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Introduction and Theory |Advent and Progression of the Gaming Engine

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Introduction and Theory |Advent and Progression of the Gaming Engine

each responsible for various functionalities such as Audio, Input, Physics, Rendering, Artificial Intelligence, Core, Scripting, and Networking.[7] (Fig. 1.3.7) This allows game engines to utilize various file types in the form of assets within the same software, ranging from “texture bitmaps, 3D mesh data, animations, audio clips, collision and physics data, game world layouts, and [more].”[8] Because of this diverse file type utilization, as well as their modularity and reusability, they can be used in multiple disciplines, “[operating] at the junction of creative and engineering practices.”[9] Michael Lewis and Jeffrey Jacobson outline this nicely in their article “Game Engines in Scientific Research”:

“The cost of developing ever more realistic simulations has grown so huge that even game developers can no longer rely on recouping their entire investment from a single game. This has led to the emergence of game engines—modular simulation code—written for a specific game but general enough to be used for a family of similar games. This separability of function from content is what now allows game code to be repurposed for scientific research.”[10]

While this “separability of function” allows game engines to be utilized for scientific research—and much more—this aspect is especially potent within architectural design. This is evident when considering a video game production pipeline:

“Video game production is a complex process involving different technical and artistic expertise as well as a diverse range of technologies. Several tools can be used at the stage of prototyping (Manker, 2012). 2D software like Photoshop is used by 2D artists to create textures (from photographs sometimes), 3D software is used to produce 3D models to be put into the game environment at a later stage. 3D animation software (3DS Max, Maya, Blender) involves keyframing (an animation technique based on smooth transition of movements) or motion capture data. Surfacing tools like Mudbox (Autodesk) enable character artists to sculpt very fine details into the 3D models.”[11]

From this, the amount of software that is utilized within the game design industry becomes apparent. What is more noteworthy, however, is how much of this software is already utilized within the architectural visualization industry. It is clear that transferable skills are present; therefore, the utilization of game engines in architecture becomes even more plausible. Software such as Photoshop, 3DS Max, and Maya are already used extensively in current architectural visualization pipelines as modeling and rendering tools, thus

“An abstract model of how an engine might be put together”

By Björn Nilson and Martin Söderberg, “Game Engine Architecture,” (May 26, 2007): 3-6, accessed December 19, 2019, http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.459.9537&rep=rep1&type=pdf.