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Enhancement of the Viewer Experience: a Virtual and Augmented Reality Practice

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Enhancement of the Viewer Experience: a Virtual and Augmented Reality Practice Enhancement of the Viewer Experience: A Virtual and Augmented Reality Practice By Ernesto Tanaka Montoya Supervised by Prof. Bartolomeo Corsini Prof. Giancarlo Zappoli Politecnico di Milano Sustainable Architecture and Landscape Design Polo Terrioriale di Piacenza, 2019 The most dangerous phrase in the language is ‘we have always done it this way’. -Grace Hopper (American Computer Scientist) 2 Abstract Several disciplines are profited with the help of Virtual Reality (VR) and Augmented Reality (AR). Thanks to an era where technologies are approachable and more accessible, a relationship can be forged to create more memorable productions in architecture. The main aim of this dissertation is to study how AR and VR can be integrated in architecture to create an interface that involves real-time simulation and interaction with multiple senses. To accomplish this, a research would be necessary, covering the history of AR and VR, their milestones and the acceptance of them in other fields with the user. Moreover, a background is compulsory to understand new tendencies, way of thinking and different points of view. Additionally, with help of film aesthetics and the spatial art of cinema, examples of VR and AR mechanics applied in architecture are showed with the reference of “Blade Runner” by Ridley Scott to demonstrate how a richer experience can be created. Further research could be developing to still discover other factors that would be helpful to build more affinity between them. Abstract (Italian) Diverse discipline si sono servite dell’aiuto della Realtà Virtuale e della Realtà Aumentata. Grazie a un’era dove le tecnologie sono disponibili e più accessibili, in architettura può essere formata una correlazione per creare eccezionali elaborazioni. Lo scopo principale di questa tesi è studiare come AR e VR possono essere integrate in architettura per creare un’interfaccia che coinvolge simulazione in tempo reale e interazioni con svariate percezioni. Per raggiungere tale obbiettivo, sarebbe necessaria una ricerca, che includa la storia di VR e AR, le loro fasi e la loro approvazione in diverse campi con l’utente. E’ necessario un contesto per capire le nuove tendenze, i modi di pensare e i diversi punti di vista. Inoltre, con l'aiuto dell'estetica cinematografica e dell'arte spaziale del cinema,esempi di nuovi meccanismi di VR e AR applicati in architettura sono mostrati con riferimento al film “Blade Runner” di Ridley Scott per dimostrare come può essere creata un’esperienza più ampia. Ulteriori ricerche possono essere sviluppate per scoprire altri fattori che potrebbero essere d’aiuto per costruire una maggiore analogia tra di loro. 3 Index Abstract .............................................................................................................................................3 Abstract (Italian) ................................................................................................................................3 List of Acronyms ................................................................................................................................6 Introduction ......................................................................................................................................7 1 Bright and Apocalyptic future ..........................................................................................................8 1.1 Dissimilar Immersions and Productions. ............................................................................................. 8 1.1.1 Futurism ....................................................................................................................................... 8 1.1.2 Dada ........................................................................................................................................... 20 1.1.3 Apocalyptic Thoughts ................................................................................................................. 38 1.2 Brief History of CAD and CAM ........................................................................................................... 49 2 Virtual Reality ............................................................................................................................... 56 2.1 Introduction ...................................................................................................................................... 56 2.2 History of Virtual Reality ................................................................................................................... 59 3 Augmented Reality ........................................................................................................................ 68 3.1 Introduction ...................................................................................................................................... 68 3.2 History of Augmented Reality. .......................................................................................................... 70 4 Blade Runner Project ..................................................................................................................... 75 4.1 Before Creating a Cult Following ...................................................................................................... 76 4.2 Nostalgic Interiors (VR & Image Tracking) ........................................................................................ 83 4.2.1 Rick Deckard’s Apartment .......................................................................................................... 83 4.2.2 Tyrell’s Office ........................................................................................................................... 103 4.3 Dystopian Scenery (Object Scanner) ............................................................................................... 112 4.3.1 Hades Landscape ...................................................................................................................... 112 4.3.2 Tyrell Pyramid .......................................................................................................................... 121 Conclusion ..................................................................................................................................... 130 Table of Figures ............................................................................................................................. 131 Bibliography and Web-links ............................................................................................................ 135 4 5 List of Acronyms VR Virtual Reality AR Augmented Reality HMI Human-Machine Interface HCI Human-Computer Interaction CAD Computer-Aided Design CAM Computer-Aided Manufacturing CGI Computer-Generated Imagery HMD Head-Mounted Display UI User Interface GUI Graphical User Interface POV Point of View DPI Dots Per Inch NC Numerical Control CNC Computer Numerical Control BIM Building Information Model LEEP Large Expanse, Extra Perspective NASA National Aeronautics and Space Administration 6 Introduction Cinema, being the envy of static arts, has the opportunity to be a prototype of architecture. Set designers have the ability to construct its own spaces, lights, shapes and movements. Nevertheless, architecture is a potential film, a space created where each individual has their own fable, their own tale to be narrated and the artistic of the space is always changing. In times when film has anticipated the built forms of architecture and the city, is evident that architecture can take inspiration in cinema and cinema can represent the aesthetic of architecture. When the film Blade Runner by Riddle Scott was released in 1982, the team, who designed a chaotic Los Angeles city, predicted what nowadays we can see in cities like Shanghai or Tokyo, an atmosphere of neon lights, billboards screens and buildings showing their guts. VR and AR can combine the spectator path of cinema and the spectator path of architecture. The cinematic path is referred as the “eye” of the viewer who is guided by an imaginary track and details can be lost, while the architectural path the spectator is free to move and observer in all directions. For this dissertation VR and AR will be created with ideas and references of cinema to enhance an architectural project. 7 1 Bright and Apocalyptic future 1.1 Dissimilar Immersions and Productions. Before the creation of artificial realities aided by computers or machines, the idea of immersing the viewer was always present and the search for new ways of expression was in the mind of artist, which could have been or not conformed with the current events and traditional fashions, as it happened in Futurism and Dadaism. In these art movements, artists wanted to carry away the spectator to be “inside” of the art piece which is one of the primordial intentions in VR and AR. Moreover, different ways of appreciating and developing art were established during these periods to create a spark of intrigue on the masses, what VR and AR is presently causing in different fields. 1.1.1 Futurism In the early 20th century, young Italian writers and artists, frustrated by a decaying culture and impotent nation, emerged determined to celebrate industrialization. Futurism was officially commenced in 1909 when the manifesto “Founding and Manifesto of Futurism” by Filippo T. Marinetti was published in a French newspaper. He expressed that “Mythology and the Mystic Ideal” of the past were no longer a way to thinking for
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