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post-carbon
post-carbon
978-988-78917-7-2
caadria 22
CAADRIA 2022
POST CARBON
VOLUME ONE
Proceedings of the 27th
International Conference on
Computer-Aided Architectural
Design Research in Asia
(CAADRIA 2022)
EDITED BY
Jeroen van Ameijde
The Chinese University of Hong Kong
Nicole Gardner
University of New South Wales
Hyung Hoon Hyun
Hanyang University
Dan Luo
University of Queensland
Urvi Sheth
CEPT University
VOLUME ONE
Proceedings of the 27th International Conference on Computer-Aided
Architectural Design Research in Asia (CAADRIA 2022)
Volume 1
Edited by
Jeroen van Ameijde
The Chinese University of Hong Kong
Nicole Gardner
University of New South Wales
Kyung Hoon Hyun
Hanyang University
Dan Luo
University of Queensland
Urvi Sheth
CEPT University
Post-Carbon
27th International Conference on Computer-Aided Architectural Design
Research in Asia (CAADRIA 2022)
9-15 April 2022
Hosted By:
University of New South Wales
The University of Sydney
University of Technology Sydney
©2022 All rights reserved and published by
The Association for Computer-Aided Architectural Design Research in Asia
(CAADRIA), Hong Kong
ISBN: 978-988-78917-7-2
ISSN: 2710-4257 (print)
2710-4265 (online)
Printed in Sydney, Australia
GIS-BASED EDUCATIONAL GAME THROUGH LOW-COST VIRTUAL
TOUR EXPERIENCE
Khan Game
GUZDEN VARINLIOGLU1, SEPEHR VAEZ AFSHAR2, SARVIN
ESHAGHI3, ÖZGÜN BALABAN4, TAKEHIKO NAGAKURA5
1Department of Architecture, Izmir University of Economics; Massa-
chusetts Institute of Technology
2,3M.Sc. Landscape Architecture, Istanbul Technical University
4Delft University of Technology, The Netherlands
5Department of Architecture, Massachusetts Institute of Technology
1guzden@mit.edu, 0000-0002-4417-6097
2afshar19@itu.edu.tr, 0000-0001-8380-2348
3eshaghi18@itu.edu.tr, 0000-0003-1754-7355
4ozgunbalaban@gmail.com, 0000-0002-7270-2058
5takehiko@mit.edu.com, 0000-0002-3219-3930
Abstract. The pandemic brought new norms and techniques of
pedagogical strategies in formal education. The synchronous/
asynchronous video streaming brought an emphasis on virtual and
augmented realities, which are rapidly replacing textbooks as the main
medium for learning and teaching. This transformation requires more
extensive online and interactive content with simpler user interfaces.
The aim of this study is to report on the design, implementation, and
testing of a game based on low-cost and user-friendly content for digital
cultural heritage. In this project, a game aimed at inclusive and
equitable education was developed using 360° images of the targeted
architectural heritage geographically distributed in a pilot site. We
promote lifelong learning opportunities for all, following the SDG4,
aiming for quality education with the easy-to-use online platform and
easy access to immersive education through mobile platforms. Towards
a post-carbon future without the need for travel, computational design
methods such as using 360° videos and images in combination with
virtual reality (VR) headsets allow a low-cost approach to remotely
experiencing cultural heritage. We propose developing and testing a
GIS-based educational game using a low-cost 360° virtual tour of
architectural heritage, more specifically, caravanserais of Anatolia.
Keywords. Digital Heritage; 360° Images; Educational Games;
Caravanserais; SDG 4.
POST-CARBON, Proceedings of the 27th International Conference of the Association for Computer-
Aided Architectural Design Research in Asia (CAADRIA) 2022 , Volume 1, 69-78. © 2022 and published
by the Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong.
G. VARINLIOGLU ET AL.
1. Introduction
The academic year of 2020 inevitably brought changes and challenges in formal
education due to the pandemic. Consequently, the studies on online education in
design, still experiential to date, explore both teaching and learning methods. The
process of learning through experience, or "learning through reflection on doing," aka
experiential learning, is an important part of architectural education. It has become a
great opportunity to rethink conventional pedagogical methods and current pandemic
experiments, using emerging technologies, and transporting instruction outside of the
digital classroom (Estrina et al., 2021). The availability of synchronous/asynchronous
video streaming brought an emphasis on virtual and augmented realities, which are
rapidly replacing textbooks as the main medium for learning and teaching. However,
the current multiplicity and complexity of online and interactive content created a need
for simpler user interfaces.
This study aims to describe the design, implementation, and testing of a game based
on low-cost and user-friendly content for digital cultural heritage. The game described
in this study was developed using 360° images of the targeted architectural heritage,
which are geographically distributed in a pilot site. This educational game aims to
ensure inclusive and equitable education and promote lifelong learning opportunities
for all. As stated by the United Nations' sustainable development goals, among the
visions for 2030 are increasing gender equality, and providing equal access to all levels
of education to vulnerable persons with disabilities, indigenous people, and children of
both genders (UN, 2015). Thus, we assume that the aim of digital learning and teaching
tools should be to ensure affordable and quality university education (SDG4). We
promote lifelong learning opportunities for all through the easy-to-use online platform
and easy access to immersive education through mobile platforms. The original
contribution of this study is at two levels: visualisation and immersion. Immersion in
interactive technologies is defined as the perception of a presence in the non-physical
world; presence refers to the user's reaction to immersion (Slater, 2003). Immersion
may be achieved by visual aspects, auditory images, and also narrative.
Digital Heritage, as defined by UNESCO (2009), "is made up of computer-based
materials of enduring value that should be kept for future generations." The cultural
heritage has a concrete value derived from its authenticity, as well as its digital
interpretation, which has its own value (Aydin and Schnabel, 2015). Serious games
(SG) -videogames designed for educational objectives- on cultural heritage, as one of
many interpretations, are a new tool aiming to increase engagement with cultural
content. Mortara et al. (2014, 318) argue that "the design process of an SG differs from
the one of a common e-learning application as an intrinsic balance between learning
and gaming should be found." Thus, the learning content has a key role, as the game
interactions and mechanics cannot be regarded as a separate layer, but rather, are highly
dependent on the heritage content.
Games have much in common with the architectural design process, including the
emphasis of graphical representations, the dominance of a narrative, and possibilities
of collaborative teamwork (Di Mascio, 2017). Similarly, Zarzycki (2016) highlights
the similarity between building and video game design because, besides the visual
quality, both are based on narrative. Current video games are complex and costly by
nature, and this is leading scholars to explore simpler, cost-effective tools and methods.
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360° videos together with images and virtual reality (VR) headsets are a low-cost way
of remotely experiencing cultural heritage. In contrast to previous attempts at using
360° videos, we propose developing and testing a GIS-based educational game using
a low-cost 360° virtual tour of architectural heritage, more specifically, the
caravanserais of Anatolia.
The main aim of the Digital Caravanserai Project is to create a geolocated virtual
experience of the caravanserais, allowing the exploration of Anatolian networks of the
past. Using this heritage data, we aim to address the following three questions: How
can we extend the notion of a relational database into a more holistic geolocated
system? How can 360° photographic images be used as an immersive experience using
simple and low-cost systems? How can the photogrammetric reality and game
elements create an authentic self? The project consists of three stages. In the first, we
collected data on caravanserais in architectural literature and also studied the heritage
objects in the field, both to experience their geographical context and to collect images
with 360° cameras. Second, through these collected panoramic images, we designed
and implemented both virtual tours and an educational game using 3dvista Virtual Tour
PRO software. Finally, we designed the game to encourage users to visit all the virtual
sites and interact with the content, providing exhaustive coverage on the material. The
game involves puzzle-solving using the learned information, which further guarantees
the users attend to the content. The user interaction is monitored and stored in online
platforms, allowing assessment of the interaction rate of all elements, which can be
used to improve later versions of the game.
2. Immersion and Visualisation in Heritage Game
Game design is about the design and aesthetics of creating a game for entertainment,
while educational or serious game design focuses specifically on supporting learning
on certain subjects, skills, etc. Whether educational or not, game mechanics are
constraints of rules and feedback loops intended to produce enjoyable gameplay.
Gameplay is the way in which players interact with a game. Educational games and
game-based learning have become prominent tools in delivering an innovative learning
experience. The tradition of learning by doing was conceived of by Bauhaus, and an
extension of this conception is learning by playing. This is the focus of an increasing
number of studies on emerging technologies, which move instruction beyond the
digital classroom (Estrina et al., 2021). Before the pandemic, a few futuristic studies
had already emerged on the integration of architectural education and immersive
technologies, such as Augmented Reality (AR), Virtual Reality (VR), Mixed Reality
(MR), but the online teaching era brought many more explorations of the interaction
potential of live tools. Also, at the same time, there was an expansion of interaction
from simple chatting to more attention-demanding tools, such as games.
Within the focus on heritage educational games, two definitions need to be
clarified: immersion and visualisation. Immersion in interactive technologies is defined
as the perception of the presence in the non-physical world. Presence is the user's
reaction to immersion (Slater, 2003). Immersion may be achieved by visual aspects,
auditory images, and also narrative; visualisation, on the other hand, is any technique
for creating images to communicate a message. The use of immersive visualisation and
more natural interaction increases the sense of presence, creating an enhanced game
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experience.
This paper is a combined effort incorporating two text-based games designed and
implemented by the authors: one on Iranian caravanserais (Eshaghi et al., 2021) and
another on Anatolian caravanserais (Vaez Afshar et al., 2021). Also, further research
has been published covering other heritage sites: a mobile platform game (Varinlioglu
et al., 2017), a virtual reality application (Varinlioglu and Kasali, 2018), and an
augmented reality application (Varinlioglu and Halici, 2019). Drawing on the authors'
expertise both in the subject of caravanserais and in various immersion and
visualization methods, this paper focuses on two components of the Khan Game: GIS-
based and 360° immersive experiences.
Maps have always been an integral component of games, as the contextual layer
for a gaming experience, (Tomaszewski et al., 2018: 369). An early use of geographic
information was the strategy board game Risk and its video game version in 1988,
based on a political map of the world. Similarly, Microsoft Flight Simulator 2.0 in 1984
portrays planet Earth with varying degrees of detail, both major landmarks and
populous cities, and with a sparse landscape. The Stanford Geospatial Network Model
of the Roman World (ORBIS, 2013) portrays the Roman world, not as it would have
physically appeared from space, but captures environmental constraints that govern the
flows of people, goods, and information. By simulating movement along the principal
routes of the Roman network, the main navigable rivers, and sea routes, this interactive
model reconstructs the duration and financial cost of travel in antiquity. Although
produced as a commercial game, this interactive model is a unique educational source
for understanding pre-modern society.
The VR game design combines the audience's live experience, using 360°
panorama shooting, 3D modelling, virtual reality, and intelligent question-answering
technology. Some studies suggest simpler methods and tools such as 360° videos,
excluding even the headsets to prevent distraction by virtual reality (Alamäki et al.,
2021). 360° videos and panoramic photos have only recently been introduced in the
heritage sector, for example, Argyriou et al. 2020 produced a set of design tasks and
techniques to exploit immersion in cultural heritage tour applications. Thus, our case
study, as a solution to the high-cost content creation for VR, is designed to apply low-
cost immersion and visualisation techniques to the phenomenon of caravanserais, the
waypoints along the Silk Roads.
The Silk Roads were a network of routes connecting the ancient societies of East,
Central, and Western Asia with the Mediterranean (Frankopan, 2015). This network
represents one of the world's preeminent long-distance communication networks,
covering the Anatolian landscape through caravan routes (UNESCO 2013).
ICOMOS's thematic study on Silk Roads covers the east-west extent as far as Antioch
- modern-day Antakya. Despite the importance of Anatolia in this respect, there is still
doubt over Turkey's full involvement in this project, and thus over the inclusion of the
Silk Road network in Anatolia (Williams 2014).
A caravanserai, caravan palace, or han in Turkish, is a roadside inn for travellers to
rest during long journeys. These are deliberately positioned within a day's journey
apart, on average of every 30-40 kilometres. According to the Project Old World Trade
Routes (OWTRAD), there are 154 Seljuk caravanserais on the route from Denizli to
Doğubeyazıt, Turkey (Ciolek, 1999). Independent studies on Anatolian urban
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networks include an in-depth but accessible research project by Branning (2019) on the
Turkish khans, and studies on Anatolian caravanserais (Erdmann, 1961; İlter, 1969;
Özergin, 1965; Tuncer, 2007). In contrast to these more general studies, the specific
focus of the current study will be the caravanserais of Southern Anatolia during the
Anatolian Seljuk State. Our pilot location is Antalya, the intersection of eight caravan
roads, and thus, a prominent focus in the discovery of ancient Anatolian networks
(Bakkal, 2019).
3. Game Design, Implementation, Playtesting, and Web Analytics
The design and development of Khan Game involved an interdisciplinary team of
designers, architectural historians, and engineers collaborating to explore the
possibilities offered by an easy-to-use virtual tour platform of the software, e.g., 3dvista
Virtual Tour PRO. Through the modification of 360° images of existing caravanserais,
the game encourages the user to solve puzzles based on historical facts in a game
scenario. In the game, the avatar, a digital archaeologist, explores the geographically
distributed caravanserais, each of which has a unique puzzle game that involves finding
missing pieces of an inscription or other missing objects. These caravanserais are
presented in an online 3D map of Anatolia, and by clicking a particular one, users can
access its puzzle.
Figure 1. Methodology of the Khan Game design
There were three steps to developing the game. First, information about the selected
architectural heritage, i.e., Caravanserais of Antalya, was accessed from the existing
academic literature, consisting of publications, book chapters, and unpublished
research, as well as notes and blogs of travellers, tourist guides, and local people (Fig.
1). We compiled this unstructured data into a spreadsheet, allowing us to test the
validity of information on the location of the caravanserais, the interpretations of its
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characteristics, date of construction, and other relevant aspects. The location data was
compiled on the Google Earth platform, both to geolocate the data and allow
comparisons within this collaborative geodatabase. The next step was the field studies,
where the geo-data was reassessed to resolve any conflicting information. Finally, for
each caravanserai, 360° images were carefully collected using low-budget devices,
e.g., Go Pro max. This visual data was further used in virtual tours of the caravanserais.
Second, to achieve a distinctive visual language, the 360° images were compiled,
and used in the design and implementation of a web-based virtual tour. For this stage,
we used a commercial 3D virtual tour tool, i.e., 3dvista Virtual Tour PRO. This tool,
which enables the creation of interactive virtual tours using 360° images, and is
compatible with virtual reality devices and smart devices running Web browsers. Easy
to publish web-based tours require no reviewing time, unlike in AppStore or Google
Play. 3dvista also allows adding information boxes, media, URLs, etc. These
capabilities allow the user to increase the content's immersiveness and interactivity for
the target audience (Nemtinov et al. 2020). E-learning functions, which have been
recently incorporated in the software, enabled generating educational virtual tours.
However, while gaming is not the main aim of the software, the presence of question
or quiz cards, integrated scoring, and the reporting system allows the creation of an
entertaining treasure hunt game. Additionally, while studies in the literature are
available using the virtual tour-making capability of the 3dvista (Perdana et al., 2019),
there seems to be little research exploiting this opportunity for game development.
Hence, this novel technology is worthy of deeper consideration.
Figure 2. Visual language and layers of the game
For the game's visual language, first, we edited the 360° photos to create an
atmosphere of fantasy, while sharpening the focus of the architectural heritage objects
and sites. Artistic experimentation resulted in 360° images composed of three layers -
a layer of "heritage", displaying the currently existing architectural values of
caravanserais, a layer of "landscape", displaying the actual context of caravanserais,
and a layer of "fiction", narrating the scenario (Fig. 2). The team created sprite sheets
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of the characters and artefacts, as well as typefaces for the visual language components
of the game. The content of these tours was provided through drone and 360° videos
to enhance the immersion, with the addition of maps, photos, and other information
collected through the literature review.
The final step was incorporating a narrative in order to develop the gameplay. A
story involving a female archaeologist was verbally and visually transcribed, set in one
of the distinctive locations of the ancient site. Through intuitive movements, the player
directly navigates the realm of immersive space t in these 360° settings, allowing
interaction with the architectural settings. Further, through the short quizzes and puzzle
games, the user is able to absorb the historical information in an attractive and easy-to-
digest form. The inspiration for the game's story came from real information about the
Alarahan, one of the caravanserais on the list. According to Branning (2019), the upper
part of the inscription at the top of the entry door of the Alarahan is missing. This
information inspired us to create a story in which, during her journey, an archaeologist,
the game's main character, encounters a thief in a caravanserai stealing a part of an
inscription. The main goal of the game's scenario is to find the thief, but in the search,
the archaeologist experiences a mysterious journey, seeking hidden objects, answering
questions, and finding clues to the correct route through the caravanserai. The player
first encounters the clues to find the answer to questions during the gameplay, then
needs to retain that content to progress to the next part of the game, and achieve a
certain score within a time limit. Hence, the game's structure encourages d players to
retain the provided information (Fig. 3). After completing the first level of the game in
the first caravanserai, the archaeologist follows the thief's footprints through other
caravanserais. The game map includes caravanserais from the Seljuk period located on
the Silk Roads, and was created in the GIS using geographical locations identified
during the data gathering stage.
Figure 3. Screenshot of the game
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Khan game is a web-based game hosted on a Linux server. When the users enter
the game, a 3D map opens up displaying the terrain and the caravanserais
(https://makingindigital.com/khangame/). This main map is implemented using
Mapbox GL JS map service, a JavaScript-based map library. With the use of Mapbox,
it is possible to create a web-based map, and it is also possible to link data from GIS to
show up on the map. We imported the caravanserais' database location data in the game
map in the form of the GeoJSON file. Moreover, it is possible to adapt the maps with
the use of Mapbox Studio. Links to the other caravanserai games developed with
3dvista are visible on the info windows for each caravanserai. Within each game, users
interact with puzzles and gain points when they find the objects but lose health points
if they exceed the time limit. This data on the users' interaction with the puzzles, scores,
health points, and user information is stored in a firebase server.
We conducted a playtest session with 30 students in November 2021 using different
mediums, such as computers and mobiles. Their interactions were recorded with
Google Analytics and a script. Google Analytics records all user clicks along with other
anonymous user information, such as location and the browser used. The script stores
the scores of each user originating from the different caravanserai games in a database.
These features make it possible to track users to determine which parts of the
caravanserais are less visited and which puzzles are more difficult.
4. Conclusion
In this era, there is a growing need for quality content creation in the heritage field,
and to meet this need, 360° images and videos provide a cost-efficient immersive
experience. To maximise its learning potential, this immersive content requires game
elements to be incorporated. This research showcases a methodology for creating
serious games in the heritage field. Developing a game requires expertise in
programming along with many different types of software. This method allows the
creation of games in a time- and cost-efficient way. However, the game is limited to
the functions of 3dvista, and extra work is needed, for example, to connect the game to
a database to store scores, which involves editing the game's script files. The currently
available software functions in the e-learning part were not originally designed
specifically for game development, but can, if used imaginatively, enable the user to
create immersive and educational gameplay. In conclusion, the contribution of this
study is its exploration of the intersection of game studies and heritage supported by a
multidisciplinary group of professionals, without the need for popular gaming engines.
The immersiveness of the 360° images is the key to maintaining a high level of
engagement. As future work, we aim to shift the focus from the architectural buildings
to the intangible heritage. While tangible heritage is still visible to people and is
touchable, to achieve a more holistic approach to the exploration of the era of Anatolian
Seljuks, we aim to gather data on their lifestyles, including their clothing, tools,
mechanical devices, and other material details, as well as data on the landscape. These
data are more abstract, and thus in more danger being lost. This valuable information
holds within it the spirit of ancient times, and deserves to be in the spotlight of current
studies.
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Acknowledgements
The field studies on Antalya caravanserais are supported by Koç University Suna &
İnan Kıraç Research Center for Mediterranean Civilizations, project number AKMED
2021/P.1050. The 3dvista Virtual Tour PRO software and GoPro Max hardware has
been partially supported by Izmir University of Economics, Scientific Research
Commission, "Outdoor Augmented Reality for Alternative Art Spaces", contract no:
BAP 2019_08. We would like to thank Dr. Pınar Yoldaş, from UCSD for joining the
field studies, and Hilal Kaleli for illustrations of game characters, Emre Kılıçkaya, Efe
Şür, and Ezgi Yılmaz for testing gameplay.
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