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Interior Architecture in Video Games: Research of Atmospherical Design Strategies from Interior Architecture Applied on Video Games

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dc.contributor.advisorAnwandter, Juan Almarza
dc.contributor.advisorvon Starck, Adrian
dc.contributor.authorMelissa Selin Benzer
dc.contributor.departmentFaculty of Architecture and Design
dc.date.accessioned2024-01-15
dc.date.accessioned2025-12-02T10:34:57Z
dc.date.available2025-12-02T10:34:57Z
dc.date.issued2023
dc.description.abstractAbstract The gaming industry has witnessed a significant surge in popularity owing to technological advancements. Game developers leverage innovative techniques such as intricate light and spatial design to create more realistic gaming experiences. This has enabled players to feel fully immersed in the game, moving through the created space as if they were physically present in said environment and is particularly evident in the horror genre, where the overall atmosphere plays a crucial role. The objective is to create an environment that closely resembles the real world while intentionally deviating from reality in specific ways to elicit an emotional response from the player. The research aims to offer a deeper look into designers' ability, be it game or interior, on how atmospheres are created and how these strategies can be applied to game design. Further, this research should examine how the atmosphere enhances the gaming experience and to what extent designers can contribute to that or translate it into their profession. Keywords: gaming industry, technological advancements, game design, light design, spatial design, immersion, horror genre, atmosphere, emotional response, gaming experience, designers, interior designen
dc.description.degreeMA
dc.description.tableofcontentsTable of Contents i. Abstract...................................................................................... 1 ii. Introduction............................................................................... 2 2.1. Problem Statement............................................................ 3 2.2. Aims............................................................................... 3 2.3. Approach and Methodology................................................ 4 iii. Semantic and Symbolic Recognition Features........................ 5 3.1. Symbols in Video Games................................................... 8 iv. Colours..................................................................................... 9 4.1. Newtons and Goethes Colour Wheels................................. 9 4.2. Colours and Their Meaning............................................... 10 volumes Human Perception................................................................. 13 vi. the Uncanny.......................................................................... 19 6.1. Childhood Fears and Horror Games................................. 22 6.2. Translation of Fear Onto Survival-horror Video Games...... 24 6.3. Why Do We Play Horror Games?........................................ 25 6.4. to Expect the Unexpected................................................ 26 vii. Atmospheres......................................................................... 28 7.1. What Is Atmosphere and How Is it Perceived?.................... 28 7.2. How Are Atmospheres Created?........................................ 30 7.3. Atmospheres and Sound.................................................. 32 7.4. Atmospheres in Video Games........................................... 32 viii. Case Studies......................................................................... 35 8.1. Little Nightmares Ii......................................................... 35 8.2. Amnesia - Machine for Pigs............................................. 41 8.3. Layers of Fear................................................................. 47 8.4. Case Study Conclusion.................................................... 52 ix. the Project - Interactive Exhibition of Fears......................... 53 9.1. Idea and Site................................................................... 53 9.2. the Design...................................................................... 53 9.2.1. the Reception and Waiting Rooms............................... 55 9.2.2. the Doll Room......................................................... 56 9.2.3. the Door Room......................................................... 58 9.2.4. the Knife Room......................................................... 60 9.2.5. the Mirror Room........................................................ 62 x. Conclusion.................................................................................. 64 ii. References................................................................................. 66 iii. List of Figures......................................................................... 76en
dc.identifier.urihttps://hdl.handle.net/20.500.14938/1057
dc.language.isoeng
dc.publisherBerlin International University of Applied Sciences
dc.rightsIn Copyright - Educational Use Permitteden
dc.rights.urihttps://rightsstatements.org/vocab/InC-EDU/1.0/
dc.subjectAtmosphere
dc.subjectDesigners
dc.subjectGame Design
dc.subjectGaming Experience
dc.subjectHorror Genre
dc.subjectImmersion
dc.subjectLight Design
dc.subjectSpatial Design
dc.subjectTechnological Advancements
dc.subjectGaming Industry
dc.titleInterior Architecture in Video Games: Research of Atmospherical Design Strategies from Interior Architecture Applied on Video Games
dc.typeThesis
dspace.entity.typePublication
local.institution.nameChangeNoteIssuing Body Note: BAU International Berlin University of Applied Sciences and Berlin International University of Applied Sciences are the former names of Whitecliffe University of Applied Sciences
relation.isAdvisorOfPublicationa05f98f3-7e35-4cfa-81b8-068d20982cff
relation.isAdvisorOfPublication.latestForDiscoverya05f98f3-7e35-4cfa-81b8-068d20982cff

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