Modern Virtual Environments: An Architectural Perspective, Second Life and Beyond.
by Ted Mikulski

 

   The following is a combination of ideas and concepts that I have brought together as a collection of what I have learned from virtual space.  It is simply theory, theory that has attempted to be as objective as possible.  There are no real ‘sources’ as I have simply been having a conversation with my keyboard.  If there is any overlap between my writing and another it is purely coincidental and was not my intention.  My hope is to open your eyes to the vastness of our present virtual worlds and how much has been done in the past few years.  As stated later in the work, it is mainly a conversation about Second Life but many theories apply to metaverse technology as a whole.  Basically, if you have never heard of a metaverse, this may not be for you.  This work is not intended for those who have never heard of the present virtual worlds.  Instead it is pertinent for those who are on the cusp of the virtual lifestyle.  The work inherently pertains to architecture, and I hope it will spark your ideas into what space is and how it has changed.  Enjoy.

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   Since man has needed shelter, architecture has become an entity of protection and beauty.  Built form has been a staple in the human society in the shape of comfort and power.  Time has a way of evolving the most rudimentary of life forms and the concept of architecture is no exception.  In today’s modern era, a new generation of architectural representation has arisen:  one that defies all need for architecture in the first place.  The perversity of a new dimension of architecture defies rational conception behind the original purpose.  Whereas nature once stood as the canvas, a new man-made institution is taking shape.  We stand in a digital era, ruled by educated coders, absent from what mankind has always known.  Humanity is now only a sub-level of the extension of what we perceive to be human.  Therefore, architecture must adapt to new laws, and new consumers.  I speak only of new digital environments, canvases created by humans for artificial entities. 
          We live in exciting times.  A new generation of information, social interaction, and design is evolving.  Three-dimensional environments are being created as extensions of a person, controlling an avatar.  The avatar will react as the user reacts, much like a puppet on a string.  Therefore, emotions and feelings can still be aroused through the avatar.  The human being behind this representation is still very much human, just in a different environment.  Reality is something that we perceive everyday; the world in front of us is our reality.  Since the world is inherently subjective, virtual reality can then start to blend with what humans have always seen as reality.
          This work is not only a look into the architecture of virtual realities, but also a study about how this new form of architecture came about.  It is less of a history lesson and more of a theoretical approach to an ever-changing extension of humanism.  I feel as though we should not hide from this technological breakthrough but embrace it as our future.  We are on the cusp of a future only dreamed of by blockbuster science-fiction movies.  The evolution of humanity is actually less human.  We are beginning to extend ourselves into a different medium.  This scares many but intrigues the bold few.  Those that embrace this new technology are the ones that will be able to evolve with it. 
          This book is less of an argument and rather a look into the theory and future of digital architecture.  Works like Snow Crash are extremely well written tales of what the future may hold, but this is not the direction nor intention of this writing.  Instead, I would like to focus on the now, taking examples from what has been accomplished and applying them to a set theory.  The consequent architecture of digital worlds has its foundation in what it serves, much like in the real world.  This may seem like a simple case study into the minds of its creators, but it is so much more than that.  Architecture is reaching a new stratum of existing and the reasons behind its creations are now so much different than ever before. 

          There have been several books published about digital theory as it applies to architecture, but with new technologies ever-present, it is now possible to take real examples and dissect them.  I feel as though the alpha versions of what is to come are already present.  Digital environments such as Second Life, There.com, and online games like World of Warcraft are new worlds with new rules behind them.  Digital environments are a pull away from the senses that we use to experience our world.  We use visual screens to represent what our actions are.  Typing, clicking and moving the mouse are actions that all have effects on the mainframe that controls them.  Therefore, the new digital environment is one that is directly shaped and molded to a human’s actions and thought process. 
    In order to begin a discussion on virtual architecture, one must understand the new client that requires such design.  Avatars, or visual representations, are the new form of client in the digital era.  Avatars can range from two-dimensional images to three-dimensional fully automated characters.    Yet before we can discuss virtual characters or digital extensions of ourselves, one must first explore the source.  The source of course is our own human existence.  Without understanding it, we cannot have an intellectual conversation about digital beings.  With age, you begin to question your existence on this planet.  With others passing away around you, you begin to wonder about the universal question, why.  Regardless of one’s beliefs about his own morality, it is interesting to note that the world around us is designed.  Nature itself is designed, whether it is through natural selection or a divine creator.  We create and design the world around us on the universal palette of nature.  So where do virtual worlds come into play?  I think it’s obvious that the next step in the evolution of environment is not a step at all.  It is actually a path:  a path that leads away from this stepping creationism.  This path is intellectual at its core and stems from our perception of what technology can accomplish.  The virtual environment is completely subjective, created from either a collection of minds or an individual. 
          Now that we know that virtual environments are purely subjective it is easy to apply theory to them.  Of course, I see the world subjectively and therefore can develop my own thoughts and feelings towards a virtual palette.  Here, I will apply Darwin’s theory of evolution towards the virtual environment.  I am a believer in natural selection and competition.  On the web, this couldn’t be truer.  At the moment two-dimensional platforms are the buzz for information sharing and business.  Web browsers such as Internet Explorer and FireFox allow an individual to experience information in a universal manner.  Text and images, movies and graphics draw your attention much like television does.  So if the current Internet is the present future of television, what is the evolving future of the Internet?  Perhaps it is virtual worlds, and perhaps not.  At present, theorists of technology wonder if taking our human senses and extending them into a different reality is the future.  I feel as though being human will never go out of style.  As much as virtual platforms evolve, the feeling of being alive in the present is the greatest gift we have. 

          Virtual environments are something to be thought about and built upon.  Since being a designer encompasses so much, it is difficult to understand the true cause and effect of what you design.  In the virtual realm, the effect of your design is far less substantial than a design in a natural environment.  Your artificial creation of information or avatar experience is actually a novelty.  Most professional designers would be appalled at having their work called a novelty, no matter in which reality it is designed.  However, virtual realities are just that,  novelties.  So why is so much importance placed on something artificial, something that without electricity doesn’t even exist?  Of course the simple answer to that question is monetary gain.  The old term ‘money makes the world go round’ is absolutely true.  Since human beings cannot survive without food, shelter and other anomalies, which are purchased with money, money therefore invariably is the most important aspect in our lives.  Many argue against this theory but that inevitably falls prey to the simple argument that we cannot survive without it in today’s modern world. 
          Modern man is far more advanced than his even recent human generations.  The ideas we now have about social interaction and information have changed radically with technological development.  No longer are we forced to learn only what is present in our given geographical location, but we now can access a wealth of information in an instant.  Just about every rational question can now be answered with a click of a button.  I find it interesting that the phrase ‘architect’ is now heavily associated with digital coding and web development.  The phrase architect has always had a subjective connotation behind its definition.  Most would think of the terms ‘designer’ and ‘creator’ while contemplating the word.  The ladder is the phase by which an architect should directly be linked.  ‘Creator’ is a phrase most often used by theologians when describing a higher being, but what is most fascinating is a human’s ability to create.  What deserves the most respect on a technological point of view is not the coding of a website or the creation of a design in a virtual environment, but rather the palette that has been created.   This is not to minimize one’s designs or insights but rather to praise the creation of the virtual environments that have been created. 
          Second Life is an innovative virtual environment.  It is run with real money for virtual goods and services.  Second Life is the true beginning of virtual reality.  It is the current example of the origin for the future of virtual worlds.  Second Life is an example of the mimicry of human perception. What we perceive around us, we believe as reality.  Likewise, Second Life has taken that concept and applied it to its world.  It evokes the feeling of being in a ‘natural’ environment.  The ground the avatar walks on is green, and the sky is blue or black for the night.  The environment has artificial plants and topical alterations like hills and valleys.  What is most interesting is its ability to alter this perception into one that is more beneficial for the mindset of a human.  For example, a major mode of transportation in Second Life is teleporting and flying.  Both concepts are sought after almost religiously by humans since we witnessed a bird take flight.  Imagine a world, in which, just by thinking about it, you could end up thousands of miles away to take a one-hour lunch break in Fiji.  With Second Life, you can perceive this to be real, at least for your digital representation.  So on a minimal scale, Second Life is becoming an oasis for human imagination. 

          Second Life is only an example of the vast push for the extension of humanism.  A side note of virtual reality is now three-dimensional gaming, which is at the forefront of human imagination as well.  Let’s remember that the origin of these extensions is human-based and that someone had to design these realities, unlike the natural world.  So where does this leave us, and how does it apply to architecture?  After all, architecture’s intended purpose is to provide shelter and comfort for human beings.  Virtual architecture in that sense is certainly unnecessary and vaguely pointless.  Thank goodness architecture has evolved.  Through the eyes of innovative architects, built form has taken on symbolism only rivaled by great poetry.  Beauty and evolution now are driving forces behind great architecture.  Beauty and evolution are the exact reasons for creation in virtual environments.  Some may say that client need and money truly drives architecture, but they should be trumped by what architecture is accomplishing.  If we take that road of architectural theory, we come to the conclusion that architecture is and will always be a subjective profession in which beauty and evolution are ideals of an individual and not a whole. 

          Significant theory regarding the virtual environment will have to remain as objective as possible.  That being said, the objectiveness to which I speak is taking into consideration the rules and laws of a digital environment and instituting measures of architectural thought.  Therefore, as you read on, make sure to develop your own thoughts on how architecture can be designed and created in virtual environments.  This time in history is one that takes human existence, and everything that goes with it, into a new reality.  Instead of cowering at the thought that architecture will simply be a novelty, a Las Vegas of our everyday lives if you will, embrace it as a new opportunity.  This architectural opportunity is unmatched by any means of materiality breakthrough or construction method revolution sweeping through the real world.  Virtual architecture is the imagination’s ability to break apart from one’s perceived reality into what can only be thought of as an extension of humanism.  

        A friend of mine who I met in the virtual world of Second Life wrote a short piece called “Rendering Space” for this work with his own thoughts and ideas of virtual architecture.  His name is Lester Clark, an architect and designer of PRP Architects and avid Second Lifer.  Through his eyes, he offers a fascinating look into modern virtual architecture. 

 “I’m trying to explain ‘it’ – I’ve yet to classify ‘it’ in my head - to someone who knows nothing of this world. I suppose I’m finding it hard to classify because it’s still so fluid, it’s changing by the minute and you can see it evolving into something more mature, more powerful.

The ‘it’ to which I refer, is the emergence of virtual architecture, structures of all shapes and sizes, formed and shaped by the intriguing characters that inhabit a variety of virtual worlds. My mind drifts, I see a catwalk parade of outlandish clothing and accessories, of stick thin models that exist in what seems like a parallel universe, and it seems similar somehow… the garments that no one will ever really wear, the work that went into these items being worn for that brief moment on the catwalks of Paris and Rome. What I find similar, is that what you see on those catwalks – when you look and think - is more than just an outfit; it’s a display of creativity and that’s what it’s supposed to be, the hat that no one will really wear is amazing purely and simply because it’s the product of a creative mind, it’s outlandish, it defies convention, it exists as a momentary sculpture and it inspires clothing manufacturers and designers worldwide to create something similar that contains just a little of the spark they’ve just seen but this time its about something that can be sold and used by real people, leading real lives.

The virtual architects that inhabit these worlds are visionaries, they are the emerging prophets of a new age. The structures and spaces they create, the hours of work they put into them, the new ways they find to express what they have in their minds – it’s intriguing, but it’s fascinating nonetheless. And I’m not talking about the people that create a box with a roof, I’m talking about the ones who truly understand the medium in which they create; actually it’s more than an understanding, it’s a compulsion, a drive to create something different, something exciting, something that doesn’t conform to any laws of physics, some virtual place that both exists and doesn’t exist, all at the same time.

The architects and designers that create these virtual structures give us the chance to experience pure creativity again, an art being lost to some of the real life architects today. There was a time when architects were seen as visionaries, where their input was paramount to creating something amazing, something special. Today, sadly, many architects have simply become part of the process, their involvement and input is controlled by many other factors, budget constraints and the need for profit mean that many of the structures that start out as exciting designs, are value engineered by assorted parties to become dull. The finest architects – both real and virtual, those with the passion that you can literally feel when you meet them, are amazing people, they value life and how we live it, they strive to create nice places to live and work, they should be admired and encouraged because they exist solely to impact positively on our lives.

I think sometimes that we have lost the ability to rejoice in architecture, to value it as a fundamental sensory addition to our real everyday world. There was a time where even the gates to a building were works of art, where the columns, door handles, chairs, light switches and ceilings were objects of awe. I worry that today’s reality means that most of us grow up constantly traveling through the all too familiar faceless urban landscapes where ‘there is no there, there’ and that this has dulled our senses somehow and muted our desire for greatness. As someone connected to architecture, I wonder sometimes about what our generation will leave for our children, will the children of the future still hark back to the structures created by Le Corbusier, Mr. Wright or Mies or the Bauhaus? Will we have contributed enough, apart from the iconic, to add to this timeless collection? And is it not conceivable that maybe some of our legacies on an architectural level will ultimately exist as structures in a virtual world? History has given us so many architectural gems, and yes, of course, a few are still being created, but we live in a modern world now, in a world of MMC and planners, and codes for sustainable houses, of thermal loss calculations and developers boxes. I accept that these rules, these conditions, these practices all have their place – but within these boundaries, within the limits of what is deemed architecturally acceptable in this ‘tick box’ world, it’s inevitable that the architect’s compulsion to bring into being something special, will find another route.

That compulsion is being played out, in part, with these virtual structures, in the virtual worlds that will be become part of all of our lives over the next few years. Ask yourself whether in 5 years time we will be scrolling up and down 2D web pages when you go online for information? I guarantee that you will find yourself in a virtual world sooner or later - whether you like it or not, the technology that drives these worlds will inevitably weave itself into the very fabric of our lives.

The responsibility for how these virtual worlds are rendered, rests squarely on the shoulders of the designers and architects that populate them, and in a very real sense are helping to ‘create’ them. In one sense, virtual architecture and its disciples must push at the boundaries of what is possible in order to create structures that amaze and inspire. Like the Paris catwalk creators, the challenge here for the virtual architect is to continually learn how to find innovative ways to render space. Where there exists such a new world with only imagination and technology as your limiting factors, then you have a duty to create what is, in this real world, quite impossible. You have a duty to learn how to use the medium of the virtual world to shape your designs and deny all rules and conventions that are attached to structures and buildings in the real world. You are sculptors, tasked with bringing into being radical and visionary works of virtual art.

In another sense, virtual architecture must remain aware of the fact that residential communities are being formed and the halls of virtual corporate business are being laid. In these scenarios, one must remain true to the function of the space/place being created, if it’s a retail environment then avatars must be able to shop with ease, way finding must be intuitive, product selection and trial should be easy and available instantly. The architectural response to these questions is critically important – as a corporate you will only ever truly distinguish yourself in the virtual world by a reliance and insistence upon outstanding creative design, both in exterior form as well as interior design. Corporate institutions need to function effectively in the virtual world, but they need to enter these worlds with an acceptance of a new world order, they need to strive to maximize the client experience on a visual and creative level at all times.

For residential structures it becomes much more an issue of personal taste, if we are to provide a welcome to all those who visit these worlds, we cannot demand of them that they live in a particular style of residence. I see no scenario where creating a traditional family home would be the best answer to the question, and the true architects of this virtual world don’t typically engage in this type of building, nonetheless it may well be suitable for the person who creates it. In my opinion it doesn’t have a lasting place in the future and practice of virtual architecture, but it does surely have a place in the virtual world as someone’s home, should they choose it to be so.

The youth of today’s mature economies are growing up in a world where digital communication and high speed internet access are their ‘norms’.  Not being able to get online for today’s youth would be unthinkable, they expect it, but more importantly to note, they accept it as part of their life. We are a generation that has been given the opportunity to create, and spend time in, fast emerging new worlds. We all have a choice as to what we use these worlds for and how we see these worlds develop. The scope for architectural inspiration, for cross cultural communication, for educators, for information sharing and globally collaborative events is immense, its an opportunity that we, collectively, should not squander.

When we move to populate another planet – which I have no doubt that we will – we will have the very same opportunity again, maybe what we learn about ourselves with the formation of these virtual worlds will inform our decisions about how to tackle building a new real world from scratch. Who knows, if we could learn, in this world, to accept and appreciate the differences between ourselves and our neighbors, in the same way as we are learning to in the virtual ones, we may even find that this real world becomes a nicer place to live in.”

Lester speaks about virtual architecture as it should be, as ever changing.  Virtual architecture’s overall theme is theory that is ever evolving. It has taken thousands of years to develop successful theory for real-world architecture, and with virtual architecture being as young as it is, we are only beginning to carve out a theoretical stamp.  Lester also spoke about taking lessons from different realities and applying them in a universal manner.  Since thinking universally is no longer limited to earth or even reality, the concept is so much broader than could ever be conceived but 200 years ago.  Therefore, taking into account the opportunities to create and expand our minds, one can draw positive enmities from virtual space and apply them to our real environment.  I think one of the most important themes of the piece is an ability to think of architecture as no longer limited by geography.  Universal architecture can be accessed by anyone, anywhere, in seconds.  Since it is through computing technology, only certain senses will be a part of the experience, and one’s real world settings still very much apply.  Virtual architecture then becomes architecture within architecture:  space witnessed and experienced through a window by an individual looking outside of the realm of reality.  Much like looking through a pane of glass, computer monitors offer us a glimpse into the outside world, a world with endless possibilities.

It is my intention to delve into the reasoning behind virtual environments.  Without reason the purpose of architectural theory is then lost.  Even before the creation of virtual environments we must look at a more all-encompassing aspect to the evolution behind these new realities.  These realities have a direct link to Maslow and human need.  Maslow formulated a theory about humans and what drives us a species.  It is considered one of the best examples of answering the question of why we are here.  The thought behind Maslow’s theory was that human beings meet basic needs, and once those are reached, they strive to satisfy other needs.  There is a correlation between human want and human need: they satisfy us as a species.  Both want and need are necessities of human life. 
          If we take this into consideration, we must realize that as we and, consequently, our technology evolve, our needs and wants dramatically change.  The needs and wants of an individual from 1820 are drastically different from an individual almost 200 years later in the same geographical location.  In this modern age we can speak instantly with anyone in the world.  We can even get a satellite image of their home free of charge.  So how does the virtual market play into the needs and wants category?  I think if Maslow were alive today he would be perplexed at the complexities of our modern age in relation to our species.  The virtual environment is a brand new spec on the timeline of human existence.  It allows for the extension of humanism without losing that which makes us what we are.  Digital extensions allow us to reach a new stratum of being and expand our global knowledge further than any resource in history.  This new ability allows us to raise the bar of what we consider wants and needs.  Those lucky enough to have Internet access know that if they want any periodical in the world, they can order it directly from an online source.  Almost anything you can conceive of is now readily available to the masses.  Yet there is a reason Maslow’s hierarchy is still extremely relevant today, even in a new reality.   Maslow’s theory held universal truths about humans and how we live.  Therefore, as long as we are still human, the theory still applies.
          Evolution is a concept that I firmly believe in.  With that being said, I also believe that humans evolve a great deal from generation to generation.  These are not physical advancements but rather mental and physiological changes that bring about the revolutions in society.  Fashion, architecture, and entertainment are the most notable changes in society caused by these evolutions.  What is most intriguing is that the evolutions behind fashion and architecture are occurring so rapidly.  Along with rapid evolution came the advancement of technologies: technologies that display our new palettes and likewise ad to the evolution of human style. 
          Many individuals seek a certain level of Maslow’s hierarchy in virtual environments.  This certainly varies from person to person, but generally one would only visit these environments out of curiosity and never return.  The fact that many return tell the tale that individuals are fulfilling a need or want through this digital medium.  Maslow’s theory states that at the very basis of human existence lie the physiological needs that a human being must have to exist.  The main needs are food, water, sex, and breathing.  Obviously this layer must be fulfilled in the real world in order for a human being to exist in the first place, never mind entering a digital environment.  The next layer is safety or security, which I also interpret as a ‘must have’ before one enters a virtual reality.  The next step up is where the line between the real world and virtual reality can begin to fade into a new reality.  The third step proposed by Maslow is love and belonging.  Many individuals today choose to go online to find love and friendship.  Whereas this may not always be healthy for a person’s over all well-being, it is interesting to note that virtual realities have a great deal to offer at this level.
          I would like to touch further on love and belonging in virtual environments.  I think it is essential to realize that these two fundamental humanistic needs are the foundation of the virtual population.  Without the ability to achieve these human needs at some level, virtual realities would not exist.  Belonging is especially important because not everyone feels accepted in society, and in fact many don’t.  Therefore, instead of being shut-in, an individual can now turn to a different medium of social interaction.  This interaction comes in the form of visual and audio expression.  Since visual and audio are essential to a real world interaction, virtual realities work as a kind of ‘basic’ or dubbed down version of live communication.  Through the Internet, many feel the need to explore ways of interacting not only to gain more friends and acquaintances but also to hold on to the ones they have.  Since geographical location is no longer of any concern, we are able to connect visually with those we care about.  Therefore, loving and belonging in the virtual environment very much affect the human being who is performing these social tasks.  They have such an effect on the individual that he or she can almost become reliant on that type of interaction.  This reliance in not purely negative, and actually stimulates social growth amongst its users. 
          The top two layers of human need as outlined by Maslow are respectively self-esteem and self-actualization. With the belonging and loving aspect in place, individuals in the virtual dimension can begin to discover more about themselves.  The more one invents and creates in virtual reality, the more sense of accomplishment sets in.  Therefore, one who begins to explore the edges of the platform can then begin to reach the highest point in the pyramid.  Now this is not to say that self-actualization can actually be achieved in a virtual world, in fact I believe that at present it is not possible.  However, it is interesting to see that the individuals that take advantage of the full spectrum of virtual reality can begin to improve their lives as a result.  If you are un-fulfilled in your real life, and you are a popular, charismatic, and creative individual in virtual reality you can begin to see how that relationship affects your real world life.  Once you begin to open up virtually, that sense of self-accomplishment and self-esteem will be able to begin to trickle back into your real life.  Maslow’s hierarchy of needs is an extremely useful example of human needs that apply universally to our species.  I believe that the pyramid would actually be quite different if Maslow saw our new-found ability to exist in a world unlike our own.   Yet without the real environment and without us being human, the virtual world would not exist, and therefore Maslow is still completely relevant.
          As I stated previously, I will be using Second Life as my prime example of the need breed of Internet interaction and virtual reality.  Avatars in Second Life abide by a different grouping of needs and wants.  I will assess the avatar as a hybrid of our humanistic selves.  Instead of the usual separation of digital place and real place, I prefer to use the extension of our existence as being profoundly connected to us and therefore it is a hybrid of our selves.  The avatar is our sensory perceived form on a digital platform.  In Second Life, an avatar is a sophisticated representation of a human being including gestures and physical alterations.  The avatar in Second Life is one that deserves to have its own hierarchy of needs.  As an extension of a human, it carries with it a deep understanding of what makes one avatar different from another, beyond physical appearance.  The hierarchy of an avatar is slightly less evolved than its biological counterpart.  Since a digital representation is far less advanced, it is only natural to adjust the needs of this new digital species.  I will be using the example of a Second Life avatar because I feel as though it is the most advanced online digital avatar created to date and is ever evolving.     
          I mean no disrespect to Abraham Maslow by altering and re-arranging his hierarchy.  I feel as though it is important to establish what drives a human being and, consequently, an avatar to existing and thriving in a virtual environment.  The new pyramid for a digital avatar in Second Life begins in the foundations of being able to exist, much like a human being.  The requirements for existing in Second Life are far different from that in the real world.  A digital avatar’s first need is an ability to access the Internet and to have a human being behind the screen operating the avatar.  Therefore, the pyramids begin to overlap a bit in the direct involvement of the human being with the existence of this digital entity.  Once an avatar has a primordial ability to exist in its given platform, the need of place is necessary.  The avatar must be able to exist not only of its own stature, but also in an environment.  Given the platform of the avatar’s existence, the need for a virtual landscape (a piece of architecture) must be present to orient the avatar.  An individual in a vacuumed space is not only nonsensical but also detrimental to the human’s ability to understand and interpret. 
          Since the basic foundations have been established to orient a person in the digital world, the next level has a direct relation to Maslow’s love and belonging.  Activities and services in the virtual realm cover anything from social interaction to architectural creation to virtual sex.  These examples of digital experience begin to draw in a user to a new level of existence, and consequently a virtual resident.  In order for an individual to feel wanted and needed in a virtual world, his or her personality, and everything that stems from it, must be accepted to some degree.  Once individuals are accepted for whom they are as  avatars, the human side of that representation begins to form an attachment to its surroundings and to the other individuals who occupy it.  Not only do activities and services spark the levels of love and belonging, but they also create a sense of place and comfort for the human behind the screen.   There is but one level above the activities and services step, and it is known as complex interaction.  Complex interaction is the avatar’s ability to stretch the limits of what the virtual realm has to offer.  Once individuals begin to ask ‘why’ and ‘why not,” their purpose in the virtual realm begins to take shape.  No longer are they relying on one reality or another, but rather they are beginning to accept that they can now have a higher level of existence in two platforms of being.  Therefore, an individual that has reached this sense of dimensional equality will begin to discover the true potential of his or her virtual self. 
          Potential is something that goes hand-in-hand with evolution.  The current digital platforms have so much potential and so much room in which to evolve that soon theory based on one platform will become obsolete.  It is my intention to not only draw theory from current platforms but also attempt to create universal digital architectural truths.  This is no easy task, but I feel as though the digital environment has evolved to a level that is worthy of theoretical understanding.  Second Life is fast becoming a three-dimensional web browser and with it an opportunity to create space for a new breed of species.  After all, a holistic definition of architecture is a profession that creates space.  The correlation between digital environments and real environments is inherently segmented.  In no way can a digital platform ever arise to parallel the significance of nature itself.  Architects, since their inception, have been designing on a single canvas.  Nature has always been the foundation of space and of being.  For the first time in history, the designer has an ability to create in a new and revolutionary environment. 
     To reiterate the point of why we create in virtual space, it is to enhance and fulfill levels of human need and want.  The digital worlds are purely extensions of us, but they cater directly to a person’s well-being.  Since one can fulfill levels of existence in virtual reality, it becomes clear that the need for architecture and the design of space is extremely important.  Just as creating shelter was the initial reason for architectural practice in the first place, shelter now takes on a whole new meaning.  As the complexities of our own existence grow, so do the developments and extensions of the architectural profession.  The issue then becomes not why to create in these digital spaces, but how to create.

        Present applications will be my best tool for explaining theories behind creating within them.  The varying degrees of three-dimensionality come in the form of being and reacting.  The first concept of being is existing with no laid out objective.  In other words, you are simply ‘living’ in the virtual world rather than completing tasks to reach a specific outcome.  Programs like this range from online worlds like the previously mentioned Second Life and There.com as well as worlds like Active Worlds, Weblo and Habbo Hotel to name a few.  There are also static virtual worlds that interact only with a single user, most notably The Sims.  These are the focus of this writing as they hold the most pull as virtual environments.  Massive multiplayer online games hold objectives for users and are more fantasy than the online realities.  They also include modern video games as tools of role-playing and fantasy exploration.  I could write extensively on both subjects of virtual interaction, but this is about the architecture created by individual designers.  Virtual realities allow others to build and shape their cascading landscape.  Role-playing worlds with objectives are restrictive in that a few elite programmers instead of a large population of interactive designers create the architecture.  Whereas I will not be entering into a discussion about role-playing games, it is important to mention them, as they are another form of virtual reality.  Virtual worlds have made architectural creation available to the masses, and with it a new generation of designers is emerging.  No longer is one restricted to real world laws and boundaries but rather only restricted by the imagination of the creators of the platform.   With technology speeds increasing and coding becoming more complex, virtual worlds are evolving into organisms.  That is not to say that they can think on their own or grow by themselves, but their organic cells are the creators and builders behind them.  The ever-evolving realities that we now face carry with them new rules of creation and design potential.  The potential of these creations is always changing and is expanding everyday.  Virtual worlds have given a generation of techno-savvy individuals endless opportunities to broaden their imaginations with architectural possibilities. 

          What is interesting is that the entire scope of architectural creation and formatting has now been drastically altered.  That is not to say that architects are completely letting go of architectural conception, but they are able to design directly in three-dimensions.  Rather than laying out a floor plan, an architect can design around himself or herself in the environment that the space will occupy.  With this new level of design capability, one can get lost in the immense scope of architectural possibility.  As it stands now there are two purposeful ways of designing in virtual environments.  One way is to directly reflect real world architecture as a way of modeling a project to be created in the real world.  This allows several possibilities of presenting a project with the representation of human scale.   It allows for a person to walk through a space with all applicable materiality and spatial sequences.  It also offers an opportunity for BIM (Building Information Modeling) exploration and allows for a deeper understanding of what the project will become.  By an avatar clicking on a wall for instance, information about materiality, thickness, height, and other information can be presented directly.  This has the potential, with further development, to allow for less construction documentation and rather a live working model of the build itself. 

          The other direction of virtual architecture is applying the building in a direct way to the avatars that occupy the world.  This means taking into consideration the fact that materiality and enclosure settings are no longer applicable to these designs.  Applied virtual architecture is the ability recognize the ins and outs of what makes a virtual world livable and applying it to a spatial exploration.  It is not the intention of drawing the build back into our real environment.  In fact, many builds created in virtual worlds should not be able to be built in a natural setting.  I feel as though this level of creation is more important then the ladder simply because virtual worlds are their own entities.  They may choose to mimic natural settings, but many leave out the fundamental laws of nature, allowing for new developments in architectural creation.  For example, in Second Life it is possible to hover a building or space without need of support from the ‘ground’.    This newfound sense of cantilever immortality is a huge step in the creation of virtual spatial organization.  The possibility of design expands beyond our given imagination. 

          I think the most important step in beginning to analyze modern virtual space is to take into consideration the new way of constructing and building these designs.  Since we design in the real world under strict principles of construction, it is of the utmost importance to understand and interpret the new ways of constructing virtually.  With the large range of building tools it is difficult to compose ideals based of off one universal platform.  As an example platform, I will use Second Life construction principles.  It is universally accepted that designing in a virtual world without gravity will hold with it inherent design principles.  Likewise, the method of construction virtually is very similar amongst present applications. 

Virtual construction is based on geometric and mathematical interfaces.  They are made up of code, rather than a natural material.  In Second Life, material is represented by a computer image, which holds with it significant applicable uses.  Construction of architecture in Second Life consists of applying geometries to the landscape and adjusting their position on a grid.  The mathematical grid established by the platform provides to the thousandth decimal of accuracy.  Likewise, the size and shape of set geometries can be fundamentally altered to the same level of precision.  Without the need for a construction team, a single focused individual can build the entire piece of architecture in a short amount of time.  By dragging geometries into the world, instant elements are created.  The basic geometries are represented in objects like spheres, square, and cones.  In Second Life, geometries are called ‘prims’ and everything in the environment is derived from singular or grouped prims.  Once you place and shape a prim, that element stays there unless moved or deleted.  It is, by itself, a static piece of entourage supporting its surroundings.

So, construction with geometries sounds a bit like real-world architecture and construction.  We use geometries to build everyday using wood, steel and glass elements.  In Second Life, everything is simply a visual mimicry of real world material.  Instead of an object having genetic properties or elemental structure, the prim is made up of code and imagery.  Whether it is static or dynamic, the imagery on the prim is what defines its material.  Even just creating a prim that is blue still holds with it inherent values and induces feelings and emotions.  What is most interesting about Second Life and many other virtual worlds is the concept of scripting elements.  Scripting allows for prims to move, to change color, and even to have a conversation with an avatar.  It is a simple example of what would be extremely complex in the real world.  It is this level of simplicity behind dynamic interaction that really allows for a new architecture. 
          The concept of interactive architecture is one that will be talked about later, but it is a foundational issue that holds weight in construction methodology.  This is where virtual realities’ true relationship to two-dimensional browsing really comes through.  Scripting allows for elements or prims in Second Life to come alive and play a bigger role in the organization of space.  Much like two-dimensional browsing allows for dynamic scripting like PHP or XHTML, virtual worlds make it easy to interact with architecture.  Scripting works in a similar fashion to coding two-dimensionally, like creating strings and arrays.  They allow for If = Then architecture to take shape, which will be discussed in its own section.  Scripting is truly the most innovative elements of virtual worlds, and many that haven’t enabled it are fast becoming a dying breed. 

Construction methodologies are very different from what we perceive to be standard in the real environment.  These differences, nonetheless, also hold inherent values of similar elements. I don’t mean to say that the method of construction is the same, but physiologically creating architecture has not changed.  In the course of human history, architecture has been theorized and transformed into beauty and deep representation. This cannot be fundamentally changed in a matter of a few years.  Digital architecture is still very much connected with real-world architecture, in that a door still acts as a door.  The difference is that architecture is no longer treated as enclosure or shelter.   The only reason to enclose is to create privacy, and the only reason for doors is to create egress.  So what works and what doesn’t?  That is not an easy question to answer.  Many say that real-world architecture must be integrated in order for a person to understand place and orientation.  Others argue that with the new tools and environment the architecture should be able to change and not look like what we perceive it to be.   I feel as though since construction methodologies have been altered, the consequential architecture must also adapt to it.  So, why have a pitched roof on a residence in a virtual world?  Rain, heating, or cooling are no longer factors.  Pitched roofing often represents housing and therefore a person is at ease knowing that they have an elegantly designed home.  Many are still on the fence about virtual architecture representing real-world design.  I feel that since construction is completely altered, that physiological feelings of pre-determined design have been trumped by innovation. 
                  

Architecture has always existed as shelter, as man’s comfortable escape from the harsh realities of nature.  In our history we created shelter in a way that suited our direct and basic needs.  As we evolved into more intelligent and complex beings, our architecture did likewise.  Virtual architecture serves no apparent purpose for existence other than as a novelty of online browsing.  Virtual architecture includes a number of elements derived from our modern complex architecture. Beauty, scale, purpose, and functionality make up the basis for virtual architecture.  Vitruvius broke down architecture into three key categories: durability, utility, and beauty.  Written in the early first century, it still is the most prominent philosophy of all time in regard to architecture.  It indeed represents the ideals and facets of timeless architecture. 
          Le Corbusier was the modern philosopher of architectural elements.  He theorized that architecture could be broken down into five universal points.  His theory consisted of elevating mass, free plan, free façade, horizontal elements, and the roof garden.  Now one can hypothesize that these elements are purely subjective and that they do not hold as much weight as Vitruvius.  Much like Vituvius, Le Corbusier became a well-accepted architecture theorist.  His thoughts of architectural concepts hold a very strong place in modern design.  The combination of Vituvius and Le Corbusier is what begins to shape virtual architecture.  Of course, when theorizing, both designers were applying theory to one entity.  One could only imagine that we would have another dimension in which to live so quickly in our species’ history.  Virtual design is a new profession, and many have just begun to theorize and hypothesize about digital points of architecture.  The fact remains that virtual reality has allowed everyone with Internet access a chance to create a lasting impression on the virtual world.  Many do not have formal architectural training at all and draw conclusions from the real world around them.  Many architects in the real world take lessons from universal theory derived from scholars like Vitruvius and Le Corbusier.  Therefore, theory must be developed for virtual worlds, if not simply to theorize about virtual design and construction but to establish laws that dictate proper virtual design.
          I am not the level of Vitruvius and Le Corbusier, but I have extensive knowledge of virtual worlds and construction. I, much like my predecessors, have analyzed and interpreted the world that encompasses the architecture.  I have developed seven principles of digital architecture that I feel directly relate to present digital architecture.  Keep in mind that these were established taking into consideration virtual worlds that allow user creation of a complex level.   It is my hope is that these ideas will have a long-standing history in modern digital design in the realms of virtual reality and virtual architecture. You will see overlap in many of these principles simply because past theory is still very much relevant to several concepts of architecture.  By creating space, many elements still apply no matter where that space is.  The following are principles of modern virtual architecture.

 

I. Commodity    The designs in virtual worlds serve purposes whether they are designed for shopping, gambling, or sex (the three major virtual activities).  Therefore, purpose informs the typologies of real-life architecture that serve similar functions.  Not only is commodity the most important and detailed aspect of virtual design, but it also holds similar weight in the real world.  Purpose is something that evades most real-world oriented designers when discussing virtual architecture.  Many feel that is unnecessary to create space, or even refer to virtual design as architecture.  In the digital realm, purpose is still very evident, and it is the person’s behind the screen needs and wants that are being fulfilled.  Much like the avatar’s physical existence in a space, a human being’s mental focus is on that environment looking past the actual screen it is being displayed on.  Therefore, the needs of that individual far exceed a simple interaction between avatar and person.  It is easy then to establish that the purpose for creation in virtual reality fulfills one’s ability to desire more from the real-world. 

 II. Delight     Aesthetics in regard to virtual architecture are important in their ability to be loved by the public.  In the digital realm, visually stunning designs are more successful at drawing in avatars. Aesthetics are second to function because purpose will draw in the avatar in the first place.  Whereas, they exist as a runner-up on the level of importance to commodity, aesthetics play a very important role.  It is easy to see that since architecture in the virtual world holds no physical protection elements, aesthetics become the focus.  A visually captivating work in virtual reality does what a similar design does in the real world.  Since the rules have changed in a vacuum of man-created space, it is easy to establish beauty from detailing prims and objects.  It is certainly impossible to re-create the true essence of real-world material and architectural detail.  I am not saying that the detailing in virtual architecture is superior to real-world craft.  Instead of trumping one another, I am suggesting that they follow different paths to beauty and recognition.  Virtual aesthetics exist on a different level of interaction than real-world materials.     

III. Physics      Physics in the digital realm is selective in that gravity and the forces of nature (direction, force) can be altered with the click of a button.  Elements can hover or float without necessity for connection.  Therefore, effects caused by physics no longer become areas of concern for Second Life architecture.  I mention Second Life for reference because it is a strong example of the ability to enforce similar forces of nature to a digital platform.  Objects need not be supported by structural elements when gravity does not function.  This is not to say that the concept of what is put in motion stays in motion.  In the real world, friction is what slows an object and allows for it to remain in a specific position.  In virtual worlds, friction is less of a concern; objects can be levitated or lifted in a permanent position, held there by coding.  By allowing for nature-represented physics alteration, we can begin to explore the possibilities of lawless architecture.  The absence or minimization of physics is the first step in the process of analyzing architectural concepts in a vacuum.  In other words, how would we design in an environment with no rules?  Of course, it is easy to see how difficult and inherently pointless this exercise would be, but it would be an excellent exploration of architectural application and the future of design. 

IV. Materiality      Materials in virtual worlds are purely symbolic.  They are representations of colors and textures that do not serve their purpose as they would in the real world. In that sense, one could argue that there is no need for textures or colors.  Materiality in virtual worlds is not made from materials.  Therefore, the key concept is not which material to apply to architecture but which contrast is aesthetically pleasing.  No longer is functionality an issue in regard to choosing a material or the budget of the project.  Instead we can begin to focus more on the design and spatial reality instead of what is least expensive and more functionally sound.   The use of materials or texture is something that must be explored and experimented with.  My thought is that applying physiological accepting elements in virtual worlds is something that is usually unsuccessful at expressing space.  Some use real-world mimicry to trigger comfort in people and establish the orientation of their building which is occasionally a great thing.  Many often simply apply materials without considering why or how they affect their design.  I encourage experimentation with each space rather than applying texture that is a simple reflection of what we accept in the real world.    

 V. Non-Collinear Design       Non-Collinear design in virtual worlds is key to drawing in the public and to not confusing those that teleport to the surrounding area.  This means that the most successful designs have 360-degree ingress/egress orientation.  Most digital landscapes allow the user the ability to cascade from one area to another very quickly.  This type of transportation is the dream of modern man ever since the notion of teleportation was conceived.  With this new technology, avatars can visit multiple locations within a matter of seconds.  So how does one draw in a person that has the ability to visit in an instant and likewise leave in an instant?  An easy practice for many types of design is to create form that allows for a person to enter/exit in a universal manner.  In other words, since the transportation to a location in virtual reality has become so less involved, so must also be the approach.  It is easy to create a single entry into space, but it rather gets lost in its ability to restrict one’s access and create a burden for the potential visitor.  The easier it is to enter space, the more likely a person is to accept the interior space and jump right in.  Also, in applications such as Second Life, an avatar has the ability to fly into a space.  Therefore, since walking is much slower and more of a hassle, flying must be taken into consideration.  Allowing entry from an elevated position is an easy solution to the problem, but remember that regardless of height, the ability to enter from any perception will ultimately benefit your design. 

 VI. Camera Perception        In virtual worlds, an avatar’s perception of the world is most often restricted by a camera angle.  The camera is differentiated by the angle and height that you wish to view the world.  The two most often used are the default settings (camera behind and above avatar) and the first person setting (appears as if you are looking through the eyes of the avatar).  Since architecture is based upon perception, much like the rest of the world, camera angle is extremely important to the development of space.  Since man’s ability to experience architecture visually is restricted by our eyes, the opening of options is really an innovation for architectural practice.  This perception largely has to do with scale and transparencies.  The most liked spaces are usually those that cater to the world seen by an avatar.  Therefore, the person viewing the screen is much more at ease with a function space that adapts to the screen’s perception. 

 V. Inventory        Inventory is digital storage for all things created in virtual worlds, most specifically Second Life. All objects or prims can be applied to the landscape through this file as well, creating instant architecture.  Entire buildings can be created in one simple step from a pre-constructed space.  It is easy to see the magnitude of this level of architectural creation.  Regardless of the form and elements you create, it is simple to change, alter and save your work directly into a secure database.  Therefore, the speed with which architecture can be applied is astronomical.  Still, it is less important than our previous elements simply because one must design before entering it into a file for storage.  However, it is interesting to think that in relation to the real world, one could reach in their pocket and pull out his or her house wherever he felt the need to.  Likewise, exhibits and digital museums can be moved and added to the environment in a simple click of a mouse.  It is a very interesting concept to think that wheels are no longer necessary to transport architecture from place to place.

The previously discussed elements of virtual architecture were developed by looking into Second Life and the interaction between avatar and space.  The list of perceived elements of architecture is open to debate, but taking into account previous philosophers’, such as Vitruvius and LeCorbusier, ideas of space, one can come to a reasonable conclusion.  We still draw what we see in the virtual worlds from our own human experiences, experiences that originate from the real world.  The virtual realm is still very human, as stated previously.  If dogs were given the mental ability to create space, I am certain that they would come up with a very different architecture than we have as humans.  Therefore, it is always humanism that draws us back to the virtual worlds, regardless of whether or not their inhabitants are physically human. 


        I think an important dimension of virtual reality is its uses and applications for the modern world.  I already have spoken about why it is created; taking into account human needs and wants.  Beyond just humanistic wants, the ability to look at virtual architecture in a way similar to real world design is one that is worthy of discussion.  Virtual architecture has the ability to be affected and created for monetary, informational, socialistic, and representational needs.  Corporations are beginning to enter virtual environments not only for marketing strategies but also for internal operational use.  No longer is the telephone necessary since the Internet provides a perfect medium for discussion and collaboration.  It is the functionality of virtual space that truly defines it, and since many individuals cannot step out of their common everyday reality, virtual space seems to evolve from it.  Even the best and most innovative designers can fall into habits of reality architecture. 
      This leads to my next theory about architecture and its virtual applications.  There must now be a true definition of what constitutes virtual space.  Anyone who has spent more than a few hours in a virtual reality will tell you that it can be very disruptive to the commonality of one’s everyday life.  Prims in Second Life start to become the objects you see in everyday life, and you wonder why can’t I edit this object?  When your Second Life begins to adjust your real perceptions on life, you finally understand how powerful virtual reality can be.  Therefore, in relation to Second Life and virtual space, real world architectural design can be referred to as ‘reality architecture’.  When a design in Second Life for better or worse resembles that which we see in reality, it can be coined reality architecture.  It is interesting to note that many designers do not possess the ability to create something beautiful from new notions of how space is derived.  Many attempts at ‘new’ architectural design in virtual reality usually come up short.   The real issue then becomes whether or not the purpose of the architecture is warranted by its design.
     I have built both abstract and reality architecture in Second Life and both are worthy of virtual occupation.  What’s interesting is that Second Life and other building oriented spaces are allowing designers to express real concepts in a virtual setting.  An architect can create an entire neighborhood around his or her design and express to a client exactly how the building will fit in the grand scheme of things.  Not only that, but information can be placed in the objects of each element of a building creating BIM (Building Information Modeling).  Therefore, Second Life and virtual space become tools of representation, instead of artistic endeavor.  Professional designers now have tools beyond simple 3D modeling programs.  Now the space they create is truly live and is able to be used for its intended purpose immediately. 
     So what other possibilities arise from a digital landscape in terms of reality?  Well that is not a simple question.  There are so many amazing and innovative things happening in virtual space everyday that it is difficult to keep up. I always joke that you need a team of at least 60 people working 60-hour weeks to keep up with everything in virtual spaces.  Educators are beginning to apply universal learning techniques to a wider audience than ever before.  Designers can collaborate with other from around the world instantly and create something they only had half the conception for.  Businesses use virtual space to advertise themselves and talk with potential customers instantly through both voice and chat.  Virtual space then becomes a medium for everyday lives, an extension of what we know and experience everyday.  Instead of role-playing in a game with objectives, now you can simply live a virtual life, prosper, and have your real life prosper in accordance.  

    So not only is it possible to use virtual worlds as a tool of independent creation, but the world now has the proper tools to make reality run smoother.  The expanse of the Internet and virtual worlds now leads to a quick discussion of where the environments can go from here.  If AOL is to Internet as Second Life is to virtual Internet, then what is the next step?  How quickly will it come and how extensive will it be?  Perhaps it is hard to imagine our lives being taken over by machines, like in the blockbuster hit movie “The Matrix,” but is it really so far-fetched?  OK, so the fighting scenes were a bit much, but the concept that what we experience is all programmed is beginning to arise in virtual worlds.  From an architectural standpoint, the thought of creating instant architecture and space from building tools is one that excites many and frightens many.  The new ability to build in seconds leaves some experienced architects queasy at the thought of the new generation building less than thought-out architecture in a mainstream manner.  The fact that virtual worlds are growing in population and experience leaves one to imagine that architecture will suffer with the growing number of uneducated designers given land on which to build.  The truth is that we should be embracing the opportunity for new designers and the excitement of the new landscape of possibility.
    It is hard to say where the virtual world is going and how intense virtual reality will get.  Many movies have hinted or speculated at the idea of virtual space taking over our real space, and it seems to be moving in that direction. Still, virtual worlds will not gain this level of invasion unless more people are apt to embrace their, technological and cultural possibilities.  The truth is that the concept of ‘space’ has radically been altered, and it will take time to adapt to its new set of rules and capabilities.  So one can only speculate how space will begin to meld into the minds of its designers.  If virtual reality and reality are beginning to interweave, then what is the next step?  I don’t think the mass audience will truly be affected until the next evolution of space is realized.  The Internet is very young compared to innovations before it.  In many ways it is the ‘wheel’ of humanity.  It is something that makes our lives more convenient and faster, and it has radically changed the way we grasp communication and interaction.  The fact that virtual space is even younger shows us that the virtual worlds have a long way to go in terms of development.  In an architectural sense, virtual space adds a tool unmatched by many current representations of reality, including drawings:  whereas a quality drawing once dictated the professionalism of an individual, it is becoming lost in a sea of technology.
     Virtual worlds and virtual reality are new-borns.  Our generation will only see a small glimpse into the effect of virtual space on its residents.  We are in fact the beta-users of a universe, perhaps much like we are in real life.  So, therefore, since we are some of the first human beings to enter into virtual space, we are its first species.  We are also its creators, which in and of itself is what architecture is all about.  On a deeper level of meaning do we now exist.  No longer do we succumb to a given palette and given tools, but now we build the palette and design the tools.  It all stems from our ability to embrace the technology we have developed for ourselves and to change the conception of space from palette to palette.  So it is easy to understand that the more one creates a world similar to one’s own, the more parallels will be drawn from its architecture. 

   It was initially my intention to write a book on the present virtual world and its affect on architecture.  It was brought to my attention by Jon Bouchard, owner of Crescendo Design and avid Second Life designer/organizer, that it simply wouldn’t be right to have a publisher look at it and take time to publish/promote it.  Since the worlds and designs are changing so rapidly, it is preposterous to think that one person can develop its theories.  There will be no ‘Vitruvuis’ of the virtual realm.  The Internet has allowed for Wiki-learning, in which everyone can speak his or her mind about any subject and is no longer subject to a publisher’s opinion.  Therefore, this being my first attempt at any type of polished virtual theory, it will remain a shorter work than originally intended.  It is now my hope to hear your thoughts and concepts as they apply to virtual space and architecture.  Feel free to respond to what you have just read to Tracer@theslsa.com, and let me know your thoughts/feelings on this theory.  Taking the advice of Keystone, we should develop virtual design collectively and bring to the table everyone’s perceptions of what space should accomplish.  I am an avid Second Lifer and would also love to hear from others.  You can IM my avatar The Tracer any time with thoughts or general discussion. 
    So what now?  You’ve just read through my thoughts on what architecture should accomplish virtually.  The best thing to do is open your mind up to the possibilities of what is in front of you.  By opening software like Second Life you are given the opportunity to experience the new threshold of mankind.  This may seem a bit over the top, but it is completely true.  Make the world your own and don’t simply become another face in the sea of reality.  Take technology and design to the next level.  Remember that without designers these spaces would be nothing, so embrace the new world: it is vaster than you could ever realize.

I just wanted to thank a few people who helped me through this process.  A special thanks to my parents Ken and Joyce for always supporting me in my pursuits.  To Professor David Woolf who introduced me to Second Life as well as Professor Kirsten Van Aalst for her inspiring teaching.  To Katrina for supporting me through it all.  To all those I have met in Second Life that have inspired me, and to all my friends, I thank you.

ã2007 Ted Mikulski - ArchTeque