SD&A 2025 Program
Excel to HTML
MONDAY 3 FEBRUARY 2025
Stereoscopy & Spatial Perception
Session Chair: Andrew Woods, Curtin University
15:20 - 17:10
Grand Peninsula D
16:00SD&A-330
KEYNOTE: Beyond the Screen Plane: Stereo at Walt Disney Animation Studios, Katie Fico, Walt Disney Animation Studios (US) [view abstract]
Moana 2Stereoscopic Supervisor Katie Fico shares how Walt Disney Animation Studios uses 3D technology as a storytelling tool to create unique and compelling immersive experiences. She discusses insights on the creative and technical processes behind some of Disney Animation's films, as well as the technological innovations of the craft that she has been a part of during her 25 year tenure.
SD&A 3D Theatre
17:20 - 19:00
Grand Peninsula D
17:20SD&A-331
SD&A 3D THEATRE, [view abstract]
Producers: John Stern, retired (US); Eric Kurland, 3-D SPACE Museum (US); Andrew Woods, Curtin University (Australia).This ever-popular session of each year's Stereoscopic Displays and Applications Conference showcases the wide variety of 3D content that is being produced and exhibited around the world. All 3D footage screened in the 3D Theater Session is shown in high-quality polarized 3D on a large screen. The final program will be announced at the conference and 3D glasses will be provided.
TUESDAY 4 FEBRUARY 2025
Visualization Facilities
Session Chair: Laurie Wilcox, York University
08:40 - 10:30
Grand Peninsula D
08:50SD&A-332
Case study: Love letter to skating - VR180 stereoscopic post-production workflow, Andrew Woods, Curtin University HIVE (Australia); Daniel Adams, Curtin University HIVE (Australia); Cassandra Edwards, Curtin University HIVE (Australia); Kerreen Ely-Harper, Curtin University - MCASI (Australia); Andrea Rassell, Curtin University HIVE (Australia) [view abstract]
In 2024, the VR180 3D short film �Love Letter to Skating� was produced as part of a Curtin University HIVE Summer Internship project conducted by Curtin University student Cassandra Edwards. The film topically explores Cass's fascination with skating since her childhood years. The location for the shoot was Hyde Park, a beautiful inner-city park with extensive gardens and large over-hanging trees in Perth, Western Australia. The production was filmed using a Canon R5C camera fitted with a Canon Dual Fisheye lens. This particular paper focuses on the stereoscopic post-production workflow. All stereoscopic content filmed natively with two lens cameras with have some level of stereoscopic alignment errors. In the post-production stage the native dual-fisheye 8K footage from the camera was converted to equirectangular format using the Canon EOS VR Utility software. The equirectangular VR180 3D footage was then rectified using Stereoscopic Movie Maker V2 software from Masuji Suto. The rectified footage was then imported into Adobe Premiere where it was edited and combined with sound, music and graphics for the final production. Computer graphics were composited into the final film at the correct depth within Premiere. The final production premiered at the MINA 2024 � the 13th International Mobile Innovation Screening and Smartphone Film Festival November 8th 2024.
09:10SD&A-333
NEMO Explorer XR � The development of an ocean-based immersive co-design environment, Alyssa Liu, Royal College of Art (United Kingdom); Rian Stephens, Royal College of Art (United Kingdom); Elise Hodson, Royal College of Arts (United Kingdom); Carla Amaral, Royal College of Art (United Kingdom); Christopher Ross, Royal College of Art (United Kingdom); Jasmine Black, Royal College of Art (United Kingdom); Paul Anderson, Royal College of Art (United Kingdom); Ashley Hall, Royal College of Art (United Kingdom); Bjorn Sommer, Royal College of Art (United Kingdom) [view abstract]
The NEMO project (New Economic Model for the Oceans) tackles ocean-related issues from a design perspective. The initial NEMO project is based on an experimental data gathering using 4K cameras to capture objects along a ship voyage of 6,070 nautical miles from Kangerlussuaq (Greenland) to Poole (UK) via Sardinia (Italy). This data was combined with recorded GPS coordinates to visualize the journey using the Cesium.js environment (Hall et al., 2024). Several objects were identified and mapped to the corresponding locations of the ship trajectory.In this work, we are using this initial web visualization as starting point to create an UNREAL engine-based immersive environment which can be explored within the new RCA SNAP Visualisation Lab facility. Based on a previous co-design workshop locally ran at the RNLI headquarters in Poole, we started to explore opportunities to enable similar experiences in an immersive 3D environment.In this way, we are enabling collaborative data visualization and exploration. Based on an annotation functionality, users can interact with the data in the context of co-design workshops. In this way, we are combining Macro-Meso-Micro perspectives with the purpose to provide on one hand a holistic overview of the journey, and on the other hand enable place-based exploration of ocean- and coast-related scenarios.
09:30SD&A-334
Keynote: Half a Century of Innovation in Interactive Electronic Displays for Art and Science at the Electronic Visualization Laboratory (EVL) at UIC and the Qualcomm Institute at UCSD, David Sandin, University of Illinois at Chicago (US) [view abstract]
The Electronic Visualization Laboratory (EVL), established in 1973 at the University of Illinois at Chicago (UIC), specialized in interactive electronic displays even before the advent of the frame buffer. By ingeniously combining digital and analog systems, EVL enabled real-time interactive computer graphics through the Graphics Symbiosis System (GRASS). This system was instrumental for animator Larry Cuba in creating the computer graphics for the original 1977 "Star Wars" film, which was done frame by frame on 35mm film), as well as contributing to lesser-known movies like "UFO: Target Earth" for which the special effects were captured on video. SpiralPTL is a work preserved in the Museum of Modern Art's video art collection.Throughout the decades, EVL advanced the technology of computer graphics but also deeply integrated art, science, and education researchers and teaching faculty. This collaboration led to the creation of an interdisciplinary MFA program in Electronic Visualization, bridging UIC's Engineering College with its School of Art and Design.EVL's later innovations include the development of numerous interactive stereoscopic and autostereoscopic systems, most notably the Cave Automatic Virtual Environment (CAVE). This paper will describe and analyze these technological advancements, discussing both their successes and their challenges in adoption by scientists, engineers, and artists. The narrative will reflect on how these technologies have shaped interdisciplinary collaboration and the evolution of electronic art and visualization techniques over the past fifty years.
10:30 – 11:00 Coffee Break
History & Future of Immersive Technologies
Session Chair: Takashi Kawai, Waseda University
10:50 - 12:10
Grand Peninsula D
10:50SD&A-335
Collaborative spatial streaming: real-time auto-calibrating system for multi-device dynamic 3D capture, Tyler Bell, University of Iowa (US) [view abstract]
Multi-device capture systems for volumetric 3D reconstruction are becoming increasingly common but typically require precise, pre-computed calibration of all devices in the system. This calibration process is critical but cumbersome, as any movement of a device necessitates a complete recalibration. Additionally, mobile devices are increasingly being used to capture 3D data, making the generation of 3D content more accessible. However, using these mobile devices for dynamic volumetric reconstruction is challenging due to their handheld nature and susceptibility to movement. To address this limitation, we introduce Collaborative Spatial Streaming, a novel platform that enables real-time auto-calibration for 3D data capture and transmission from multiple mobile devices (e.g., iPhones). Our platform's flexible calibration is continuously estimated such that data from each local device can be wirelessly transmitted and integrated into a composite 3D reconstruction for each frame. The dynamic, composite 3D scene can then be viewed by remotely located immersive audiences (e.g., augmented reality [AR], virtual reality [VR] headsets) and other devices (e.g., desktop computers, data recording and processing servers). Collaborative Spatial Streaming simplifies the setup of a multi-device 3D reconstruction system and delivers 3D reconstructions suitable for spatial computing devices, enabling advanced applications in telepresence, performance capture, remote robotics, and more.
11:10SD&A-336
Active 3D flat panel displays: A new implementation of an old idea, Michael Weissman, none (US); Peter Giokaris, none (US) [view abstract]
We have developed a new approach to an old technique for viewing stereoscopic 3D imagery on computer monitors or TVs: the "active" (or "frame-sequential" or "time-sequential") method. We will discuss the need for this approach and its advantages and disadvantages. We will review some of its history, from CRTs (where it worked very well) to DLP projectors (where it also works well) to Liquid-Crystal Displays (where it only works under very limited circumstances). Today, new fast flat-panel technologies, such as OLED and micro-LED, have been developed. We will show that, with some careful considerations, the active method also works very well with the new OLED flat panels. We have also developed a "universal" method for synchronizing the display to active ("shutter") glasses. A demo will be provided in the Demo Session.
11:30SD&A-337
The rise and fall of SENSIO - Lessons for the next wave of consumer 3D, Nicholas Routhier (Canada) [view abstract]
From 1998 to 2016, SENSIO stood as a trailblazer and industry leader in digital 3D entertainment technologies. Founded by passionate young entrepreneurs, the company aimed to democratize the 3D experience on the consumer market. Throughout its 18-year journey, SENSIO pushed the boundaries of the industry, achieving several notable "firsts"�such as releasing the first Hollywood 3D movie on DVD, powering up the first stereoscopic 3D console game, and enabling the first live 3D event in cinemas. Its innovative technologies, products, and services were integrated into millions of devices from global giants like SAMSUNG, Vizio, LG, and Panasonic.However, by 2016, with the decline of 3DTVs and diminishing audiences in 3D theaters, SENSIO ceased operations, marking the end of the latest wave of 3D in the consumer market.In this talk, Nicholas Routhier, former co-founder of SENSIO and current co-founder of CubicSpace, will revisit SENSIO's story, walking through the five key phases of its history. He will provide an exclusive insider's perspective on the rise and fall of the last 3D wave. With the resurgence of spatial computing and glasses-free 3D displays, join him to uncover invaluable lessons that could help make the next 3D wave a breakthrough that endures.
15:00 – 15:30 Coffee Break
Stereoscopic Vision
Session Chair: Eleanor OKeefe, KBR
15:30 - 17:30
Grand Peninsula D
15:30SD&A-339
Convexity biases in stereoscopically viewed ground terrain, Brittney Hartle, York University (Canada); Robert Allison, York University (Canada); Laurie Wilcox, York University (Canada) [view abstract]
Judging the �lay of the land' during locomotion relies on the integration of an array of perceptual and motor cues. We demonstrated that stereopsis plays a substantial role in discriminating surface perturbations of ground terrain; however, observers were often biased towards perceiving convex surfaces when shading cues were highly salient. The aim of the current study was to 1) determine if this bias is replicated under different viewing conditions, and if so, 2) to better understand the source of the phenomenon. To this end we first replicated our previous study. We then show that the convexity bias was not driven by unreliable stereoscopic cues in low illumination, but instead depended on the presence of the shading itself. We did so by varying the availability of binocular disparity by (i) only showing half of the surface binocularly or (ii) presenting the full surface to one eye and half of the surface to the other. The convexity bias only overrides stereopsis when it defines a smooth coherent surface with intense shading. Importantly, our observers possessed normal stereoacuity, yet 50% of them used an ambiguous shading cue to judge terrain. Under impoverished viewing, this could lead to potentially dangerous errors during locomotion.
15:50SD&A-340
Stereoscopic radiography: New possibilities in the digital era using low cost, existing technology, Boris Starosta, none (US) [view abstract]
We present several stereoscopic 3D radiographs, obtained in a clinical setting using a technique requiring minimal operator training and no new technology. Reviewing known perceptual advantages in stereoscopic imaging, we argue the benefits for diagnosis in orthopedics, rheumatology, oncology and related fields. These benefits acrue with the marginal additional cost of capturing just two or three supplementary radiographs using the proposed method.Presently, computed tomography (CT) scanning is standard for obtaining 3D imagery. We discuss relative advantages of stereoscopic radiography over this more resource-intensive technology in imaging resolution, cost, availability, and radiation dose. Further discussion will describe obstacles and challenges likely to be encountered in clinical implementation of our technique, to be mitigated through targeted training of clinicians and technicians.Further research is needed to explore and empirically validate the potential value of this technique. We hope to pave the way for more accessible and cost-effective 3D imaging solutions, potentially enhancing diagnostic capabilities in resource-constrained settings.
16:10SD&A-341
User experience and intent to adopt VR across levels of immersion: A case study of the flight simulation game Elite Dangerous, Aleshia Hayes, University of North Texas (US); Maxwell Fowler, University of Illinois Champagne Urbana (US) [view abstract]
Many questions span industry and academia about the value and viability of Virtual Reality (VR). The cost and discomfort of current VR headsets leave many people wondering if Virtual Reality is worth the investment. The empirical study described in this discourse examined levels of immersion, reported realism, and presence reported by users of different consumer available immersive technologies, tradeoffs to attaining immersion, and users' intention to adopt VR after experiencing the technologies. The researchers used Elite Dangerous, a space flight simulator game optimized for both VR and flat screen condition of the research. The study reported here explored the research question: do users reported a difference in levels of immersion, realism, and presence impacted by a VR device versus a flat monitor display?Participants noted intrusiveness, discomfort, controls being difficult to learn, and difficulty seeing in the VR condition. This diminished user satisfaction could be a barrier to anticipated benefits of VR, which highlights exigency for VR User Centered Design (UCD). Participants who experienced the flat screen experience first and VR headset second were significantly more likely to report an intent to adopt VR than those who only experienced the VR condition. This could lead to research on the impact of juxtaposition of new technology with existing technologies on user perception and the intent to adopt.
16:30SD&A-342
Sensory mechanisms underlying cybersickness, Douglas Gill, FlightSafety International (US) [view abstract]
Conventional cybersickness analyses largely take an outside-in approach, i.e. analyzing use cases and symptoms or reductively analyzing hypothesized causal elements. This work takes an inside-out perspective, wherein the natural operation of senses which interface to XR devices is examined and is then compared to the demands placed upon them by those devices. The analysis identifies 5 interacting clusters of sensory mismatch and/or limitation inherent to today's devices. Combined, these 5 clusters constitute a novel holistic synthesis of mechanisms underlying the phenomena of cybersickness. The mechanistic understanding provides the basis for a substantial, well informed research agenda.
17:10SD&A-343
Effects of stereoscopic representations in sublime experiences induced by immersive VR, Yoshihiro Banchi, Waseda University (Japan); Taisei Tsukahara, Waseda University (Japan); Tomohiro Ishizu, Kansai University (Japan); Takashi Kawai, Waseda University (Japan) [view abstract]
The concept of the sublime, which refers to the human emotion experienced when encountering vastness, fear, or ambiguity, has long been a theme in aesthetics. This study investigates the visual conditions that evoke feelings of sublimity using virtual reality (VR) environments. Based on previous research, we created sublime content and had participants observe it under conditions of wide and narrow field of view (FOV), as well as 2D and 3D visuals. We collected both subjective evaluations and physiological data from the participants. The results indicated that a wide FOV enhanced the sense of sublimity and comfort. Gaze fixation data showed that under the conditions of wide FOV and 3D visuals, participants exhibited higher levels of engagement, supporting the effect of the sublime experience in VR environments. This suggests that wide FOV and stereoscopic representations may be a useful tool for amplifying feelings of sublimity.
WEDNESDAY 5 FEBRUARY 2025
XR for Urban Design & Social Applications
Session Chair: Sharad Sharma, University of North Texas
09:00 - 10:30
Grand Peninsula D
09:30SD&A-344
Re-envisioning Paris landmarks - VR used to evaluate and judge architectural design competitions, Kevin Gilson, WSP (US) [view abstract]
In advance of the 2024 Olympics the City of Paris was looking to enhance the visitor experience and improve safety around many of its cultural landmarks. The City arranged several design competitions for redesign of the environs around the landmarks, including the Eiffel Tower and Notre Dame Cathedral. The challenge was for the City and it's stakeholders to evaluate the design entries and make an informed and fair decision on the chosen designer. Historically design competition entries have been artistic and conceptual, and very difficult to interpret equally and objectively. The City reached out to Autodesk, Inc. who is an industry leader in developing 3D infrastructure design and visualization tools. The WSP Visualization Group partnered with Autodesk, Inc. to develop an accurate, realistic, and immersive 3D model of the sites around the Eiffel Tower and Notre Dame. The team captured 3D LiDAR and photographic data for the site which was used to develop the 3D model with accurate terrain, building locations, and vegetation reflecting the existing condition. The WSP/Autodesk Team worked directly with the design competitors for each site to develop 3D models of the different design proposals and incorporate them into the overall site models in a consistent and uniform way. The models were developed in a realistic and immersive VR environment so that stakeholders could explore the sites and compare the design alternatives directly from multiple viewpoints and key site locations. HMD presentations were provided to the judging staff for the competitions along with the designer's presentations. After a designer was selected the 3D VR models were then made available with desktop and HMD displays at public events and venues for visitors to see and experience the different designs in context.
10:30 – 11:00 Coffee Break
History & Future of Immersive Technologies
Session Chair: Takashi Kawai, Waseda University
10:50 - 12:10
Grand Peninsula D
10:50SD&A-335
Collaborative spatial streaming: real-time auto-calibrating system for multi-device dynamic 3D capture, Tyler Bell, University of Iowa (US) [view abstract]
Multi-device capture systems for volumetric 3D reconstruction are becoming increasingly common but typically require precise, pre-computed calibration of all devices in the system. This calibration process is critical but cumbersome, as any movement of a device necessitates a complete recalibration. Additionally, mobile devices are increasingly being used to capture 3D data, making the generation of 3D content more accessible. However, using these mobile devices for dynamic volumetric reconstruction is challenging due to their handheld nature and susceptibility to movement. To address this limitation, we introduce Collaborative Spatial Streaming, a novel platform that enables real-time auto-calibration for 3D data capture and transmission from multiple mobile devices (e.g., iPhones). Our platform's flexible calibration is continuously estimated such that data from each local device can be wirelessly transmitted and integrated into a composite 3D reconstruction for each frame. The dynamic, composite 3D scene can then be viewed by remotely located immersive audiences (e.g., augmented reality [AR], virtual reality [VR] headsets) and other devices (e.g., desktop computers, data recording and processing servers). Collaborative Spatial Streaming simplifies the setup of a multi-device 3D reconstruction system and delivers 3D reconstructions suitable for spatial computing devices, enabling advanced applications in telepresence, performance capture, remote robotics, and more.
11:10SD&A-336
Active 3D flat panel displays: A new implementation of an old idea, Michael Weissman, none (US); Peter Giokaris, none (US) [view abstract]
We have developed a new approach to an old technique for viewing stereoscopic 3D imagery on computer monitors or TVs: the "active" (or "frame-sequential" or "time-sequential") method. We will discuss the need for this approach and its advantages and disadvantages. We will review some of its history, from CRTs (where it worked very well) to DLP projectors (where it also works well) to Liquid-Crystal Displays (where it only works under very limited circumstances). Today, new fast flat-panel technologies, such as OLED and micro-LED, have been developed. We will show that, with some careful considerations, the active method also works very well with the new OLED flat panels. We have also developed a "universal" method for synchronizing the display to active ("shutter") glasses. A demo will be provided in the Demo Session.
11:30SD&A-337
The rise and fall of SENSIO - Lessons for the next wave of consumer 3D, Nicholas Routhier (Canada) [view abstract]
From 1998 to 2016, SENSIO stood as a trailblazer and industry leader in digital 3D entertainment technologies. Founded by passionate young entrepreneurs, the company aimed to democratize the 3D experience on the consumer market. Throughout its 18-year journey, SENSIO pushed the boundaries of the industry, achieving several notable "firsts"�such as releasing the first Hollywood 3D movie on DVD, powering up the first stereoscopic 3D console game, and enabling the first live 3D event in cinemas. Its innovative technologies, products, and services were integrated into millions of devices from global giants like SAMSUNG, Vizio, LG, and Panasonic.However, by 2016, with the decline of 3DTVs and diminishing audiences in 3D theaters, SENSIO ceased operations, marking the end of the latest wave of 3D in the consumer market.In this talk, Nicholas Routhier, former co-founder of SENSIO and current co-founder of CubicSpace, will revisit SENSIO's story, walking through the five key phases of its history. He will provide an exclusive insider's perspective on the rise and fall of the last 3D wave. With the resurgence of spatial computing and glasses-free 3D displays, join him to uncover invaluable lessons that could help make the next 3D wave a breakthrough that endures.
15:00 – 15:30 Coffee Break
Stereoscopic Vision
Session Chair: Eleanor OKeefe, KBR
15:30 - 17:30
Grand Peninsula D
15:30SD&A-339
Convexity biases in stereoscopically viewed ground terrain, Brittney Hartle, York University (Canada); Robert Allison, York University (Canada); Laurie Wilcox, York University (Canada) [view abstract]
Judging the �lay of the land' during locomotion relies on the integration of an array of perceptual and motor cues. We demonstrated that stereopsis plays a substantial role in discriminating surface perturbations of ground terrain; however, observers were often biased towards perceiving convex surfaces when shading cues were highly salient. The aim of the current study was to 1) determine if this bias is replicated under different viewing conditions, and if so, 2) to better understand the source of the phenomenon. To this end we first replicated our previous study. We then show that the convexity bias was not driven by unreliable stereoscopic cues in low illumination, but instead depended on the presence of the shading itself. We did so by varying the availability of binocular disparity by (i) only showing half of the surface binocularly or (ii) presenting the full surface to one eye and half of the surface to the other. The convexity bias only overrides stereopsis when it defines a smooth coherent surface with intense shading. Importantly, our observers possessed normal stereoacuity, yet 50% of them used an ambiguous shading cue to judge terrain. Under impoverished viewing, this could lead to potentially dangerous errors during locomotion.
15:50SD&A-340
Stereoscopic radiography: New possibilities in the digital era using low cost, existing technology, Boris Starosta, none (US) [view abstract]
We present several stereoscopic 3D radiographs, obtained in a clinical setting using a technique requiring minimal operator training and no new technology. Reviewing known perceptual advantages in stereoscopic imaging, we argue the benefits for diagnosis in orthopedics, rheumatology, oncology and related fields. These benefits acrue with the marginal additional cost of capturing just two or three supplementary radiographs using the proposed method.Presently, computed tomography (CT) scanning is standard for obtaining 3D imagery. We discuss relative advantages of stereoscopic radiography over this more resource-intensive technology in imaging resolution, cost, availability, and radiation dose. Further discussion will describe obstacles and challenges likely to be encountered in clinical implementation of our technique, to be mitigated through targeted training of clinicians and technicians.Further research is needed to explore and empirically validate the potential value of this technique. We hope to pave the way for more accessible and cost-effective 3D imaging solutions, potentially enhancing diagnostic capabilities in resource-constrained settings.
16:10SD&A-341
User experience and intent to adopt VR across levels of immersion: A case study of the flight simulation game Elite Dangerous, Aleshia Hayes, University of North Texas (US) [view abstract]
Many questions span industry and academia about the value and viability of Virtual Reality (VR). The cost and discomfort of current VR headsets leave many people wondering if Virtual Reality is worth the investment. The empirical study described in this discourse examined levels of immersion, reported realism, and presence reported by users of different consumer available immersive technologies, tradeoffs to attaining immersion, and users' intention to adopt VR after experiencing the technologies. The researchers used Elite Dangerous, a space flight simulator game optimized for both VR and flat screen condition of the research. The study reported here explored the research question: do users reported a difference in levels of immersion, realism, and presence impacted by a VR device versus a flat monitor display?Participants noted intrusiveness, discomfort, controls being difficult to learn, and difficulty seeing in the VR condition. This diminished user satisfaction could be a barrier to anticipated benefits of VR, which highlights exigency for VR User Centered Design (UCD). Participants who experienced the flat screen experience first and VR headset second were significantly more likely to report an intent to adopt VR than those who only experienced the VR condition. This could lead to research on the impact of juxtaposition of new technology with existing technologies on user perception and the intent to adopt.
16:30SD&A-342
Sensory mechanisms underlying cybersickness, Douglas Gill, FlightSafety International (US) [view abstract]
Conventional cybersickness analyses largely take an outside-in approach, i.e. analyzing use cases and symptoms or reductively analyzing hypothesized causal elements. This work takes an inside-out perspective, wherein the natural operation of senses which interface to XR devices is examined and is then compared to the demands placed upon them by those devices. The analysis identifies 5 interacting clusters of sensory mismatch and/or limitation inherent to today's devices. Combined, these 5 clusters constitute a novel holistic synthesis of mechanisms underlying the phenomena of cybersickness. The mechanistic understanding provides the basis for a substantial, well informed research agenda.
17:10SD&A-343
Effects of stereoscopic representations in sublime experiences induced by immersive VR, Yoshihiro Banchi, Waseda University (Japan); Taisei Tsukahara, Waseda University (Japan); Tomohiro Ishizu, Kansai University (Japan); Takashi Kawai, Waseda University (Japan) [view abstract]
The concept of the sublime, which refers to the human emotion experienced when encountering vastness, fear, or ambiguity, has long been a theme in aesthetics. This study investigates the visual conditions that evoke feelings of sublimity using virtual reality (VR) environments. Based on previous research, we created sublime content and had participants observe it under conditions of wide and narrow field of view (FOV), as well as 2D and 3D visuals. We collected both subjective evaluations and physiological data from the participants. The results indicated that a wide FOV enhanced the sense of sublimity and comfort. Gaze fixation data showed that under the conditions of wide FOV and 3D visuals, participants exhibited higher levels of engagement, supporting the effect of the sublime experience in VR environments. This suggests that wide FOV and stereoscopic representations may be a useful tool for amplifying feelings of sublimity.
WEDNESDAY 5 FEBRUARY 2025
XR for Urban Design & Social Applications
Session Chair: Sharad Sharma, University of North Texas
09:00 - 10:30
Grand Peninsula D
09:30SD&A-344
Re-envisioning Paris landmarks - VR used to evaluate and judge architectural design competitions, Kevin Gilson, WSP (US) [view abstract]
In advance of the 2024 Olympics the City of Paris was looking to enhance the visitor experience and improve safety around many of its cultural landmarks. The City arranged several design competitions for redesign of the environs around the landmarks, including the Eiffel Tower and Notre Dame Cathedral. The challenge was for the City and it's stakeholders to evaluate the design entries and make an informed and fair decision on the chosen designer. Historically design competition entries have been artistic and conceptual, and very difficult to interpret equally and objectively. The City reached out to Autodesk, Inc. who is an industry leader in developing 3D infrastructure design and visualization tools. The WSP Visualization Group partnered with Autodesk, Inc. to develop an accurate, realistic, and immersive 3D model of the sites around the Eiffel Tower and Notre Dame. The team captured 3D LiDAR and photographic data for the site which was used to develop the 3D model with accurate terrain, building locations, and vegetation reflecting the existing condition. The WSP/Autodesk Team worked directly with the design competitors for each site to develop 3D models of the different design proposals and incorporate them into the overall site models in a consistent and uniform way. The models were developed in a realistic and immersive VR environment so that stakeholders could explore the sites and compare the design alternatives directly from multiple viewpoints and key site locations. HMD presentations were provided to the judging staff for the competitions along with the designer's presentations. After a designer was selected the 3D VR models were then made available with desktop and HMD displays at public events and venues for visitors to see and experience the different designs in context.