What has Augmented and Mixed Reality got to do with Architecture?

In this Architecture Social conversation, founder Stephen Drew is joined by James Lee Burgess, an ARB-registered architect and Founding Director of UrbanXR, an augmented and mixed reality studio for the built environment. Running to around 50 minutes, the discussion explores where augmented reality (AR) and mixed reality (MR) genuinely add value across design, construction, planning and public engagement.

Who this is for

Architects, architectural assistants, urban designers and students who are curious about augmented and mixed reality and want a grounded, practical view of how these tools are used on real projects, rather than the hype. It is also useful for practice leaders weighing up where immersive technology fits into design, construction and client engagement.

Learning outcomes

1. You will be able to distinguish between augmented reality (AR) and mixed reality (MR) and identify where each applies in the built environment.
2. You will be able to describe practical construction-stage uses for mixed reality, such as overlaying service layouts and providing remote assistance on site.
3. You will be able to explain how world-scale AR uses a visual positioning system to place accurate 3D content outdoors.
4. You will be able to outline the workflow for moving a BIM or Revit model into a game engine for AR, including why model optimisation matters.
5. You will be able to recognise opportunities for AR in planning, public consultation and heritage storytelling.
6. You will be able to consider how architects can move into AR and MR work and what upskilling is involved.

Augmented reality and mixed reality, defined

James frames mixed reality as an immersive experience anchored in your real surroundings, where you can walk around and interact with 3D objects, popularised by devices such as Microsoft HoloLens. Augmented reality, by contrast, is described as more screen-based interaction. He is candid that the terminology is fluid and that the labels matter less than understanding what each approach lets you do.

Mixed reality on the construction site

A core early use case was deploying HoloLens 2 with Trimble Connect on construction sites. Because the wearer stays aware of their environment, teams can overlay proposed structures and service layouts onto the real space, and run remote assistance by video-calling directly into the headset to place content live on site.

Moving beyond the 2D frame

James argues that one of the biggest opportunities is at the front end of projects, in planning and public consultation. Presenting proposals on site lets communities read a scheme in context rather than on a drawing, supporting more accessible and engaging storytelling for people who find 2D plans hard to interpret.

World-scale AR and visual positioning

The studio's larger experiences rely on a visual positioning system from Immersal, where the device recognises its surroundings to load 3D models and screens accurately, without depending on a QR code. James notes that platforms from Niantic, the makers of Pokemon Go, and Snap are also pushing world-scale, persistently placed AR content outdoors and indoors.

From BIM to the game engine

For on-site model visualisation, the workflow centres on getting a model into the Unity game engine, often via an FBX file, then deploying it through a visual positioning plugin. James is clear that detailed BIM or Revit models usually need rationalising and polygon reduction before they will run smoothly, and that internal geometry often has to be stripped out for large schemes.

Heritage and storytelling in the public realm

Projects referenced include an AR experience for BT covering smart cities, smart ports and agri-tech using a model of London, and public-realm work with Ipswich, from a heritage overlay encouraging people to look up at a historic town hall to a Christmas app placing a character on the main square. James highlights the value of AR for telling layered stories about history, data and place.

The metaverse, digital twins and what comes next

On the wider metaverse debate, James makes the case that overlaying data on the real world, alongside digital twins, is a more compelling direction than building purely virtual worlds. He points to accessibility as a recurring barrier for headset-based experiences, and to remote and cloud rendering as a likely next step for delivering high-detail content to AR devices.

A career path for architects

James reflects on the move from traditional practice into immersive technology, noting the imposter syndrome that can come with leaving a stable professional path. His view is that architects are well placed for this work because they already collaborate in teams, handle 3D content and understand how people behave in space, with Unity a sensible starting point for those wanting to learn.

Key terms

AR (augmented reality): digital content overlaid on a view of the real world, often screen-based. MR (mixed reality): immersive, interactive 3D content anchored in your real surroundings. XR (extended reality): the umbrella term covering AR, MR and VR. Visual positioning system: technology that recognises the surrounding environment to place 3D content accurately. Digital twin: a data-rich digital representation of a real place or asset. Polygon optimisation: reducing model complexity so it runs smoothly in a game engine.

Reflective prompts for your CPD record

1. Where in your current projects could overlaying 3D content on the real site improve understanding for clients or the public?
2. What would it take for your practice to move a design model into a game engine, and who would own that workflow?
3. How would you weigh the accessibility trade-offs of AR and MR against the engagement benefits for a given audience?

About the guest

James Lee Burgess is an ARB-registered architect and the Founding Director of UrbanXR, an augmented and mixed reality studio focused on the built environment. He studied at Cardiff University, worked for around a decade in London on social housing and mixed-use projects, and is now based in Norfolk. He is a Fellow of the Royal Society of Arts (FRSA).