Documente Academic
Documente Profesional
Documente Cultură
Faculty of Architecture
Forgotten Industrial Heritage in
Institute of Constructions in Virtual Reality—Case Study: Old
Architecture and Engineering
Structures
Power Plant in Piešt’any, Slovakia
Slovak University of Technology in
Bratislava
Námestie slobody 19, 812 45
Bratislava, Slovak Republic
Abstract
Michal Ganobjak
Faculty of Architecture An industrial heritage provides one of the most important records of urban develop-
Institute of History and Theory of ment and of the progress of human civilization in the last two centuries. Monumental
Architecture and Monument industrial buildings reflect extraordinary technical and economic development and pro-
Restoration gress in science and technology. Even after the termination of their original function,
Slovak University of Technology in industrial heritage buildings and equipment, along with their architecture, still partici-
Bratislava (STU BA) pate in a significant way in the atmosphere of many cities. The research process in our
Námestie slobody 19, 812 45 study used the methods of industrial archaeology. In combination with the identified
Bratislava, Slovak Republic preserved and still valuable parts of the building and preserved original equipment and
and archival plans, it was possible to reconstruct the hypothetical virtual appearance of the
Department of Civil and historical monument. For this purpose, the article examines the case study: virtual real-
Environmental Engineering ity reconstruction of the Old Power Plant in the city of Piešt’any. The contribution of a
Massachusetts Institute of brief experience in the VR scene of Machinery Hall in the exhibition with its high
Technology immersion, located in the historical environment of the original Machinery Hall, had an
77 Massachusetts Avenue educational effect (understanding by experience), bringing out the look and functional-
Cambridge, MA 02139 ity of the lost industrial heritage. This effect appears to be an appropriate and meaning-
ful use of VR in practice.
1 Introduction
Virtual reality (VR) is one of the most progressive and evolving segments
in information technology. VR is a digital environment simulating reality
through a headset by generating visual and acoustic incentives. Such a simula-
tion can create a perception of the real world (e.g., by a virtualized city or archi-
tecture of the present), or it can vary considerably (e.g., city/architecture of the
future, a city in the past, fictional places, etc.).
Our research group at the Faculty of Architecture STU BA systematically
addresses the issue of virtual reality and keeps looking for practical applications
in a number of areas. The potential of virtual and augmented reality was identi-
fied and verified by researchers in the presentation of a defunct monument
building, specifically an industrial heritage (see Figure 1). ‘‘The concept of
monuments was extended from the prevailing historical or artistic significance
to the next meanings, giving attention to the less important architectural exam-
ples, important in terms of social or technological concepts. These events
helped industrial heritage’’ (TICCIH, 2003). Industrial monuments are still
Presence, Vol. 26, No. 4, Fall 2017, 355–365
doi:10.1162/PRES_a_00309
ª 2018 by the Massachusetts Institute of Technology *Correspondence to vladimirhain@gmail.com.
Figure 1. (a) The Machinery Hall of the power plant is currently used for various educational and cultural
purposes (photo: Pat’o Safko). (b) Picture of the virtual Machinery Hall with machine equipment—diesel
engines and generators at the first stage of the power plant in 1906 after start of operation (3D model:
O. Virág, M. Ganobjak, V. Hain, 2015).
highly regarded by society. By raising awareness about representing power plant owners (ZSE a.s., energy
the industrial heritage, it can help society to approach distribution company). It was by means of this multidis-
heritage with protection in mind. ciplinary cooperation and the Methodological Heritage
Inventory that it was possible to identify and methodo-
2 Methodology logically describe all the valuable technical elements and
most of the construction details (Hain, 2014), to obtain
The article is a review and a case study of VR exact measurements and dimensions, as well as to iden-
implementation. The case study is the Old Power Plant tify used material and technologies from the existing
in Piešt’any, a Slovak industrial heritage. In the process, building. For processing the acquired data for producing
industrial archaeology methods were used (Bartošová, virtual reality, the work of architects, graphic designers,
2015). Based on archival research, historical documents and IT programmers was required.
were obtained from the National State Mining Archives The building of the Power Plant in Piešt’any
(a standardized project from the period of the Austro- (Slovakia), formerly working by burning unrefined heavy
Hungarian Empire) (see Figure 2 [a]), and from the oil, was built in 1906 as one of the first of its kind in the
National Archive in Trnava (documents about used tech- former Austro-Hungarian Empire. Expanding demands
nical equipment). for electricity generation in the Piešt’any area led the
Creating credible virtual reconstructions required plant to be expanded in a short time in 1936; it provided
interdisciplinary cooperation comprising experts from electricity generation until the end of World War II.
several fields. For acquisition of data: from the Slovak Since 1945, when the generation of power was ended,
University of Technology (STU BA)—electricians, me- the electricity units were taken away. After that, the
chanical engineers, chemical engineers (infrastructure of power plant secured distribution, respectively energy
fuel flows) (see Figure 4), heritage methodologists from transformation, until the 1990s. The original equipment
the National Monuments Board who helped to identify of the Machinery Hall, diesel engines and generators,
historical items in the Inventorization (Král’ová & has not been preserved.
Kubica, 2011) of valuable monument elements, archi- Today, after conversion for new purposes, the build-
tects of a refurbishment/restoration proposal, former ing is used as a technical museum of the hands-on
employees from the electricity sector, and a group science type, which in an interactive way educates the
Hain and Ganobjak 357
Figure 2. (a) Standardized proposal for a power plant from Budapest, 1902—longitudinal section. (b) Undated postcard with the
Machinery Hall of the power plant. (c) Archival documents for extension of distribution tower 1924. (d) Original archival proposal for place-
ment of machines—cross-section 1906. (e) Plan for placement of power plant machines from 1906 and 1936, used for VR scene of the
power plant in 1906. Red rectangle—Machinery Hall in VR. Right: - Floor plan for extension of the power plant, envisioned for next stage of
VR Machinery Hall development, with two more engines and the exterior, with mineral oil tanks. (f) Blueprint—floor plan of Machinery Hall
ending with extension of Machinery Hall, plan 1936 (rotated clockwise, from the National Archive in Trnava).
public in the area of energy and electricity in particular. cca 1000 photographs captured with Camera Canon
The Machinery Hall, which originally had three diesel Eos 20D and Nikon D7000, which were processed by
engines and three generators, now serves as a multipur- photogrammetric processes lasting 3 days. The resulting
pose hall for exhibitions. The Hall occasionally serves for model does not satisfy visual criteria (see Figure 3[b])
exhibits with an educational purpose, explaining the for a functional VR scene because of missing details and
physical phenomena of so-called ‘‘science toys’’ and sci- disturbing reflections caused by interior lighting and the
ence shows or cultural events. Thanks to the preserved reflective black painting of the scanned diesel engines.
archival documents (see Figure 2) about the original A more exact 3D model, made to achieve realistic poly-
state of the Machinery Hall, hypothetical appearance of gonization (see Figure 5[a, b, c]) of the historic diesel
high accuracy was replicated through virtual reality (see engine according to a plan by (see Figure 2[d, e]) Bieli-
Figures 1 and 9). kova, Archive Trnava was created thereafter. Based on an
The materiality metals (brass–yellow copper ele- analysis of the documents and information with interdis-
ments), colors, and reflectivity of surfaces and textures, ciplinary cooperation at STU, the historic appearance
were parametrically set out in 3D texturing programs. and hypothetical scene of the power plant Machinery
Proportions and details have been analogically derived Hall was hypothesized and presented via VR, later on
from preserved and functional historic diesel engines being fully animated. The animated VR scene was
from the Technical Museum in Vienna through photo- accompanied by the sound taken from functional diesel
grammetry. For initial scanning of every engine we used engines of the same category. The original sound of the
358 PRESENCE: VOLUME 26, NUMBER 4
Figure 3. (a) Historical diesel engine from Vienna Technical Museum. (b) and (c) Photogrammetry via software
CaptureReality and AGISoft (photo and 3D model: Ondrej Virág, 2016).
Figure 5. (a) Computerized 3D model (photogrammetry) of the existing historical diesel engine from the Technical
Museum in Vienna. (b) New model according to original plans and with details analogically inspired by a digital model from
photogrammetry, other details from Gázmotorok. Technical book on diesel engines as inspiration material (Jasloviczky, 1921).
(c) New high polygonal model optimization for VR headset—decreasing the number of polygons for real-time computation.
engine was cut from YouTube videos with similar diesel via Adobe Premiere Pro and AGIsoft. This model serves
motors by a microphone and camera (Canon Eos 20D as a 1:1 reference from which it was possible to analogi-
and Nikon D7000) with microphone (after permission cally capture the proportions of the details (see Figure 3)
was granted in 2014) and then optimized and purified and draw them in a new precise 3D model.
Hain and Ganobjak 359
to mediating facts from the world of science and tech- scene, the visitor can view the virtual historical scene
nology history (see Figures 7, 9). placed in same location) and the related synchronization
of body and head movement enhance the immersion
(recognition) effect by personal experience (Bustillo,
4.1 Practical Benefits of the Results
Alaguero, Miguel, Saiz, & Iglesias, 2015). The multisen-
The project was of a research and innovation char- sory experience provided at the scene of the Power Plant
acter: it arose from interactive applications with educa- Piešt’any involves multiple senses (sight, hearing, smell,
tional heritage content (Mendoza, Baldiris, & Fabregat, touch), applies the principles of universal design (multi-
2015). Although the output of the project is intended to sensory perception, easy operation, etc.), and allows for
create a science popularization center at the Piešt’any exhibition versatility and its usability by different catego-
Power Plant, its results and process have a reproducible ries of visitors.
nature: they can be used for supporting educational Within the year of the Slovak Republic’s European
activities in the electricity and energy sectors, in other Union Presidency, the VR scene was presented on an
educational institutions, or in schools. It is designed to international level at a number of events in Bratislava
render the VR scene in several 360-degree views which during the second half of 2016 (see Figure 8). The cre-
will be accessible online through internet connection, ated Machinery Hall (see Figure 9) VR scene attempts to
which makes it possible to visit the virtual tour by minimize extreme negative emotion situations related to
tablet/smartphone/PC so as to secure greater audience space (Riva et al., 2007). Virtual reality does not create
outreach. The average visitor spent approximately two visual or audio impulses in these areas and tries to elimi-
minutes with a headset in the VR scene. Spherical 360- nate the undesirable effects of space that could evoke
degree views of the VR scene will allow faster on-site boundary negative emotions (space-related phobias).
processing when a larger audience is visiting the exhibi- The goal of the VR exhibition is to be universally appro-
tion. Outputs create the conditions for dissemination priate, including for people who suffer from such space-
of the project results to remote areas of Slovakia, related phobias. The virtual environment to a bearable
inspiring its repeatability for other areas of science and degree evokes sensations by visual and audio experience,
technology. with the authentic sounds of diesel engines inducing an
Raising awareness about the industrial heritage can industrial atmosphere.
bring a better understanding of its significance within
the wider heritage group (Král’ová, 2007). The created 5 Discussion
VR scene provides (see Figure 9) a rapid educational
impact (understanding through experiencing) as com- The research raises questions about usefulness,
pared to a video or model format. Visitors of the VR relevance, and controversy, and there are also entertain-
scene independently spent around 2 minutes on average ing VR applications. Numerous psychologists also sug-
to understand the VR scene. The possibility of synchro- gest that inappropriately applied virtual reality presents a
nizing the movement (see Figure 7) and the sound sen- risk. Cut off from the real world and creating a brain fal-
sations while walking and looking around in a VR envi- lacy by optical illusion is in the long term unnatural for
ronment delivered personal, interactive, self-guided the brain, with a plethora of noticeable negative effects.
experiences and memories. There are reported cases of space-related fear, confusion
The VR scene enables the creation of new exhibition while in VR, dizziness, motion sickness, disorientation in
attractions with virtually unlimited dimensions through VR and temporarily after (Cobb, Nichols, Ramsey, &
this overlapping of the virtual and the real, while also Wilson, 1999; Sharples, Cobb, Moody, & Wilson, 2008),
saving actual physical space in the exhibition area. This is as well as vomiting after dizziness. Isolation from the real
an undeniably enriching exposure. The ‘‘overlap’’ of the world with filtering of visual/audio stimuli represents
virtual and real worlds (after seeing the physical historical potential danger from the physical world—crashes, falls,
362 PRESENCE: VOLUME 26, NUMBER 4
Figure 8. (a) Presentation of the virtual Power Plant Piešt’any project at the Night of Architecture event
and (b) within the Pan-European Conference Digital Assembly, where the contemporaneity of virtual reality
and the quality of its processing as a tool at the Faculty of Architecture was appreciated by visitors, professio-
nal IT journalists, and Peter Pellegrini, the SR (then) Vice-Prime Minister for Innovation.
Figure 9. The results of virtual presentation in Unreal Engine 4, with realistic outputs—visual and
audio-animated VR experience (3D model, BAT engineering 2015, VR processing, Virág, 2016). Project
of reconstruction of Old Power Plant Piešt’any: Ganobjak, Hain, Paško, and Zacharová (2014).
and impacts with physical obstacles. In the case study, various controversial effects of VR use (Sharples et al.,
the use of VR as a practical tool made it possible, by 2008), this example of VR use may be considered mean-
means of a short presentation, to educate the public ingful and beneficial in practice (Guttentag, 2010). The
about a heritage that no longer exists. Even with the virtual visit to the industrial space teleports the viewer
Hain and Ganobjak 363
Figure 10. (a) Created VR scene—hypothesis of historical status—allowing visitors to ‘‘teleport’’ to the
history of the year 1906 in order to experience the original industrial heritage during the time of its functional-
ity. It creates a personal experience and thus mediates direct contact with a nonexistent cultural industrial
heritage, raises the awareness of its value, and thereby creates the conditions for the future relationship nec-
essary to protect its remains. (b) Virtual reality allows virtual movement without physical movement, with low
effort experience. For disabled people, the VR scene can be experienced from the eye level of the
pedestrian (higher horizon), and visitors in general can feel giant or tiny by scaling the VR model and shifting
the horizon along a z-axis (position of eyes).
into a virtual scene where it is also still possible to look 360-degree viewpoints and with the added value of
around in a traditional manner. Virtual reality allows sound. However, to achieve the desired effect and qual-
handicapped people to perform virtual movements ity, it is necessary to use a large number of software pro-
without physical effort to places/through places (see grams, for example, Unreal Engine combining model,
Figure 10) where it would otherwise be impossible textures, lighting, and scene animation. Agisoft and
to go. RealityCapture were used for photogrammetry, 3D scans
The same virtual scene is perceptible from the perspec- calculated from acquired photographs. Xnormal was
tive of a pedestrian. It was possible to change the percep- used for ‘‘baking’’ of a normal map from a high polygo-
tion of users and adjust their feeling of size. The visitor is nal to a low polygonal model. A Substance Painter was
like a giant and the scene is only a scaled model whose used ‘‘to bake’’ normal maps that do not work in X
horizons were moved along a z-axis according to the normal and also for the design of materials. Adobe
level of the visitor’s eyes, while it gives disabled people in Photoshop was used for editing of textures and creating
wheelchairs the experience of a pedestrian or where the new specific materials. Quixel plugin for Photoshop was
visitor is virtually small and the space appears gigantic used for textures and materials for specific objects.
in size. Adobe Premiere Pro provided video editing. 3D Coat
The application possibilities of virtual reality are wide, was used for cleaning mistakes from polygonal models
and the future will doubtless open up more opportuni- following photogrammetry, textures, and retopology of
ties (see Figure 10) which are a challenge for research exterior building scans acquired by photogrammetry.
teams, not only VR presentations but VR space design Marmoset Toolbag was used for viewer control of model
and its verification. In architecture, art, design, in the mesh and material settings. UV Layout was used for
construction of machinery and buildings, as well as many UV texture mapping of models.
other fields, virtual reality brings a significant enrichment The opportunity to experience a future, fictional world
of interactive, animated, real-time visualization, with (Razuvalova & Nizamutdinov, 2015), to take a walk in
364 PRESENCE: VOLUME 26, NUMBER 4
the past (see Figure 9), or to virtually teleport to other industry sector. A brief experience in the VR scene of
points (see Figure 10) of interest is opened up through Machinery Hall of the Power Plant Piešt’any in an exhi-
VR presentations. Visual perception is supported with bition with a neutral level of emotionality but with high
realistic materials and textures. Experience in a VR scene immersion in a historical environment provides an effi-
installed in the original Machinery Hall is supported by cient educational effect (understanding of the past by
the real in-situ scent of heavy oil, which it is still possible personal experience) on the look and functionality of the
to smell in the existing premises. Virtual reality with lost industrial heritage and appears as an appropriate and
synchronized movement (see Figure 7) enables from meaningful use of VR.
anywhere, even from outside Piešt’any, a walk in the his-
toric yet nonexistent interior of the Machinery Hall of
Acknowledgments
1906. Synchronized movement in virtual and physical
reality (see Figure 7) is compelling and confirms the
This project has been supported by public funds provided by
meaningful use of virtual reality as a vehicle for present-
the Slovak Arts Council FPU 16-362-03415 Elektrárenstvo na
ing the defunct cultural (industrial) heritage against the
Slovensku interaktı́vne—Neformálne interaktı́vne vzdelávanie
backdrop of a direct comparison of the contemporary
približujúce problematiku priemyselného kultúrneho dedičstva
and original state.
and KEGA 038STU-4/2017 From the laws of nature to tech-
The absence of a virtual avatar body in the VR as
nology by experience—A project of informal interactive learning
reported by visitors was a strange experience eliciting
of pupils and students encouraging interest in technical fields.
feelings of disorientation and confusion, although it is
disputable if the presence of an avatar body in VR would
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