Dissertation - Cathy Nguyen

Introduction Technology is constantly inventing innovative devices that are able to intermix the physical environment with the virtual, resulting to a mixed reality experience. With the expansion of technology, there is a huge impact that can affect all different areas of society, that includes interior architecture. By having fiction such as film, it allows interior architects to have a visual representation on how future technology such as MR could possibly come to existence and interact with interiors.

Since these films are a fantastical representation of MR interior, they do not reflect a true representation of the future of these interiors, rather they stand as a source to spark discourse on ways to approach technology such as MR if it came to fruition. The dissertation intends to reveal how mixed reality is presented in film through interior elements that are prominent in these futuristic films.

The dissertation begins to discuss the subject of mixed reality by firstly undertaking a literary review on the subject matter. Due to its recent recognition there is the need clarify its definition to enable further discussions about MR in film. Chapter one begins the search for MR definition through the first appearance of the word mixed reality in Paul Milgram and Fumio Kishino’s (1994) paper A Taxonomy of mixed reality visual display. The first definition becomes the basis for the search of other interpretation of MR and at the end of the review, a definition is derived from all perspectives to allow a clear definitive analysis of MR in film interiors. MR being the main focus, it is necessary to explore the area of technology in interiors to understand its impact on the interior experience.

Consequently, the knowledge is used to analyse of film interiors in chapter three. On screen, interiors are experienced in a 2D format and ultimately this experience is considerably different from experiencing an interior directly. Hence chapter one explores the components that are needed to orchestrate a film interior, by understanding the main elements of film interior, it assists in discussing how MR is presented in film interiors. As a response to interior architects, the discussion on film interiors will lead to the discourse of future interiors and how futuristic films can initiate the conversation of ways interior architects can respond to technology in the future.

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Chapter two is a theoretical discussion on the elements that are found in films with MR interiors.

The elements that is discussed are minimalism in relation to practicality, ornamentation as a way of identity, adaptability and functionality, and identity and place. An in-depth study of each element, specifically examining the limitations and benefits of each area, generates the conversation of how MR is presented in film interior. It also demonstrates the possible outcomes of ways MR interiors could affect inhabitant. Hence, triggering thought provoking discourse about the possible future impacts of technology, similar to MR, on inhabitants between interior architects.

Chapter three is a case study of three films and applies the key elements from chapter two, to analyse how MR is presented in film interiors. The films explored are, Ghost in the Shell (2017) by Rupert Sanders, Blade Runner 2049 (2017) by Denis Villeneuve and Passengers (2016) by Morten Tyldum.

The film chosen exemplifies how MR is presented in film through the discussion of the limitations and benefits of the key themes discussed in chapters two and how that can initiate an interior architect’s thought process about the future of technology that are similar to MR and its impact to interiors and the users.

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Chapter 1

Chapter one will examine the varying perceptions of mixed reality through across-comparison of its existing definitions and its applications. The study will draw a conclusion of the overall understanding of mixed reality that will clarify its definition and will assist in identifying mixed reality technology in film interiors. To understand how Mixed Reality is presented in film, discussing technology in relation to interiors will help identify the key elements that are needed to analyse the film interiors in chapter three. Exploring components of film interiors will distinguish it from real interiors. Examining future interiors in terms of the technology’s impact on the user, will establish the importance of people’s reception of technology and reasons why.

1.1 Defining Mixed Reality With the rapid advancement of technology, there are the possibilities of new architectural interiors that involve the collaboration of both physical and digital elements. Mixed reality offers this new medium and can change the way interiors are experienced. Originally, the term ‘Mixed Reality’ was first introduced by Paul Milgram and Fumio Kishino in their 1994 paper A Taxonomy of mixed reality visual display (Speicher, Hall and Nebeling 2019). In their paper, Milgram and Fumio defined mixed reality as “a special class of Virtual Reality related technologies for creating environment wherein real and virtual objects are presented together on a single display” (Speicher, Hall and Nebeling 2019, p. 2). Their classification was called the Reality-Virtuality continuum, which is a widely accepted among many professional and researchers in the field (Milgram and Kishino 1994). The continuum was used to further better the understanding of the different virtual environments i.e. Augmented Reality (AR), Mixed Reality (MR) and Virtual Reality (VR) and demonstrated how these realities affiliated with each other. Divided into two opposing sides, the real environment and virtual environment sits on opposing sides on the continuum diagram

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as seen in figure 1.01.

Figure 1.01 The Reality Virtuality Continuum Taxonomy (Milgram and Kishino 1994) The real environment is suggested by Milgram and Kishino and is described as an “environment consisting solely of real objects” or how one would see the real-world (Milgram and Kishino 1994). While the virtual environment composed of virtual objects are technologically generated (Milgram and Kishino 1994). As for the categories (AR & AV) in-between, they relate to the MR environment where the differences between them depend on the use and application of them (Speicher, Hall and Nebeling 2019). Despite its popularity and wide acceptance, there is still no definitive definition of Mixed reality. Hence, many experts still argue and discuss their perception of what it consists of and have developed different taxonomies to help classify the applications of Mixed Reality (Speicher, Hall and Nebeling, 2019).

Some of the different classification systems from Mixed reality engaged the senses taking into account the advancement of technology while others have amalgamated the term with other existing concepts such as Augmented Reality. Human computer interaction experts have suggested that MR was synonymous to AR stating, “Augmented Reality and Mixed Reality (AR/MR) interfaces allow displaying virtual information to the human senses while users are exploring the real world” (Lopes et al. 2018, p.446). Many articles written have also used the term Mixed Reality and Augmented interchangeably (Speicher, Hall and Nebeling, 2019]. In comparison to the previous definition we see that MR adopts a series of elements that form to create a digital environment, while others have connected it to other virtual concepts such as VR/AR. Another perspective that was explored was the idea that MR is the interaction between both AR and VR

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elements, either through an app or device (Speicher, Hall and Nebeling, 2019). As evidenced, there are an array of interpretations of Mixed Reality discussed among many experts and academics within the field. Despite the lack of a shared or universal definition, the in-depth and extensive discussion on MR enables a proposal for a definition of MR based on the research found.

Reflecting on the many views, one shared idea of MR that was found consistent in many of the definitions discussed was that the physical environment (reality) was still present during the usage of MR technologies. While still in the present physical environment, there is integration of virtual information while in the real environment as suggested by human computer interaction experts (Lopes et al., 2018). As a result, it can be inferred that Mixed Reality is the coexistence of virtual objects and the real environment, essentially derived from the components of both Augmented reality and Virtual reality. The diagram in figure 1.02, demonstrates a visual explanation of the proposed definition and how MR is applied. As shown, the interaction with virtual objects (a) in the real world (b) are used in sync with the user’s real time. To summarise the concept, a classification system is formulated to clarify the proposed definition using Milgram’s and Kishino’s Continuum as a guide (figure 1.03).

Figure 1.02 Mixed Reality Application (Nguyen 2019)

Figure 1.03 Mixed Reality Application (Nguyen 2019)

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As discussed, Mixed reality is a complex concept that is still developing, and its application and use has been demonstrated in many fictional media such as film. To understand how MR is portrayed in film, it is essential to examine the topic of technology within an interior and how it functions within the space and what are the key elements that is required for technology to exist within an interior.

1.2 Effects of Technology on Interiors In a technologically growing society, interiors have particularly been affected by the advancement in technology and its interfaces. This has influenced the way individuals interact within the interior environment on a physical and psychological engagement level (Marinic, 2018). As a result, the introduction of new realities that lie “between the digital and physical worlds” extends the virtual environment but diminishes the “(…) experience of personal space” (Marinic, 2018), (Weinstock, 2005 p. 50). (Massey and Turpin, 2012). Through examination on the topic of technology in interiors, it will contribute to the chapter 2 discussion of Mixed Reality technologies and how it has been presented in film as well as it’s repercussions in the interior space.

As mentioned, the technological flourishment in contemporary society is at a stage where the digital world is inexorably entwined with reality and the product of that integration would be “a single interface” of both worlds (Bouman, 2005 p. 15). The environment suggested, is one that involves animated surfaces and interactive features that collaborates with the physical environment that can develop into an MR space (Marinic, 2018), (Bouman, 2005 p. 15). For these elements to exist, it is necessary for interior architects to examine ways to design and solve the technological developments with the inclusion of furniture, walls, materials and etc. As society advances in technology such as information technology, there is a demand for future interiors to react to the change. This change requires using information technology “in a creative and productive way” that can enable the integration of the virtual and physical environment (Reisenberg and Leydecker, 2013, p.276). In this case, the developing MR technology could possibly fulfil that role of providing innovative way to utilise information technology (Reisenberg and Leydecker, 2013). Therefore, Human Computer

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interaction (HCI) information technology such as MR should be taken into consideration for designing technology in interiors.

In the last couple of decades information technology’s rapid growth have manifested in society where the way we utilise technology have greatly changed which as consequence altered the way people interacted with their environment (Reisenberg and Leydecker, 2013). An example would be the handset phone, where initially it was only using for dialling numbers for communication purposes.

Today, the smart phone allows several functions such as a touch-sensitive interaction, voice control and video calls (Marinic, 2018). This advancement is as a consequence of technologies ability to consistently be interconnected and easily accessible (Marinic, 2018). As a result, this allowed technology to be incorporated into ordinary “objects, fabrics and materials” (Reisenberg and Leydecker, 2013, p.27). The possibilities of this could mean that interfaces can transcend the screen display and move onto tactile involvement with the device that can be place on the body (Croci, 2008 p. 123), (Marinic, 2018). Soon, this integration of technology will move from being imputed into small devices, to a seamless integration of information technology into the physical environment that is omnipresent and is instantaneous (Bouman, 2005 p. 15), (Marinic, 2018). If this persists to be the future of architecture with the continual growth and “development of new materials and controllable structures”, interiors as a fixed space will be redefined as “a complex adaptive robotic system of interacting installations” (Marinic, 2018 p. 5). This could mean a more minimal, less decorative and more adaptable design for technologies such as MR to be accessible. As a result, the interior architect must take into consideration the permanent advancement of technology and decide how to integrate it into design and allow it to be easily accessible to the everyday people (Reisenberg and Leydecker, 2013, p.27).

1.3 Film Interiors To analyse film interior, one is required to closely explore the practices within the film interior discipline to identity the elements that contribute to how Mixed Reality is presented in film. These practices include the shared elements between both areas which consist of scale, surfaces and textures, colours, objects, lighting and the manipulation of sound (Schneiderman, 2017). However,

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the difference between film interiors and typical interiors is that in set production, it is a mediated choregraphed environment that tries to reinvent the same experiences that are produced by an interior architect (Schneiderman, 2017). These experiences include, how the space engages the senses, how the space is visually presented, and how people respond to the space (Schneiderman, 2017). For a set designer, these elements are achieved through mise en scene which is a collaboration of visual film techniques that orchestrates the atmosphere of the film (Martin, 2014, p.25.), (Schneiderman, 2017). What is pivotal in executing a film interior is the credibility of how the space is portrayed in the ephemeral environment (Schneiderman, 2017). Due to the lack of permeance of a typical interior, there is a huge emphasis on the visual and aural portrayal of the interior to fabricate a believable space (Schneiderman, 2017). The absence of the haptic and smell senses reduces the essence of being physically present in the space. Thus, it is key that the director and set designer have the skill to orient the audience’s experience of the film interior in order to achieve the most accurate representation of the space if it were reality (Schneiderman, 2017). At the heart of it, the director adopts particular camera angles, cropped and framed views, while the set designer call upon “interior elements of light and shadow, (…) colours, surface textures, furniture, objects and textiles” to portray the links between the possible visual metaphors of the interior to the main object i.e the character (Schneiderman, 2017 p. 85). In the case of how Mixed Reality is presented in film interiors, the same concept applies, where certain wall surfaces are treated specifically to either emphasise the technology or draw attention to it. However, Mixed Reality continue to be an upcoming and new field that do not have an existing technology that produce a seamless overlay of the virtual world on to the physical. Therefore, technology such as CGI (computer generated imagery) is used to generate MR interior spaces (Pierson, 1999) (Ekinci, 2015). Due to the immense growth of technology, it is inevitable that fiction such as film begin to explore the impact of technology on the future. Many films have explored the future capabilities of technology which consequently explored future interiors. It can also trigger a discourse between interior architects on the future of technology in interiors.

1.4 Future Architecture

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When speculating the possible future of interiors or architecture, film has been used as a way to show the possibilities of what future interiors could be. With the manifestation of technology, fiction such as film often present a fantasy about the future. These fantasies about the future are often “projections, images, hopes, and horrors extrapolated from the present though not simply from the present situation but from its cultural imaginary, its self-representation, its own latencies or virtualities” (Grosz and Eisenman, 2001, p.50). When in discourse about the future, technology is inexorably the subject of discussion on the future of interiors. Philosopher Elizabeth Grosz discusses how ‘computerisation’ referring to the transformation of technology, will be at the risk of disarray and modification of the existing “nature of information and communication (…) the nature of space, time, community, and identity” (Grosz and Eisenman, 2001, p.52). Grosz is suggesting that due to ‘computerisation,’ changes will occur to specialised areas such as science, art, representation, types of communication and interaction, impacting the social and personal life that surpasses an individual’s and society’s control and comprehension (Grosz and Eisenman, 2001). As a result of the unforeseen knowledge of the limitations of technology, it prevents designers from predicting the course in which technology will go in terms of impacting interiors (Grosz and Eisenman, 2001). Grosz further goes on and argues that future architecture will resemble its current state in accordance to society’s current social, cultural and political climate (Grosz and Eisenman, 2001). Therefore, technology will not dominate the current architectural status unless society conforms to the technological advancement and progress with it (Grosz and Eisenman, 2001).

Through film, fantasies of future interior architecture are generally depicted in relation to the expanding growth of technology. Interior architects cannot use film as factual representation of future interiors rather a trigger for conversations about future interiors. Specific element discussed of technologically involved interiors will be explicitly revealed and discussed in chapter two.

Chapter 2 9

Mixed reality technology portrayed in film interiors is executed through a variety of visual film techniques that is able to generate interiors that can only be imagined. Chapter two will discuss the various interior elements in film that coexist with mixed reality (MR). These elements include adaptability, ornamentation, minimalism and identity which will later be discussed in-depth in terms of how interior surfaces are treated, lighting, colour palette selection, the lack ornamentation and personalisation, can affect user experience. Each element will be examined extensively through various theoretical discussions on each interior element that will subsequently be used for chapter three case study of three selected films. The examination will discuss the properties of each elements through its benefits and limitations which will permit a discourse on how MR is presented in film.

Envisioning the future, film tend produce an environment that is dominated by technology where interiors are drastically different from the present day. In particular, the sci-fi genre explores the synthesis of technology and architecture and often used as a forewarning or as an inspiration (Căplescu, 2016). This is especially relevant to interior architects as interiors portrayed have become iconic enough that these images have become a source of inspiration for architects to use in their own works (Căplescu, 2016). Mixed Reality technology has made many appearances in sci-fi movies, particular in form of holograms. A hologram can be defined as an “optical device that carries within it the ability to generate three-dimensional imagery” (Johnston, 2017 p. 493). However, though there are wearable technology such as Microsoft’s HoloLens (Leonard and Fitzgerald, 2018) which creates an augmented reality, there is still the absence of holographic images that meld seamlessly with the physical environment that manifests in many sci-fi films (Geng, 2013) (figure 2.01).

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Figure 2.01 Example of Hologram in Film Interior (Ghost in the Shell, 2017) 2.1 Minimal Traits for MR Function For MR technology such as the hologram to function at its optimum state in relation to design, the interior surrounding the technology tend to have specific traits. The surfaces of walls in MR orientated interiors are described as plain and lack ornamentation (Căplescu, 2016). These features are reminiscent of minimalism that conforms to the notion of empty spaces, clean forms and, reduced and simplified architecture (Nikolic and Vasilski, 2017) (Parnell, 2012). Many great renowned architects such as Tadao Ando, Alberto Baeza and Peter Zumthor adopted the philosophy of essence in architecture where they aspire to obtain “balance between material and spiritual, between physical quality and abstraction, between the ordinary and the absolute” (Vasilski, 2016 p. 43). The idea argues for a space that relies on architectural elements of walls, openings, lighting and voids to translate a meaning through an abstract approach (Vasilski, 2016). One of the benefits of having a simplified space with monochromatic and desaturated colour palette, seamless surfaces and rudimentary shapes, allows for modular functions to occur (Nikolic and Vasilski, 2017), (Abouhela, Al-Gohary and Dewedar, 2017). The versatility aspect of a wall such as the “decisive characteristics of the skin, like a layer, is its ability to adapt” is favourable for smaller buildings that require maximum space for a variety of different programs that is needed depending on the typology (Vasilski, 2016 p. 51). In this case the lack of identification through the interior elements is beneficial for sectors such as educational spaces or corporate spaces. The dull colours and simplified shapes to cubic forms coerces

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the audience to focus on the main object, in this case the MR technology (Nikolic and Vasilski, 2017).

Colour is not only the element that allows this to occur, lighting is intangible “and in that sense has the ability to give life to materials (…)” (Meyers, 2006 p. 9). In this sense, the simple surfaces of the materials, are bought to life through lighting and shadows which as result can affect the way the shape and forms in the space appear (Meyers, 2006). The appearance influenced by light heavily emphasises the mass and voids of the space which in itself can create drama without decoration (Meyers, 2006).

However, despite the adaptable and peaceful qualities of a ‘clean’ space, the meaning and identity of the space are questioned. It is possible that the lack of ornamentation reduces a sense of identity and belonging as simplified spaces can often appear impersonal.

2.2 Ornamentation, Attachment & Identity Ornamentation is traditionally defined as decoration employed to adorn objects of the building (International Correspondence Schools, 1922), (Elrayies, 2018). The differentiation between minimalist spaces and ornamented interiors, are through is design elements: material, finish, size, scale and its “design principles (…), conventional, naturalistic or a hybrid” (Massey, 2009, p. 499).

All these characteristics allow for a distinct image and identification of the space program. Unlike, simplified architecture as discussed, ornamentation allows a sense of identity through the notion of objects as symbolic value (Elrayies, 2018). Its significance stem from its intimacy with the inhabitant of the space projecting the individual’s personal character (Elrayies, 2018). John Ruskin (2000) an art critic, argues that ornaments will undoubtedly be to some degree flawed as a result of the person who created it. The human touch transcends beyond interiors as a space that provides a function, rather it forms a relationship with the person. Therefore, ornaments have the ability to connect people to objects and from the aesthetic superficial level develops into an intimate relationship that empty surfaces lack (Hasan Hüseyin Balik, Catalani and Adolf Sotoca, 2018). With a person’s strong link to objects, it is apparent that ornaments have a historical narrative that unveils the cultural and historical significance of the time and provide a source of identification for the interior and the overall society (Hasan Hüseyin Balik, Catalani and Adolf Sotoca, 2018). Ornaments surpasses the role of an object and become a memory ‘storage’ that allows the impossible act of connecting the past to the present

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(Hasan HuĚˆseyin Balik, Catalani and Adolf Sotoca, 2018). Compared to seamless surfaces, contemporary ornamentation activates the tactile sense where one is able to touch the surface texture and allow an experience beyond the visual sense (Elrayies, 2018). This sort of interior requires more engagement from the audience which in return enhances the sensorial experience with an interior space. However, architect Adolf Loos (2019) criticised ornamentation as unnecessary and distracting.

At the time ornamentation was also criticised for its relation to excess, and waste which consequently led to a more functional, impersonal and practical approach to architecture (Massey, 2009). In contrast with minimalist ways, ornaments were also viewed negatively for its social class, ethnicity and gender portrayal through ornamentation (Massey, 2009). Due to its permanent and enduring quality, ornaments in interior prevents modular and adaptable features to easily occur as a result of personal attachment to the objects within the interior.

2.3 Adaptability, Function & Personalisation Adaptable architecture is a reoccurring element in demonstrating how MR is used in film interiors.

This type of architecture can be described when “specific components can be changed in response to external stimuli� that is the user within the space (Lelieveld, Voorbij and Poelman, 2010). The modifications occur when the user activates the building system manually or automatically by the system or altered due to an external force (Lelieveld, Voorbij and Poelman, 2010). Though MR technology have not come to fruition, adaptable and flexible elements and its integration with technology is key in creating the ideal adaptable space (Lelieveld, Voorbij and Poelman, 2010). As a consequence of the advancement of technology and the growing popularity of it in the market requires the need to make the device personal (Lelieveld, Voorbij and Poelman, 2010). Therefore, personalisation of the products is crucial in enabling individualism to occur during the adaptive process of the interior where a person can re-invent the space to their needs or environment. The advantageous of flexible interiors offer its enduring nature, it can also be easily altered for the programmed needed, allows for users experience and intervention and sustainable in an economic and environmental way (Mathias Schwartz-Clauss et al., 2002). In addition, its flexible nature is

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capable of maintaining and following the cultural and societal changes of interiors (Mathias SchwartzClauss et al., 2002).

The interior architect must take into consideration the technologies available, materials, volume, form and shape to proceed into designing a successful adaptable interior. Simplicity as mentioned before is greatly beneficial to the function of the space, but it also allows the efficiency in the usability of the space to happen (Abdulqader, Ibrahim and Bahauddin, 2015). To begin a program of the adaptable space furniture and equipment is often designed for storage efficiency which allows maximum surface area and orderliness (Nakib, 2009). For this to occur the furniture can be hidden inside floors and walls, the furniture can also be manipulated and stored into those elements and extracted when needed (Nakib, 2009). This renders interior compartments such as wardrobes and cupboards unnecessary (Nakib, 2009).

When applying technology into adaptable interiors, the spatial and functional adaptability is also considered (Nakib, 2009). Both reply on each other to allow the program dedicated or decided by the user to occur (Nakib, 2009). For example, if the program began as a work space and needed to function as a lecture space, the lighting system above must be adjusted of those programmed to function optimally. Technological adaptations require components of multi-functionality referring to physical features that are used in multiple of ways in unknown situations (Alves, 2005). Transfunctionality is similar in terms of physical use of components but is used to support the new undecided chosen function in line with the user’s experience and need of the space (Baltazar dos santos, 2007). This style of function is considered to be an immediate and random use of the space.

Mobility is the built-in elements that are able to be moved and rearranged in the existing interior (Nakib, 2009). All these characteristics showcase different types of adaptable space that is possible with the use of technology. However, this customizable element of adaptable interior can somewhat feel impermanent due to its everchanging nature, which do not allow a person a form a last relationship with the interior space. There is still the interior space identity debate on whether space loses identity due to its lack of program specification.

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2.4 Identity, place & Belonging Identity of a space is often tied with place, individuals tend to identify to place, whether physical or belonging to group (Qazimi, 2014). A sense of place allows people dwell in a space that brings permanence and stability (Qazimi, 2014). With adaptable spaces, its ephemeral qualities move away from this notion of identifying to a place. Despite this, the German philosopher Martin Heidegger states that “a building is not a place - it simply brings a place into existence� (Heidegger 1993).

However, if the existence only last for a finite amount of time, individual’s do not feel a sense of place or belonging. Even though the act of transforming your own space allows you to create a space that you can identify with, have a time set on its (Abdulqader, Ibrahim and Bahauddin, 2015). The lack of stability creates a hard environment to form personal relationship to the interior space as the space may be occupied by another person using it. In conjunction with the instability on adaptability, users ten to remember visually which helps to identity spaces and place through connecting the memories from their mind to the real image of the interior in front of them (Abdulqader, Ibrahim and Bahauddin, 2015). Therefore, the absence of specified and consistent programs within the space causes people to feel displaced and impersonal.

The study of minimalist elements, ornamentation, adaptable interiors, and identity and place reveals the several benefits and limitations of each element that can have an impact on interiors. For the discussion of film interiors anbd Mixed Reality technology, each component will be used as a reference to discuss how MR is exists and presented within a film interior.

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Chapter 3

The relationship between the interior space and the user has been affected by advances in digital, electronic, and interactive technologies, particularly the way real-time interaction alters physical and psychological engagement with built space. The introduction of MR within space can have a huge impact on the way space is perceived. Due to the limitation of knowledge on the MR realm, film interiors that explore virtual technologies will be examined and analysed through interior elements and principles of design to demonstrate how MR is presented in film. A case study will be undertaken of three films that specifically explore Mixed Reality technology and its interaction within the existing interior and the people within. The films Ghost in the Shell (2017) by Rupert Sanders, Blade Runner 2049 (2017) by Denis Villeneuve and Passengers (2016) by Morten Tyldum will be analysed for the use of MR technology and its relationship with the interior presented. Drawing from chapter two, the discussion of major themes of future architecture in film such as minimalist elements, ornamentation, adaptability and identity, will be employed to exemplify the how each theme is shown in each MR film interiors. These elements will go on to explain how the use of MR have an effect on the way spaces are designed to enable the use of these technologies and how these spaces could spark conversation on what future MR interiors could be.

Mixed reality presented in some films often involve a character’s engagement with an interface that are often holographic and are presented with transparency where anything that is behind these holographic projections are still visible (Johnston, 2017). Due to its light projection, the interior walls, floor and ceiling are presented in a way that is of advantage for MR to occur. Usually the interiors are minimal and simple to allow the maximum function of the technology (Geng, 2013). Throughout Ghost in the Shell (2017) the interior spaces are absent of decorative elements, there is however an overpowering number of blank surfaces and seamless finishes. This particularly is evident when the

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presence of MR technology occurs. For example, in figure 3.01 the audience is presented with a room where all the walls are neutral coloured and is only defined by the recessed wall lighting.

Figure 3.01: MR Hologram Interaction with Interior (Ghost in the Shell, 2017)

At the centre, the MR technology dominates and is clearly visible. The lack of ornaments in this space allows maximum exposure to the hologram. The artificial recessed wall light acts a demarcation between the walls and floor, emphasising location of salient object (MR) which are resolutely one toned which relates back to chapter two in the discussion of how “the decisive character of the skin” allows for adaptability to occur (Vasilski, 2016 p. 51). The hologram in its background of infinite surfaces, functions at the floor centre and used as a massive information device that projects a 3D projection of a building and a person’s head. The floor has circles of glowing white light that produces the laser image of the hologram. Despite the elements of empty walls, the lack of natural light withdraws from the minimalist ways. For MR to persist, the room is required to be dark and adopts artificial light to allow guidance. The MR technology seamlessly melds into the existing interior, and the red coloured projection dominates in its boldness against the unadorned walls. Confronted by the minimalist idea of function over décor, it is apparent that for holographic MR to exist ornamentation must be absent (Nikolic and Vasilski, 2017).

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Figure 3.02: MR Hologram for Adaptability (Ghost in the Shell, 2017)

Adaptability of MR technology portrayed in Ghost in the Shell (2017) is presented in the form signage.

The room that the characters walk towards highlighted in figure 3.02, have a holographic indicator that shows the identification of the rooms. The possibilities of holographic rooms signage allow for any program to occur within that room, by simply changing the holographic information of the signage. The adaptability element here is advanced where the multi-functional use of space can be dictated by simply changing the room signage. As discussed in chapter two, the more flexible the space is, the less personal it is to the user (Abdulqader, Ibrahim and Bahauddin, 2015). The instantaneous change of room identification exaggerates the ephemeral nature of what technology could do to adaptable interiors. The repeated element of the wall colours conforming to one uniform dark blue grey colour, that allow they hologram to be seen. Unadorned walls and exaggerated artificial LED lights compliment the MR hologram. The repeated simplistic unembellished surfaces yield to minimalist qualities (Căplescu, 2016). While there is a harmonious overlay of the virtual and physical environment, there is a complex interplay between the lost the past as erased by an adaptable element of the rooms, and the instantaneous nature of technology.

Examining how MR is presented in a program specified space, the gathering space in Passengers (2016) illustrate how furniture relate to MR technology within a space. In figure 3.03 the hologram is produced from a circular device that is positioned at the front of the room. The MR hologram is an artificial intelligence (AI) technology that act as a guide on the space ship (Passengers, 2016). The beige and natural hues of the surfaces juxtapose with the artificial blue of the hologram. The stripped

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back surfaces of the walls, floor, ceiling and furniture draw the audience eyes to the technology. In this space, the technology is used for a specific program as an assistance in the gathering space. This can be seen as a small lecture gathering space based on the layout of the benches. The benches are placed orderly and allow clear circulation pathways to seat and to the AI. The grey satin polished benches complement the surfaces of the interior which allow a uniformity of the interior elements.

This allows functionality and practicality of the lecture and gathering spaces to occur without the distraction of dĂŠcor (Nikolic and Vasiliki, 2017). The surface treatment of interior and furniture respects the function of the space without dominating the AI hologram. The colours demand the respect and formality of its users due the sleek and seamless skin finishes. In this case, minimalist element work to the advantageous of formal gathering spaces that aims to deviate from distraction of its users. Despite its lack of ornamentation, the layout of the benches is reminiscent of a lecture gathering space thus retains its identity and program.

Figure 3.03: MR Hologram for Adaptability in Program (Passengers, 2016)

In another example from Passengers (2016), the spatial program transcends the designated program and is enveloped by adaptable features that transform the whole interior space. In figure 3.04, the main character is overwhelmed by a lecture space that has been transformed into an observatory.

Comparison to the gathering space of figure 3.03, this gathering space is able to transform into

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different programs such as a lecture space transforming into a virtual observatory. The MR technology melds the virtual and physical environment allowing a complex mix of function to occur.

Due to its chameleon-like characteristic, giving an identification such as a name to the space becomes difficult. The identity of these spaces has become indecisive and loses the personal connection to interior space. As discussed in chapter two, these flexible and transient spaces cause the memory that are created in these spaces to be gone (Abdulqader, Ibrahim and Bahauddin, 2015). They are lost when the user is finished interacting with the adaptable space and a new user re-invents the program to their need and new memories are created (Abdulqader, Ibrahim and Bahauddin, 2015). The impermanent nature may also be a good aspect in that it follows the human quality of adapting (Nakib, 2009). In addition, the adaptive abilities allow spaces to maximise the number of programs that could in one space. On sustainable point view, this will allow smaller buildings to hold many more programs without the cost of multiple rooms (Mathias Schwartz-Clauss et al., 2002).

Figure 3.04: MR Hologram for Adaptability (Passengers, 2016)

The overtake of technology in these film interiors tend to lose its identity due to the sacrifice of ornamentation for MR technology to function optimally. In Denis Villeneuve’s Blade Runner 2049 (2017), the main character officer K, lives in an apartment that resemble a jail cell more than a home

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(figure 3.04). Compared to Ghost in the Shell and Passengers, Blade Runner 2049 conform more to the minimalist style.

Figure 3.04: Officer K’s Apartment with MR Technology (Blade Runner 2049, 2017)

The surfaces on the interior are completely stone grey and evoke a melancholic atmosphere that appeals to the practical and functional aspect of minimal and modern ways (Loos 2019). The stagnant portrayal of the interior ironically evokes the silent harmony between artificial devices and the architectural elements of materials and form. Materials of concrete and glass portrays the practicality of the space, where in the minimalist notion of seamless surfaces allow lighting and shadow to create drama on the empty surfaces (Căplescu, 2016). Also, the perfection that the space exhibits reveals the absence of the human touch which John Ruskin (2000) argued in chapter two that objects in the interior are imperfect due to its man creator. The perfect surfaces lack human connection therefore the interior may feel cold. Despite its well-lit interior space, the hologram is able to still function visually as a result of the lack of saturation in the colours of the interior.

Figure 3.05 demonstrates only the necessary furniture and technology that K needs for living. The one interesting element is the MR machine that produces a hologram of an AI. Despite the advanced abilities of the technology, it blends naturally into the sombre interior. The MR hologram in this case

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fill the role of an ornament, where the hologram becomes the dominant feature of the space. In a desperate attempt to saviour any personal connection to the space, the AI hologram becomes the personalised feature for officer K. However, when the technology does not function the apartment space is simply a shell of necessity and function. The priority of functionality and practicality provoke a loss of intimate connection to the domestic interior space (Abdulqader, Ibrahim and Bahauddin, 2015).

Figure 3.05: Function and Program (Blade Runner 2049, 2017)

Identification through memory, is away way of belonging to a place through the development of memories that are connected to the interior objects. Returning to officer K’s apartment, there is a distinct lack of history shown through physical objects at least in the case of K’s home, there is no evidence of personal or human touch. This is illustrated by the empty and bare surfaces of walls as well lack of personalisation through personal items (figure 3.06). At the left corner of K’s apartment is lit up, the items are considered items of the ‘old world’ suggesting books as an item of the past (Blade Runner 2049, 2017). Neglected, the books represent the memories of the past the K lacks as well as items that are considered décor (Elrayies, 2018). This is especially evident in K’s attention as it is focused the MR AI hologram. The hologram in this shot appear more real compared to figure 2.05, however the audience is reminded of her artificial trait through the MR projector attached to

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the ceiling. The MR equipment like other technological equipment appear to be coated in a charcoal black matte finish. The technology emphasised through colour depicts their significance and in a sense the future presented suggest technology have become a form or ornament that embellish future interiors. What these space lack in terms of the human senses, is the engagement of tactile surfaces.

The walls presented plays the traditional part as a form of protection and function as it is (Căplescu, 2016). As a result, the lack of engagement with inhabitant through tactile surfaces or personalised picture frames further stress the rarity of identity and memory in the MR orientated interiors (Elrayies, 2018). Consequently, the lack of personal identification to interior objects allow no space for memory to store which in return do not allow a place for belonging to occur.

Figure 3.06: MR technology as a form of Ornamentation (Blade Runner 2049, 2017)

What film interior can offer when presenting MR technology is show how these technologies are used and what elements extracted can reveal how these future interiors effect an individual. These elements of minimalism, ornamentation, adaptability and identity and place identified in the threecase study draw upon the notions of how these interior principles and elements of design respond to technology such as MR. On the user experience, these elements allowed the discussion of MR technology engagement with the individual which included the issues of identity, benefits of clean

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surfaces, limitations of the lack of ornaments and memory and identity in objects. Due to the scope of this dissertation future prediction of MR in Interior cannot be achieved, as MR is still a new area being researched and there are no physical examples of MR technology at present. As a result, interior architects can instead discuss the impact of technology such as MR on the future of interiors and the users experience within these future spaces.

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Conlusion

This dissertation demonstrated how mixed reality is presented in film interiors through a number of key themes such as minimalist traits, ornamentation, adaptability, identity and place. These themes identified, examined the limitation and benefits of having MR technology that could influence the way the interiors appear and interact with the user. From the study, interior architects should be aware of new technologies such as MR and be shown how technologies such as MR could impact future interiors without perceiving it as facts but a hypothetical situation that trigger a discourse about the future of technology on interiors.

Due the lack of MR research, examining specific future MR impacts on real interiors is beyond the scope of this dissertation.

In chapter one, it was discovered that the concept was still developing due to its many definitions hence the literary review of existing definitions enabled the ability to form a definition for mixed reality. By understanding the concept clearly, it allows the process of identifying MR in film interiors to be achievable.

The chapter also reveals how technology have initiated a change in the way interiors with existing element such as walls, floor, ceiling, materials etc. are designed due to the incorporation of smart devices and what that means to the users. As result adaptability was found as major key theme that allowed technology and interiors to coexist. Film interiors was discussed and found the many different aspects that compared to real life interiors. As a result of exploring MR, future technologies were discussed and found that technologies similar to MR can only exist based on the current climate of society and people’s reception of the technology.

Chapter two provided a theoretical discussion on the prominent themes of minimal traits, ornamentation, adaptability, and identity and place in interior with technology mentioned in chapter one. The chapter revealed that each theme has a limitation and benefit and the absence or presence of either one of the themes can have an impact on the interior impression, and on the inhabitant.

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Chapter three analysed the three films, Ghost in the Shell (2017) by Rupert Sanders, Blade Runner 2049 (2017) by Denis Villeneuve and Passengers (2016) by Morten Tyldum based on the key themes from chapter two. The case study evidenced how MR is presented in film interiors and solidified the notion of how interior architects could use film to stimulate a conversation about the impact of technology such as MR on future interior and its impact on the user.

The dissertation demonstrated how MR is presented in film interiors while triggering the subject of discourse for interior architects on how technology similar to MR and can have an impact on future interiors and the user.

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