sarebbe anche conservare modelli, schizzi, textures e altri dati per le strutture in esame, in modo da permettere uno studio approfondito anche al di fuori del contesto specifico del videogame o del mondo virtuale.

2.4

La soluzione ideale sarebbe la costituzione di un “museo delle architetture digitali” dove la gente potesse interagire con riproduzioni esatte delle architetture digitali.

Non basta collezionare suggestive immagini di architetture, dato che sarebbe solo una piccola parte dell’esperienza vera. Così come è diverso vedere la Tour Eiffel o le piramidi di Giza dal vero o in fotografia, così l’architettura dei videogames, per essere compresa, deve essere sperimentata attraverso l’interazione. Si immagini una struttura di Duke Nukem o di Quake: è interessante da vedere, ma è stata progettata per l’interazione con il giocatore, per cui deve diventare parte del gioco, per essere vissuta appieno. Come è già stato notato (punto 1.2), l’architettura dei videogames non è astratta e deve essere vista insieme con il suo contesto.
Così, bisogna capire come restituire tali sensazioni. Se si mostra l’architettura di un videogame slegandola dal contesto, si perde gran parte della sua storia: per apprezzarla appieno bisogna mostrare come lavorano queste “machines à habiter”.

Articolo 3

Formazione di un comitato scientifico per la protezione del patrimonio architettonico virtuale

Bisogna definire un comitato scientifico per stilare un’estetica dell’arte e dell’architettura dei videogames, cosicché la gente possa capire e valutare quali oggetti e quali scenari siano veramente notevoli. In questo comitato internazionale ci potrebbero essere storici dell’arte, architetti, game designers, art directors di videogames.
Dal lavoro del comitato dovrebbe emergere l’idea che l’architettura digitale è frutto del lavoro congiunto di level designers, texture artists, background artists, programmatori, ingegneri del suono, ecc. Il level design e l’architettura digitale sono molto simili al set design nel cinema; non è il lavoro di una persona sola, ma un lavoro di squadra.

Articolo 4

Identificazione del patrimonio

Il comitato scientifico contribuirà anche a preparare un inventario dei luoghi più rilevanti e delle più interessanti architetture dei MMOGs, una sorta di atlante che sarà aggiornato costantemente. Non ci si dovrà limitare solo alle strutture isolate, ma fare riferimento allo spazio che le circonda, con il paesaggio, le creature e i suoni che ne definiscono il contesto.

Articolo 5

Unicità di un edificio e potenzialità del crossover

Sarebbe auspicabile che fosse realizzato un videogame o un mondo virtuale che comprendesse le più famose architetture videoludiche, riunendo le tipologie più interessanti, spaziando dalle creazioni fantasy alle architetture steampunk e futuribili.
Inoltre si potrebbe pensare a un videogame basato sul concetto di crossover, dove si possano ammirare le architetture più suggestive e incontrare vari personaggi di differenti videogames. Per esempio, Lara Croft potrebbe incontrare l’Agente 47 o Gordon Freeman. E nello stesso tempo, in un videogame si potranno sperimentare differenti architetture e locations videoludiche.

Articolo 6

Procedure per la tutela (parte 1)

Per prevenire la trasformazione o la demolizione di aree protette, proponiamo che tali cambiamenti:

a) debbano essere vagliati da un’autorità competente che prenda in esame il progetto della trasformazione dell’architettura virtuale da tutelare.

b) debbano essere vagliati da un’autorità competente che prenda in esame il progetto della demolizione dell’architettura virtuale da tutelare.

Articolo 7

Procedure per la tutela (parte 2)

In caso di danno, sia esso dovuto al malfunzionamento di un server o a un difetto meccanico o elettrico, di un incidente di diversa natura o di un attacco che distrugga parte del contesto, rovinando o addirittura causando la perdita di un edificio o di una intera zona, o nel caso un giocatore decidesse di distruggere un edificio tutelato realizzato da lui, gli sviluppatori sono tenuti a ricostruire le architetture protette o a provvedere affinché possano essere ricostruite.

Articolo 8

Fine di un mondo

La protezione del patrimonio architettonico di un videogame single-player è semplice e immediata, visto che è sufficiente disporre di una copia del gioco.

Più complessa la procedura relativa ai mondi sintetici.
Nel caso in cui un mondo virtuale venga chiuso dagli sviluppatori o dai publisher, sarà approntato un archivio digitale degli scenari virtuali di quel mondo, permettendo di ricreare parti di quel mondo su un server a fini scientifici. Inoltre, potrebbe essere sviluppato un programma che consenta l’esplorazione del mondo stesso su un singolo computer, senza avere la necessità di collegarsi a un sistema on line.

Dovrebbe esserci anche una copiosa documentazione che dia un’idea del mondo “vissuto”, comprendente filmati in machinima, screenshot e descrizioni puntuali relative ai vari aspetti di quell’opera.

Text of the "Convention"

2006-09-30T03:58:00.000-07:00

Convention for the Protection of Virtual Architectural Heritage
By Mario Gerosa
With the collaboration of Sam Shahrani (Indiana University)

The members who subscribe to this document believe that:
Given that an architectural heritage is developing in synthetic virtual worlds, both single and multiplayer, and that this heritage is evolving in a creative and chaotic form that is not being adequately documented and archived;
That the virtual architectural heritage of Massively Multiplayer Online Games (MMOGs) constitutes an extraordinary expression of the many facets of the digital cultural heritage of the world and must be preserved, being a great expression of the society of the XXI Century; and,
Recognizing the importance of preserving the architecture and the
environments that constitute the basis for these synthetic worlds, for the purposes of historical record and as a basis for the development of future synthetic worlds.
It is recommended that:
Article 1
The Purpose of this Convention
1.1
Since the Renaissance there has been a strong desire for ideal cities and imaginary architecture. They often were idealistic and utopian visions that traced new directions for architecture. Some were avant-garde architectural projects, while others reflected the social aspirations of a particular culture.
From the painting of La città ideale in the Urbino Palazzo Ducale to the drawings of Lequeu and Sant’Elia, these paper and canvas representations of architecture tell us a great deal about a historical period.
Now there is a new form of ideal architecture, that of video games, either single player or multiplayer networked video games. This architecture is not physical and indeed is immaterial but these constructions are not completely imaginary,
as they can be considered a form of architectural drawings. In a certain sense, they exist as real architecture, but not on a normal physical plane. They exist only inside the computers that run them, and the storage media that contain their data.
In particular, in the last decade many new synthetic worlds have been born, the so called MMOG (Massively Multiplayer Online Games) and MMORPGS (Massively Multiplayer Online Role-playing Games). In these new worlds one can find many new forms of architecture. Some are based on designs that recall the architectural forms of real life, there are also worlds of a wholly original style.
For this reason, they are original and evolutionary expressions of art and must be preserved. In fact, in these worlds there is an intense and chaotic urban development, largely uncontrolled by any form of authority, and there is the risk that architecture and environments created to populate these worlds will
disappear and be lost forever.
At first glance, the architecture of synthetic worlds is more abstract than the paper blueprints and representations of traditional architecture, but in fact they are just as real, because people live in and interact with these constructs just as they do in the real world, though in a manner reflecting the differences between
real-world and synthetic-world.
Traditional drawings and representations of imaginary architecture are not inhabited, and thus are static beyond changes that the original designer may make. The virtual architecture of video games, particularly MMOG’s, either are or have the potential to be constantly evolving. The architecture of single player games is also dependent on the people who play them and subject to modification and addition by these same players.
Here is a crucial point: some will say that we don’t need a convention for the protection of the virtual architectural heritage, because the videogames are already collected by some institutions that keep a copy of every video game published, as for the movies, etc. There is, however, a strong difference: here we don’t refer to the video game itself as a whole creative product, but to the
architecture and environments contained within the video games, believing that they represent valid and new aesthetical forms that reflect the spirit of our time and that they are also an example of the new directions taken by contemporary architecture.
All this theory will result clearer in the next future, when (at least is believable), famous architects will begin to create projects for video games. When outstanding architects will begin to create video game architecture, they will gain a different reputation and also the already existing “in game” architectures will increase their value.
1.2
A central concept for the architecture of video games is that they are part of the action. They live together with the characters. They are often theatrical architecture, with traps, moving walls, pitfalls, etc. They respond to every move of the player: in that way, they are living, organic creatures. But they also live because they are visited, admired and interacted with by people.
1.3.1
The first problem is to determine what architecture and environments are worthy of being preserved. In fact, not all the architecture of video games is interesting, and we must define some aesthetic rules. These rules do not necessarily need to reflect the rules applied to art and architecture of the real world. It is a whole new form of architecture, with its own chronology and some
new typologies.
1.3.2
The architecture of video games is not necessarily the same as that of the physical world. In general we find some fairly divergent architecture. Here are some of the most recurring architectural typologies:
-Offices with air conditioning systems (these represent a labyrinthine parallel
space in historical architecture)
-Scientific laboratories
-Space bases
-Fortresses
-Caverns
-Warehouses and other storage facilities
For these typologies we must enucleate some examples that define the milestones of this new aesthetic.
Here we could choose three ways:
1) First way: chronological.
We assume that the very first video games are the reference from which descend all games that followed. So the lines of Pong become the equivalent of the Menhir, the labyrinths of PacMan are the parallel of early Greek architecture and we arrive to the baroque architecture of Syberia and Final Fantasy.
2) Second way: stylistic
We assume that in video games there are some excellent architectural achievements from which descend the other architecture. For example, the Black Mesa Research Complex in Half-Life is unequalled and can be considered a reference that establishes the aesthetical canons for all the buildings of this kind that followed, while drawing on earlier games implementations of similar architecture
3) Third way: mixed.
One could say that the aesthetics of video games are an evolution of the real life aesthetic and designers utilize some real world architecture as references.
Article 2
Definition of the virtual architectural heritage
2.1
For the purposes of this convention, here are the properties to be preserved.
Monuments: all buildings and structures of artistic interest. In this group there are: houses, hotels, resorts, disco, bars, nightclubs, mad doctors laboratories, regeneration points, teleporters, labyrinths, space bases, air conditioning
systems, churches, castles, etc.
Sites: areas that are topographically definable and have a special interest either for social or artistic sense either for the gameplay.
2.2
We had to establish a classification for the architecture to be preserved.
In this classification we must consider different points, for example:
-aesthetic interest
-social interest
-gameplay interest
-economic value of the building (specifically related to MMOGs)
-theatrical devices (see point 1.2)
2.3
We must create documentation of the architecture in specific games, as well as the overall architectural trends in synthetic worlds as a whole.
We should consider initially documenting designated sites with high-quality screenshots from multiple angles. We should also include, if necessary, information on where in the game the shots were taken (maps for MMORPGS, level names and maps for single-player titles).
Ideally, we would seek to also collect raw models, textures and other data for the structures, allowing closer study on demand, outside the context and gameplay limitations of a specific game.
2.4
The ideal solution would be to create a sort of "digital architecture museum", wherein people could walk around and through exact recreations of the digital architecture.
It is not enough to collect beautiful views of the architecture, as that would be only a small part of the real experience. Just as actually visiting the Eiffel Tower or the Pyramids of Giza conveys a completely different effect than simply looking at a photograph, so too must videogame architecture be experienced to be fully understood. Imagine a Duke Nukem or a Quake structure: it’s nice to look at, but the architecture is designed to be interacted with by a player and thus must be actually played to be enjoyed. As already said (point 1.2), video game architecture is not abstract, and must be taken as a whole.
So, we had to think how to restore these sensations. If you show the architecture of a video game abstractly, you tell only part of it’s story: to truly appreciate it, you must show how this “machine à habiter” works.
Article 3
Formation of a scientific committee for the protection of virtual heritage
We must define a scientific committee to write an aesthetic for the video games, so that people can understand and evaluate what objects and environments are really interesting architecture. In this international committee, we could have art historians, architects, game designers, video games art directors.
The committee should reflect the fact that digital architecture is the work not only of level designers, but texture artists, background artists, programmers, sound engineers, modelers, and more. Level design and digital architecture are very similar to set design in film; it is not the work of one, but a major collaborative effort.
Article 4
Identification of the heritage
The scientific committee will also contribute to prepare an inventory of the most relevant places, architecture and environments in MMOGS, a sort of atlas that will be constantly updated.
We should not limit ourselves just to the structures that exist within a gameworld, but be sure to include the entire game-space. That is, if it's part of the world architecture, be its landscape, structure, model, creature, or sound effect, we should endeavor to recreate it and capture it when we do our recreations
Article 5
Agreements with the programmers
One of the main purposes of this convention is that there will be an artistic authority recognised by the programmers, who will consent to have supervision.
By this way, the suggestions of the scientific committee of the convention will be submitted to the programmers.
Article 6
Uniqueness of a building and crossover potential
In a video game will not be allowed to create replicas of already existing buildings or sites. At the contrary, it would be desirable in case one would like to realize a video game like Civilization inspired by the story of all the video games. For this purpose, one could dispose of the most famous video games architecture, to create an historical world where, following the chronology, there are the XIX Century Steampunk architecture, the contemporary and the futuristic ones.
By the way, it would be desirable to create a videogame based on crossovers, where one can see the best video games architecture and to meet different characters, from different videogames. For example, Lara Croft would meet Duke Nukem or Gordon Freeman. And at the same time, in a video game you could experience different video games architecture and locations.
Article 7
Protection Procedures (Part 1)
To prevent the disfigurement or demolition of protected properties we propose that any such changes:
a) Require the submission to a competent non-governmental authority of any scheme for the demolition of virtual architecture which is protected.
b) Require the submission to a competent non-governmental authority of any scheme which involves substantial alterations of protected architecture.
Article 8
Protection Procedures (part 2)
In case of a misfortune ,such as a server failure, mechanical or electrical fault, disaster or a malicious attack would destroy part of the environment, causino damage or loss of a building or environment, or in case a player decided to
destroy a building he made, the developers must rebuild the protected properties or provide for the relocation or recreation of the property if deemed necessary.
Article 9
End of a World
In case a virtual world is closed by the developer(s) or publisher(s), a digital archive of the virtual environments of that world will be prepared, allowing recreation of the world on non-official servers for purposes of study. Alternately, a program could be developed that would allow exploration of the world itself on an individual computer without being able to connect to a larger world, thus allowing exploration of the world, but no interaction with others over a network.
There should also be as much documentation made of the “live” world as possible, including movies and screenshots with descriptions. The protection of single-player worlds is more straightforward, since all that is needed is a valid and up-to-date copy of the game. In order to facilitate this, when a game reaches a certain age, a non copy-protected version of the title should be made available to archivists, allowing for the distribution and play of the title when it is no longer a competitive commercial product and/or the agreed-upon time limit after release has passed.

Presentazione

2006-09-30T03:49:00.000-07:00

Questo sito è dedicato interamente alla protezione delle architetture dei mondi sintetici e dei videogames e fa riferimento alla Convenzione per la Protezione del patrimonio architettonico virtuale presentata nel luglio 2006 e stilata da Mario Gerosa, con la collaborazione di Sam Shahrani.