Appropriate 3D-Environmental Simulation in Planning Practice

High Tech or Quick and Dirty

 

 

Alexander Schmidt,

University of Duisburg-Essen, Essen, Germany

alexander.schmidt@uni-essen.de

 

Contents

 

·        Abstract

·        3D Environmental Simulation

·        Communication

·        Sample Applications

·        Fundamental issues regarding the medium

 

 

Abstract

 

The types of visual representations and 3D environmental simulations encountered today in the practice of city planning vary enormously. Hand-drawn perspectives, models and photo composites, computer simulations – and, of course, each executed to a varying level of accomplishment.

 

So I always ask myself: Is the choice of visual representation always a conscious one? Or does the form of 3D environmental simulation have something to do with the budget, with the technical means available, with the existing or usable software? Does the choice of representation have something to do with the amount of time available to complete a task using that particular visual form? What is the role of subjective preference in the choice of a certain type of representation? Or, even better, as it is in general terms: What considerations lead to the choice of a certain type of representation?

 

I will address these issues in the following discussion and attempt to offer a few answers.

 

 

3D Environmental Simulation

 

To begin, the term 3D environmental simulation requires a brief definition here: 3D environmental simulation concerns the visual portrayal of planned and designed environments. The planning phase involves working with various plans, cross-sections and project views, however, as a rule these documents are two-dimensional and difficult to grasp spatially, as well as often being somewhat abstract. At the fore of 3D environmental simulation is the graphic portrayal of an actual, perceptible environment set in the future. It is about conveying the perspective an observer can have seeing the project – the room, the building, the street - from a point of view corresponding to the future reality. Or, more precisely:

 

•          the designation "3D environmental simulation" signifies the particular methods that can be used to simulate human perception and human experience in existing and planned environments. 3D simulation also requires the support of appropriate illustration media and illustrative techniques. (Fig. 1(a,b))

 

 

a).Hand drawing

 

b). Scale model

 

Fig. 1 (a, b). 3D-Environmental Simulation stimulates human perception and human experience in existing and planned environments, but requires the support of appropriate illustration media and illustrative techniques

 

I would like to differentiate between four fundamental fields of application:

•          For a group of experts involved in planning, 3D environmental simulations as used for the purpose of communicating among themselves as well as for the portrayal and review of planned alternatives. And, not insignificantly, as also used for decision-making purposes.

•          In planning processes, 3D environmental simulations as used for the useful, descriptive and understandable relay of planning information to citizens and stakeholders.

•          As used in preparation for making decisions, 3D environmental simulations for political bodies, private investors and project clients, so they may gain a better idea of what the investment entails.

•          Increasingly, 3D environmental simulation is emerging as a means of heightening an artful and compelling promotional campaign – it is as if the object were already built.  

 

 

Communication

                                                                                                                                                                                                                                                           


I do not know what I have said unless
I know the answer of the opposite person.
Paul Watzlawik

 

When speaking about 3D environmental simulation, the topic of communication processes cannot be circumvented.

 

Speech is the first means of communication – the client verbally describes the requirements and the planner verbally explains the solutions. "Conventional speech is a useful form of communication for describing the functional and social aspects of projects and general environmental concerns but it is only an indirect way of describing their visual appearance. Speech describes the environment and projects in categories and concepts – but these only give rise to stereotyped images." (Donald Appleyard). With this in mind, supporting images constitute an indispensable visual supplement to communication.

 

When, in the course of a communication process, the planner (transmitter) uses words (verbal) and visual media (medial) to describe project plans to their counterpart (the receiver), the process becomes very dependent on which words or language is selected and which form of pictorial language is used or which environmental simulation is selected. Otherwise the message will not be understood. Communication is only successful when the receiver understands the projected information according to the sender's intentions and can then reply accordingly (Paul Watzlawick).

 

This model (Watzlawick, Schultz von Thun), which I admit to having greatly abridged, forms the backdrop to my further reflections on the usage of different media in 3D environmental simulations.

 

Sample Applications

 

• Oberhausen Essener Street (computer) (Fig. 2)

 

 

 

Fig. 2. Computer image elusidate planners ideas to property owner and city representatives

 

The intentions of this computer simulation were to simplify the interpretation of the two-dimensional drawings and plans available to that point and to clarify the conceptual implications of the project. In meetings between the property owner, who is interested in a fast and productive utilisation of the site, and city representatives, who are accountable for the planning, this image can serve to clearly elucidate the planner's ideas. Communication was substantially simplified, particularly as non-professionals were also in attendance.

 

• Bottrop Quadrat Joesf Albers Museum (Scale model/Computer) (Fig. 3)

 

 

Fig. 3. Communication between planners, director of the museum and city representatives                (1 : 50 scale model) – 1st step

 

Bottrop was planning the reconstruction of the Albers Museum, however, there was uncertainty as to what spatial effect would be created by the placement of an exhibition wall at a particular location. The director of the museum commissioned the construction of a model (1:50 scale) in order to test and compare the effects of the varying the location of the exhibition walls. However, this exercise proved to be an unnecessary expense because the alternative solutions modelled could not be compared directly. We took endoscopic photographs of the model in order to verify this observation. The alternatives are, in particular, not comparable at their actual dimensions. Additionally, the ceiling and its spatial implications were not depicted.(Fig. 4(a,b))

 

 

a).  1 : 50 scale model (1st step)

 

 

b). Digital simulation (2nd step)

 

Fig. 4 (a,b). Communication between planners, director of the museum and city representatives

 

The computer simulation, which was produced without great difficulty, is far superior to the model, especially with consideration to comparing the design alternatives. The simulation served as a foundation for technical discussions with the museum director. Fig. 5 (a, b, c) displayed the various alternatives for the decision makers. (Fig. 5(a,b,c))

 

 

a)

 

 

b)

 

 

c)

 

Fig. 5 (a, b, c). 2nd step - the various alternatives for the decision makers

 

 

• Gladbeck Market Square (Scale model) (Fig. 6(a,b))

 

 

a)

 

 

 

b)

 

Fig. 6 (a, b). Gladbeck Market Square (1 : 250 scale model) – reducing complexity for decision makers

 

This scaled model (1:250) depicts a Market Square along with the place-shaping buildings set on the square. The scaled model has glued-on pictures, corrected for distortion, of the surrounding facades in order to create the spatial context of the place as vividly as possible. Planting designs were tested for the administrative planners, who intend to replace the building located in the square today with greenery. After a preliminary decision had been made by the administrative body, the simulation assisted town council in making subsequent decisions. The photos on the buildings facilitate identifying with the reality of the place and, at the same time, the model enables town council to provide a visual representation of the future appearance of the Market Square. An exhibition in the town hall foyer is planned.

 

 

• Weimar North (Model) (Fig. 7)

 

 

Fig. 7. Improving the sales and firing the imagination (1 : 500 scale model)

 

This model – built by the architects subsequent to the acquisition of the required building permit – is exhibited in the lobby of a housing corporation. It is intended to grab the attention of the citizens and prospective customers passing by. The aim of the exhibit is to improve the sales of premium flats and to promote the leasing of accommodations designed for the elderly.

 

On the one hand, the exhibit is sufficiently abstract and, on the other hand, figures and other details have been added to serve as objects the viewer can identify with. The model is beautifully encased in glass, making it "sacrosanct". It may be viewed without trouble only from above. It was not initially built for the purpose of endoscopic simulation (which nevertheless works well).

 

 

• Bottrop city centre - Berliner Square (Scale model/Computer) (Fig. 8)

 

 

Fig. 8. Basis for a design competition and a public discussion on the development of the center        (1 : 500 scale model)

 

Here, a 1:500 scaled model of Bottrop city centre provided the basis of a design competition open to potential investors. The driving force behind the competition was the release of sites for land development. Building variations were presented using two different approaches. (Fig. 9(a,b), Fig. 10(a,b))

 

 

a). Variant 1

 

 

b). Variant 2

 

Fig. 9 (a, b). 1 : 500 scale model – inputs for the public discussion and firing imagination (variants 1, 2 - hand drawn – quick and dirty)

 

 

 

 

 

a). Variant 3

 

 

b). Variant 4

 

Fig. 10 (a, b). Computer-scanned 1 : 500 scale model - inputs for the public discussion and firing imagination (variants 3, 4 - digital drawing – high tech)

 

 

The very sketchy illustrations, hand-drawn and computer-scanned, leave room for the observer's imagination; the outlines in the CAD drawings are exact and establish fixed rules. A comparison of approaches demonstrates how even the disparate treatment of lines and spaces can influence the evaluation of plans.

 

• Ford assembly plant in Cologne (Computer) (Fig. 11)

 

 

Fig. 11. Digital simulation (Lengyel/Toulouse) – communication and selling the project

 

The lovely rendition of future land development along a bank of the Rhine serves to create the political will allowing for the implementation of what is in fact a bold project set in a delicate and sensitive situation. Observing the 3D simulation of the planned construction, which includes view of the background, is meant to arouse sympathy for the project.

 

 

Fundamental issues regarding the medium

 

It is clear that the success or failure of a project could indeed very likely depend on whether "merely" a small scale model is built, or a simplified hand-drawn sketch or a complex computer simulation is prepared. I would like to address four facets of the issue in order to shed some light on this topic and to guide the conscious and targeted use of various media for 3D environmental simulations.

The communication theory involving a sender and a receiver clearly states that, in order to be understood, the sender (planner) needs to orient the medium of communication to the abilities and degree of technical understanding of the receiver (citizens, politicians, investors).

 

3D environmental simulation is generally a graphic medium. However, arbitrarily choosing from the range of analogue and digital medial tools available does not make sense because the issue also concerns finding the right medium for the respective target group. "Make it suitable for both executives and kids" – as a friend of mine always says (and he is the head of the building department) about the project description presented to the building committee. In doing so, everyone in the diverse group forming the committee will understand. As the situation requires, a completely different medium may be required for local residents and citizens. And, when faced with a mixed group of specialists involved in an interdisciplinary project, the plans will again be presented on a completely different level.

 

To add a note concerning the Lengyel-Toulouse presentation: when architects do not make the 3D simulation themselves there is a danger that the project will be misrepresented, however, there is also the possibility that the project will gain new momentum.

 

Targeting visual aids to particular groups does not necessarily imply using the newest CAD rendering software and impressing the audience with realistic images. The presentation (and not only the project) is dependent on the receivers. Even a simple hand-drawn sketch may be fully adequate to represent the project content.

 

• Reducing complexity

 

Complex projects often involve the participation of engineering experts, with each preparing their own set of specialised plans. To non-specialists, these plans are often incomprehensible. The plans become absurdly overburdened with information such that the actual planning concepts are no longer discernable to others. Imagine a road construction engineer standing before an audience of local residents to explain specialised street plans while, in the same session, explaining the drainage plans as well. I think this engineer would be addressing a wall of incomprehension.

 

The complexity of the circumstances needs to be reduced here in order to be able to transmit the vast quantity of information associated with planning. 3D environmental simulations can play an important role here and simplify the representation of complex circumstances without editing out information.

 

• Considering economic viability

 

Seeing as the municipal coffers are empty and the clients are thrifty, 3D environmental simulations will probably remain a luxury product – irrespective of the sales-boosting effect a beautiful image can have. Often, there is a lack of appreciation that there is more to the image than merely a realistic depiction of a project that, after all, is already at the end of the planning stage.

 

The possibilities inherent in 3D representations – from the simple hand-drawn sketches to the time- and cost-intensive animated virtual simulations – are available as determined according to economic criteria. In this case, the question must be: which type of visual material is realistic enough to be suitable but as simple and economical as possible?

 

• Firing the imagination

 

A perfect 3D environmental simulation illustrates a planned project in a realistic manner. The purpose of the simulation is to give the viewer an attractive and convincing, a striking and understandable, image of the future place.

 

In some cases, however, this is asking too much. It is my opinion that, in many cases, the observer's imagination needs to be roused. When plans are presented as too perfect and too complete, the observer has no room for imagination left. From the very nature of its appearance, a computer rendition entices one to regard it as already finished. An image which gives the impression of its being somewhat incomplete offers the chance of imagining one's own ideas. This option may be especially important in the early stages of planning, as it is characterised by the exchange of stimuli and inspirations originating from the planners, affected parties and so forth. Here again the "fuzziness principle" applies, which sometimes leads to a perfected 3D computer representation.

 

In view of all these possibilities, it should be remembered that:

Everything is conceivable, much is feasible but only a few things are reasonable.