Sat. Nov 26th, 2022

His studio in New York’s Flatiron neighbourhood has been open for more than a decade. An arched wall of arched windows overlooks 19th Street from the two-story office, which has been renovated. It’s been a while since Beneville and his team have been in the same place at the same time—at least physically. While the studio’s employees are scattered across the country due to the pandemic, they meet regularly in a virtual replica of the studio for meetings, sitting around a digital table with their avatars holding digital cups of coffee.

The virtual studio resembles the real one in appearance. The windows, hardwood floors, and contemporary stairway are all included in the flat rendering. “It’s basically a one-to-one representation of itself,” says Beneville as he walks me through the airy layout on a Zoom call. There are a few things that are missing, however, that give a physical office its atmosphere: texture and individuality. There are no scuffs on the floor, no coats draped over chairs, and no random Post-it notes tacked to computer screens. Workers can access the office from anywhere with an internet connection as a trade-off.

“There is no one building the metaverse. ” Whatever the metaverse is, it will combine all of these things into something that is most beneficial to humankind.

For Michael Beneville,

On the Vatom Spatial Web platform created by Beneville and Eric Pulier, he and his team built this digital version of their workspace, which is a 3D virtual world that people can inhabit in avatar form and navigate like they were in a physical environment. By creating a virtual world powered by blockchain technology and accessible via web browsers and VR and AR headsets through Vatom Spatial Web, Beneville has created his own little slice of the metaverse.

Increasingly, virtual worlds like these are becoming both more common and more sophisticated as companies race to build platforms that will draw people into their respective corners of the metaverse, the term used to describe this constellation of world-building software. In the metaverse, where avatars can meet in gleaming modern settings or otherworldly landscapes for get-togethers, the metaverse appears to be an extension of work or life for platforms like, Microsoft Mesh, and Facebook’s Horizon Worlds. For years, massively multiplayer online role-playing games (MMORPGs) have been creating ever-expanding virtual worlds in which players can create and explore their own structures.

Beneville’s Metaverse Office, Depicting Social Gathering

The lofted offices of Beneville Studios in New York City’s Flatiron district have been virtually recreated. THANK YOU BENEVILLE STUDIOS.

People will no longer navigate a single metaverse, but rather a tangle of interoperable metaverses, each powered by the blockchain and the in-platform currencies that fuel their meta-economies, in the future. Beneville claims that “no one is building the metaverse.” There is no doubt that what we’ll end up with is something that’s the best for humanity as a whole.

However, in this new digital era, what does it mean to serve humanity best? Who gets to make the final call? Virtual reality, with all its advantages, still requires design and construction. Who will be held accountable for this? Most of the built environment’s shape has been determined by architects, engineers, and builders since the dawn of time. regulations, zoning, accreditation and best practises are necessary safeguards for the physical world’s complexities. Skyscrapers cannot be built by just anyone for a variety of good reasons.

Leon Rost is a well-known physics

However, the metaverse, on the other hand, is generally considered to be an effort to reimagine the built environment. Anyone with a pioneering spirit and a little bit of crypto can plant their flag and build their own virtual world in any form they choose. The truth, of course, is far from egalitarian in this sense of the word. When it comes to real estate, money, access, and knowledge all play a role in the metaverse as well. It’s already possible to buy large swaths of virtual land for thousands of dollars from speculative crypto investors and real estate companies.

The Ice Island of Republic Realm is part of Fantasy Islands, a development on The Sandbox platform where virtual luxury villas are sold as non-fungible tokens (NFTs). THANK YOU FOR YOUR SUPPORT OF THE REPUBLIC REALM

One of the largest metaverse platforms, called Decentraland, has seen the price of a parcel (which measures 52 feet by 52 feet) rise to over $10,000 in the game’s busiest virtual areas. The hype around Facebook’s Meta rebrand and investments in metaverse technologies by other companies and brands like Microsoft, Google, and Nike are major factors in the price increase. It’s also because of the platform’s limited virtual acreage and land economics. It has been stated that only 90,000 parcels will be made available by Decentraland, effectively re-creating the scarcity dynamics seen in cities such as New York and San Francisco.

Reimagined Post-Industrial Landscape Rendered Dimensions

It takes place in an abandoned factory that has been turned into a virtual community by the Plethora Project’s Common’hood. THE PLETHORA PROJECT GIVES CREDITS

There are parallels between the current metaverse gold rush and those in web 1.0, when early adopters of a new technology could reap the rewards. NFT and metaverse real estate investor Republic Realm counts Yorio as one of its cofounders (non-fungible tokens). Decentraland, The Sandbox, and Axie Infinity are just a few of the platforms where she and her team have invested in more than 2,500 real estate holdings. As she puts it, “We are effectively a landlord in the metaverse.”

Decentraland’s Metajuku, a 16,000-square-foot mall modelled after Tokyo’s popular Harajuku district, is an example of Republic Realm’s collaboration with architects and designers. American designer Martin Guerra was hired by Republic Realm for the design of a virtual world where avatars can roam and buy virtual goods using their crypto wallets. However, Fantasy Islands, a planned community of luxury private island villas sold as 3D NFTs on the metaverse platform The Sandbox, is the company’s most ambitious and profitable development. They use their villas just like they would in the real world—to relax, entertain virtual friends, or keep their metaverse purchases in a beautiful display case—just like they would in real life.

Avatars Looking Data during Virtual Meeting

Virtual design, review, and collaboration for architects and developers is made possible by SpaceForm, a cloud-based platform created by BIG, UNStudio, and Squint/Opera. CONGRATULATIONS BIG AND OUTSIDE THE STUDIO.

In-house 3D designer and developer Vlad Yakovlev designed the villas that sit on parcels of land measuring 325 by 325 feet. From Costa Rican ecolodges to Mediterranean-style island homes, the virtual homes all have their own distinct styles. One of Fantasy Islands most valuable virtual properties is a futuristic structure on an ice island. Republic Realm has already sold six villas for $15,000 each, out of a total of only 100. They are currently valued at around $300,000 in today’s currency.

In terms of metaverse aesthetics, the villas are an eye-opening experiment. They have a softly pixelated fuzziness, as if seen through fogged glasses, like much metaverse architecture. The metaverse’s buildings can be likened to freshly-completed construction sites, with their structural soundness belied by a lack of detail. A metaverse’s architecture is often designed in lower resolutions so that anyone, regardless of their web browser, can access and load the spatial environments.

As a result, some metaverse platforms, such as Decentraland and Cryptovoxels, impose restrictions on what parcel owners can do with their land through a set of rules. For example, in Cryptovoxels, users can pay extra to add colour to their creations. To ensure that the platform’s wide range of artwork renders quickly, each plot of land in Decentraland is subject to a set of design constraints. As zoning regulations, these rules govern everything from the height of a structure to the distance it can be from other structures.

There is a lot of power in a group of people when it comes to exploring a wide range of design possibilities.

Joaquin “Jose” Sanchez

Buildings in the metaverse often deviate from what might be considered feasible real-world design, even if they loosely mimic physical world organisational mores. Gravity and material constraints are nonexistent in the metaverse. Architect Leon Rost, a principal at Bjarke Ingels Group (BIG), who has worked on a handful of virtual projects for clients, says, “Things like structure, materiality, and cost, for that matter, go out the window.” As a result, architects looking to push the formal boundaries of what a space can look like have been drawn to the area. Virtual meeting platform SpaceForm was created by UNStudio and BIG to allow people to collaborate in real time inside futuristic rooms with holographic tables that display 3D renderings and data visualisation. Beneville, on the other hand, has built satellite-like performance stages for clients like iHeartRadio. Multiplayer videogames are becoming more and more popular, and one professor at the University of Michigan Taubman College is working on a game that allows players to build their own structures that are covered in lush greenery. It’s important to remember that “the same rules don’t apply in the virtual world as in the physical world,” Rost explains, “so you have to think very differently.”

Republic Realm’s Metaverse Platform Features

For the Spanish organisation Fundación Arquia, Space Popular’s Lara Lesmes and Fredrik Hellberg designed a virtual gallery based on a blueprint of Barcelona’s layout. There are seemingly endless labyrinths of sunrise-colored rooms that look like M.C. Escher drawings can be explored by digital avatars. Because of the misty softness that Lesmes claims is beneficial for loading times and adjusting to a new environment, the rooms were designed. “Lighting is extremely important; it can significantly improve the quality of a virtual environment,” she asserts.

Popular Arena in Space. Reddish Avatars in a Grid of Flats

Architects, critics, and architecture enthusiasts will convene in 2020 for the Arquia Proxima Festival, which will be held at the Arena at Space Popular. Popularity of Courtesy Space

RIBA in London and the MAXXI museum in Rome have both hired Lesmes and Hellberg to design virtual spaces since 2013. As a result, they approach the creation of these virtual worlds with a focus on social interaction and community building. Researchers have found that even in a virtual gallery, people still use cues learned in the real world to help them navigate. Hellberg explains that in order to use a virtual environment effectively, users must first be able to look at it and understand what it offers. It was our goal for people to immediately be able to apply their own real-world behavioural codes when they entered the classroom.

Many architects already spend a significant amount of their time designing virtual spaces, so designing for the metaverse is a natural extension of their work. When asked about his company’s clients, Spatial ( cofounder Jinha Lee said that his company works with a small number of architects who have made the switch from traditional architecture to 3D architecture. He refers to them as “metaverse architects.” Ambient lighting and open shelving for virtual artwork are just two examples of design details that Lee incorporates into Spatial’s environments while still maintaining the illusion of impossibility in the lobby’s ceiling-to-floor waterfall. According to him, “We’d like our spaces to be grounded in the here and now, but with an eye toward the future.” he continues.

Republic Realm’s Yorio asserts that traditional architectural skills aren’t necessary to create compelling virtual environments because of those moments of structural impracticality. Zaha Hadid isn’t required in the metaverse to create something spectacular, according to her. A virtual art exhibition at Art Basel Miami, NFTism, was designed by Hadid’s firm and explored architecture and social interaction in the metaverse. In the metaverse, where buildings rely on visual excess to draw visitors, what might be considered boundary-pushing in the real world might be considered mild. It’s common for these spaces to be designed and coded by users or developers who lack formal training in the field.

Some architects may see this as a threat to their very existence, but Sanchez of Plethora Project sees it as an opportunity to reevaluate who has a place in the design process. In a crowd, “there’s power to explore a space of possible designs much more quickly and with less bias than one designer.” Perhaps the most interesting and expansive sense of design in this environment will come from platforms that can expand the number of people who have a seat at the table.

Multiple Cameras and Recording Equipment are Installed

The MAXXI museum’s Casa Balla, From the House to the Universe and Back exhibit features Space Popular’s virtual space Camera Balla. There were pieces from today in the show that were influenced by Giacomo Balla’s futurist approach and his design-heavy home in Bologna, Italy.

By Adam

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