windows
to the
past Megan Gibson
RSA 2014: Heritage by Design
December 2014
Preface
''
Before I can say I am, I was Wallace Stegner
''
James A. Baldwin
Preface
''
People are trapped in history, and history is trapped in them
contents
1 2 Introduction
6
The Brief
9
Design Aims
7
10 11
12
Initial Rationale Report Aims
Report Objectives Synopsis
Research
14
Heritage
21
Technology
17
Regeneration
27 Case Study 1 28
Case Study 2
Conclusion
30
Design Rationale
31
33
Concept
34
Mood Board Infographic
35
Sketches
Final Sheets
37
Title Page
39
Design Story Board
38
40
Concept
References
42
Text References
44
Bibliography
43
Image References
45 Appendix
contents
4 3 5
intro duct tion
brief
''
Design a way for people & communities to better connect to & celebrate heritage RSA 2014
Initial rationale
The beauty of heritage: whether it is ancestral, cultural or environmental: is that everyone has one. Everyone has a story; everyone came from somewhere. In the UK we are fortunate to have such a rich and majestic history spanning back to the prehistoric era thus it is an ever imminent problem of losing touch with our heritage and taking it for granted. It is imperative to change attitudes towards history, personal and community heritage by creating a resolve to the dilemma.
7
Initial rationale Fig 1.1. Marco Ugolini. Available from: Pinterest
8
design aims
•
To create an unprecedented, accessible, creative way to involve the general public in heritage
•
To create awareness of local heritage and highlight its importance
•
To integrate the design into existing community spaces
•
To elaborate the importance of cultural, local and historical provenance
•
To excite people about heritage who would not usually be interested or get involved
•
To create a scheme that is not only beautiful and seamless but has financial feasibility too
•
To incorporate the latest technology and manipulate it to create a new experience for the public
•
To change the general consensus of heritage and improve the community perception of it
9
To assess the feasibility and tangibility of the proposed design scheme
•
To explore various research strategies to fortify the proposed scheme
•
To assess the current perception of heritage
•
To identify the problems regarding why heritage is so commonly forgotten
10
report aims
•
report objectives
• ’ •
To conduct a survey regarding public opinions of the term ‘heritage
•
To analyse the findings and channel them into an innovative response to the brief
•
To create a solid design scheme with achievable intentions
To research various technologies that could make the project work
11
synopsis
The principle purpose of this design is to create an innovative, pioneering solution to the social issue of people being disconnected from their heritage through the use of new technology, the experience and nostalgia associated with heritage integrating it discretely into modern society. First and foremost the extremity and wealth of history embedded throughout the British Isles is almost second to none. Less than one hundred years ago the British Empire constituted one quarter of the earth’s surface (BBC, 2014). The rich heritage of the country is conveyed through its cities; their stories and roles throughout history which inevitably has had a great impact on the cultural and local welfare of the inhabitants. The idiosyncratic beauty of each city stresses the importance of a transient element within the design: to elaborate the individual approach needed for the project’s success. The design must enable a personal and individual approach to heritage to fully engage the user highlighting local relevance and the current trend of provenance (Mintel, 2012). Reflection acts as a key element in the design with its multi-faceted meaning in relation to the project. Reflection of oneself: where are you from, who were your ancestors; reflection of the community: what has your city done, where are they from; and, reflection of history: what were the beginnings of your city, what were the major social, political and environmental events?
Fig 1.2. Leicester by Night. Available from: Pinterest
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RESearc h
heritage
Heritage [her-i-tij] noun 1. Something inherited at birth, such as personal characteristics, status and possessions 2. Anything that has been transmitted from the past or handed down by tradition 3. The evidence of the past, such as historical sites, buildings, and the unspoilt natural environment
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heritage
THE HISTORIC ENVIRONMENT
Contrary to popular belief, not many people actually fully understand what the term ‘heritage’ means. Natural responses are ‘castles’, ‘history’ and ancestry (Google Forms, 2014) but heritage actually carries much stronger connotations: it is intrinsic to our society and invested in the environment we live in. It can lend itself to how your grandparents survived the war, the village church, the reason your city became a city or the market stall your uncle has on a Saturday: heritage is omnipresent.
Listed buildings often generate higher commercial value
REGENERATION / DEVELOPMENT
ased tourism ma ge b a t i k er
sses are attrac sine ted bu
ric places isto h by
TOURISM
K the U to on
ificant contr ibu sign a ti es
Heritage attractions boost local economies
h
H
Heritage is critical to the ongoing success of tourism as an export industry
Interaction with the local historic environment helps young people develop important general skills
wi
m en e t i n h e rit a g
PERSONAL DEVELOPMENT
ai d
sp
ers
o n al
d e v elo p m
en
li f e te
v
ro
vir
onm
e n t i n t h eir
Involvement in heritage projects can improve people’s sense of worth and self-esteem
t
15
e ngage
t men
In
ri c
v o lv e
Historic fea t u r es s Fig 2.1. Heritage Infographic. Available from: English Heritage
SENSE OF PLACE en
ro age can p
loc
al
mo
People who live in areas with greater historic environment are likely to have stronger sense of place
p la
LIFE
h er it
ce
Heritage develops connections between people and groups in local areas
v al u e t h e his t o
ENVIRONMENTAL
ut
a n d a e it i m p gre
fi c a n t i
ct mpa
sig n i
sa ha
op le
ot be equated ld n wi u t ho
Pe
Cultural heritage is a critical part of our ecosystem
t y o f lif e
Refurbishing old buildings reduces energy costs
u a li
Investment in the historic environment raises pride in areas and encourages social interaction
bo
es q
es
long
n th a n d e d u c a ti o
on
he al
y inefficiency erg en
th
vir o n m e nt
iti n g h e r ita
it ge s
EDUCATION / SKILLS
ga
V is
nin
h
Historic environment construction skills are critical to maintaining our special places
L e ar
Heritage voluteering can improve mental health & wellbeing
QUALITY OF LIFE
r en
Investing in the historic environment generates economic returns for local places
ou
H i g h g row t
Visiting heritage sites has a significant impact on wellbeing and life satisfaction
heritage
Fig 2.2. Guildhall Leicester. Available from: Flickr
Despite a lack of understanding, Britain’s plethora of heritage sites are visited by millions of people every year. Recent research by Mintel (2013) shows that, in spite of a suffering economy, last year alone 5.1 million guests visited an English Heritage site and a further 19.2 million visited a National Trust site. Therefore the general consensus is that there is an undeniable interest in the heritage of the UK - a colossal increase from 2010 when only 5.5 million people visited English Heritage locations (Mintel, 2011). The study goes on to state that in the same year museums and historic sites were the most popular attractions up and down the country which also a reflection of the the socio-economic state of the country as many of these attractions have free admissions and visitors use their heritage membership discounts (Mintel, 2013). A rise in the staycation trend has also boosted visitor numbers with 43% of those opting for domestic tourism choosing a ‘place of historical interest’ with 25% being spontaneous visits during short breaks (Mintel, 2013).
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Fig 2.3. Reflection. Available from: Pinterest
regeneration
The undulating stability of the socio-economic state of the UK’s cities is now finding respite in vast regeneration projects across the country. UK Regeneration (UKR) has been instrumental in implementing action up and down the country providing the ‘indispensable tools’ needed to actively revive our dilapidated city centres but there is still a long way to go for many of our cities. Most obviously is Liverpool having been awarded European City of Culture in 2008 the city has since rebuilt its shopping district, poured money into revitalising its waterfront and is visited by a French circus troupe annually attracting over a million visitors. Liverpool is an epitome of regeneration. Many others have also followed suit: Hull was awarded City of Culture 2014, Manchester’s revival of its industrial warehouses and Leicester unearthed the remains of the last Plantagenet King – Richard III.
Fig 2.4. Leicester. Available from: Pinterest
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regeneration
Connecting Leicester is a new initiative calling for financial investment to regenerate the city centre and improve place making and urban areas. Thus far their Streets + Spaces programme has been completed improving the walkways and seated areas throughout, like Liverpool, have built a leisure and retail multiplex: Highcross: and now have turned their attention to the West End where the rich cultural heritage of the city lies, Narborough Road. Infused with European, Asian and student migrants this area of Leicester is undergoing a full scale revival from urban art projects involving local university’s to improving the local waterside (Visit Leicester, 2013). By elaborating upon Leicester’s ‘strong entrepreneurial spirit’ (Visit Leicester, 2013) they are strengthening the connectivity and poignant central location in the country to create an infrastructure to put itself back on the map.
Fig 2.5. Leicester Town Hall. Available from: Pinterest
Fig 2.6. Leicester 1948. Available from: Guardian
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regeneration
Yet there is still are large issue regarding empty shops and buildings. A recent development creating a new arcade in the city centre still has failed to fill all of it’s sublets within the first six months inferring that there is still hesitation investing in retail property. On the other hand the Townscape Heritage Initiative (THI) has recently received funding from The Heritage Lottery Fund (HLF) to invest into its Cathedral and Guildhall Conservation Area. Through this scheme they aim to:
Make the area more attractive and inviting to occupiers and visitors
Increase understanding and help people value Leicester’s historic development, particularly the area of Leicester’s old town
Make the historic core of the city more legible Stimulate economic growth by making the historic core more inviting for commercial investors and residential use
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Offer grants to locals to bring back empty floor space into use
Improve building frontages Improve the local heritage skills sector through training in related skills
Following the recent discovery of Richard III’s remains, Leicester has an opportunity to exploit the heritage value of its city and stimulate growth and regeneration. There are numerous secondary plans in place to create vibrancy in the area such as pop up shops and exhibitions (Visit Leicester, 2014) as well as an innovation Richard III exhibition incorporating digital technology and 3D mapping to portray a portal into 13th Century Leicester.
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regeneration
Increase greater participation and understanding in conserving Leicester’s historic environment
Restore lost architectural features
technology
One of the principal problems being solved through this brief is changing the perception of mundane exhibition and museum experiences; to abolish the monotonous drone of headsets as you walk around a castle ruin or reading endless text pinned to a wall next to a Damien Hirst creation. In the digital age the public expect to be excited and immersed into their bricks and mortar experiences to give them a reason to leave the warmth of their homes – a crucial principle to this project.
Fig 2.7. Iron Man. Available from: Amazon
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technology
The concept of edutainment (Mintel, 2013) incites that the way in which information is portrayed: it must be exciting and entice the visitor to become involved in learning. An increase in visitor numbers is not only positive economically but also in terms of social and educational prospects for young people (Guardian, 2014). One way in which to approach this is augmented reality (AR). Through ‘museology doctrine’ has successfully brought storytelling to the forefront of museum journeys: in role play, video, audio and thematic organisation (Guardian, 2014) however some argue that this is still not enough and more immersive experiences are the way forward. The combination of digitising museums and edutainment will create adaptive involvement which can be introduced to the brief to ultimately capture the younger audiences.
Fig 2.8. Augmented Reality. Available from: Purple Clover
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technology Fig 2.9. Boarding Pass. Available from: Flickr
Augmented reality is becoming more prevalent in our everyday lives being installed more frequently into our urban environment (Graham et al., 2012). The report goes on to state that cloud technologies are ‘ubiquitously accessible’ and are ‘imbricated with other sensory inputs into the urban experience’ therefore it seems only natural that as a society it is embraced. Ultimately AR is a tool altering the perception of our mundane experiences and interpretations of events and locations through engrossing in digital imagery – interactively communicating with your audience (Bloxham, 2013).
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technology Fig 2.10. Watson. Available from: Bioengineer
Pioneering IBM cognitive technology has created Watson: ‘a natural extension of what humans can do at their best’ (IBM ,2014). It processes information more like human that a computer (IBM, 2014). As the world’s first computer to use dynamic learning when used repeatedly Watson becomes smarter and even learns from its own mistakes (IBM, 2014) going as far as understanding natural language and inform its users to make informed decisions.
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technology
Spyeglass’s 3M Vikuiti screens are unique as their clarity does not suffer with direct or sunlight thus making it ideal for outdoor installations. The rigid rear projection screen is a standard, modular sheet sizing - or tailor made - and has the technology already installed into each screen making assembly easy. The screens boast ‘unparralled optical technology’ (Spyeglass, 2014) displaying all images in vibrant colour, rich detail and 180 degree off-axis viewing. Optical microspheres focus projected light to prevent the image becoming washed out whilst also having a durable acrylic nonglare surface.
Fig 2.11. Storefront. Available from: Spyeglass
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Fig 2.12 Advert. Available from: Spyeglass
Technology
Fig 2.13 Screen. Available from: Spyeglass
Fig 2.14 Projection. Available from: Spyeglass
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Case Study 1
Museum of London StreetMuseum App
An app to see London, past and present, in unison through your mobile. The Museum of London using their extensive collection of images of the capital have uploaded and linked them with GPS for the general public to see London’s ever changing scenery; from the Great Fire of London to the sixties. The unique experience allows visitors to see the capital as they have never been able prior to this technology before. Simply by holding up the camera to specified spots throughout the city portrays ‘a window through time’ (Museum of London, 2014) as well as information about the event and historical facts. Fig 2.15 Tube. Available from: Museum of London
Fig 2.16 Bomb. Available from: Museum of London
Fig 2.17 Police. Available from: Museum of London
Case study 2
Fig 2.18 Interactive Adverts. Available from: Spyeglass
Fig 2.19 Street Advert. Available from: Spyeglass
Coraline Interactive Windows
Coraline’s interactive storefronts appeared in seven cities throughout the world capturing the full attention of every passer-by. They ‘[were most] startled to see themselves with their eyes replaced as buttons’ (Web Urbanist, 2013). Using an amalgamation of holographic projection, rear projection, interactive screens and augmented reality they created the most pioneering advertising campaign of any film. As the public walked by their reflections became interactive and juxtaposed reality with buttons superimposed onto their projection. Using Spyeglass technology the 3M Vikuiti screens ‘fought sunlight, sharp image clarity, high colour contrast and easily viewable from all angles’ (Spyeglass, 2009).
Fig 2.20 Coraline. Available from: Spyeglass
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CONC LUSion
design rationale
The personal, reactive and reflective response to the brief is an innovative way to introduce heritage into our city centres. The design immerses seamlessly into the environment and transports the user through augmented reality and interactive cognitive technology to another time. This enhances the conventional user experience when obtaining educational information about heritage in an easy, simple manner. The pioneering approach to heritage design will be instrumental in connecting people on a communal level and on an individual scale. The interactive, interpersonal adaptation allows user experience to be interchangeable and creates a sense of importance.
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Fig 3.1 Shadow. Available from: Flickr
concept
Windows to the Past is a series of interactive screens within any city with one purpose: to inform the public of their heritage. Initially appearing as a simple empty shop window, through augmented reality and cognitive technology an unprecedented experience is created: your reflection is in period dress, the buildings are not quite the same and the cars are horse and carts, but above all: your reflection is talking to you. The screens become time portals to an era relevant to the host city the installation is in, for example: 13th Century Leicester during Richard III’s reign. The digitised reflection becomes a connection to the past by answering questions, conversing with the member of the public and informing them about the history or local historical events: the ultimate story telling experience. A pop-up exhibition that is supported and funded by the Heritage Lottery Fund Townscape Heritage Programme. In this way the concept exploits the intrinsic, instrumental and institutional aspects of heritage education on a broad scale.
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concept
Fig 3.2 Tree Symmetry. Available from: Pinterest
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Fig 3.3 Tram. Available from: Wordpress
windows
7
to the
Britain’s global rank in terms of cultural heritage
past £803m £12.4bn Heritage Visitor Economy is worth to the North West
Heritage Tourism Industry worth to the UK annually
445,000 1 in 3 People volunteered in the Heritage Sector
1 in 5 visitors to Heritage sites are from outside the UK
67%
only know a little about their heritage
do not feel a connection to their local heritage
100%
83%
would be more interested if heritage was more interactive
would be more interested if heritage was more personal
Volunteers report and increase in self-esteem and confidence
£90m 389,468
is being invested into English Heritage by the UK Government
5 million people visit Royal Heritage sites yearly
50%
Educational school visits were made to English Heritage sites last year
Many countries have strong cultural links & invest in British Heritage
CANadaUSASOUTH AFRICAAUSTRALIANEW ZEALAND
Final Sheets
windows
to the
past A simple, elegant way to get the whole community investing and learning about the history and heritage of their city on an individual level. Digital installations throughout and around city centres integrated seamlessly onto the windows of empty or dilapidated buildings: to discreetly highlight the importance of regeneration. Windows to the Past bring heritage to the public in a new and innovative way. Accessible, informative and entertaining.
Concept Windows to the Past is a series of interactive screens within any city with one purpose: to inform the public of their heritage. Initially appearing as a simple empty shop window, through augmented reality and cognitive technology an unprecedented experience is created: your reflection is in period dress, the buildings are not quite the same and the cars are horse and carts, but above all: your reflection is talking to you. The screens become time portals to an era relevant to the host city the installation is in, for example: 13th Century Leicester during Richard III’s reign. The digitised reflection becomes a connection to the past by answering questions, conversing with the member of the public and informing them about the history or local historical events: the ultimate story telling experience. A pop-up exhibition that is supported and funded by the Heritage Lottery Fund Townscape Heritage Programme.
Design The interactive screens in the shop windows are rear projected from within the empty retail space; portraying the individual’s modified reflection from the exterior. Once the individual makes eye contact with their reflection the image is activated and begins to interact, intriguing the individual to come over and learn more. As the member of public talks with their projection, the cognitive technology retains any information about personal history or cultural heritage from the visitor, continually learning and developing its archive. The experience is tailored to them making it personal and engaging.
Empty Shop Space
100% would be more interested if heritage was more interactive
50%
83%
only know a little about their heritage
would be more interested if heritage was more personal
7 Britain’s global rank in terms of cultural heritage
5 million people visit Royal Heritage sites yearly
story board
... nonchala
ntly walk th
rough the s treets of th eir home or city... new
the ‘Windows ve a h ts n o fr p o h s indows on empty op windows.... h s r ... some of the w la u g re s a ing to the Past’ pos
Locals out shopping or families visitng for the weekend Windows to the Past is accessible for everyone in any city...
At the end of the conversation the reflection informs the guest of the various other locations around the city where they can obtain information of another era or go on with their day
inform the guest ... after greeting them, the reflection begins to nts in a colloquial of the time period and notable historical eve rmation. manner all the while constantly obtaining info
... when an indiv activated re idual approaches and makes eye flec contact, the to the host tion appears in period ir dress of an city in a se era relevan tting that is t also reminis cent to tha time... t
Referenc es
UNKOWN (2014) The British Empire Through Time [ONLINE] Available from: http://www.bbc.co.uk/ bitesize/ks3/history/uk_through_time/british_empire_through_time/revision/2/ [Accessed: 04.12.14]
Page 22
IOANNIDIS, Y (2014) Tell me a story: Augmented reality technology in museums. The Guardian, 4th April. Available from: http://www.theguardian.com/culture-professionals-network/culture-professionalsblog/2014/apr/04/story-augmented-reality-technology-museums
BBC (2014) The British Empire Through Time [ONLINE] Available from: http://www.bbc.co.uk/bitesize/ ks3/history/uk_through_time/british_empire_through_time/revision/2/ [Accessed: 04.12.14] MINTEL (2012) Life of the over 55’s, April 2012. London: Mintel International
Page 15
Various (2014) Questionnaire on Heritage 1st December 2014.
Page 16
MINTEL (2013) Visitor Attractions, December 2013. Mintel International
Page 23
Page 17
IOANNIDIS, Y (2014) Tell me a story: Augmented reality technology in museums. The Guardian, 4th April. Available from: http://www.theguardian.com/culture-professionals-network/culture-professionalsblog/2014/apr/04/story-augmented-reality-technology-museums BLOXHAM, J (2013) Augmented Reality in education: teaching tool or passing trend? The Guardian, 11th Feb. 2013 Available from: http://www.theguardian.com/higher-education-network/blog/2013/feb/11/ augmented-reality-teaching-tool-trend
MINTEL (2011) Visitor Attractions, December 2013. Mintel International MINTEL (2013) Visitor Attractions, December 2013. Mintel International
MINTEL (2013) Visitor Attractions, December 2013. Mintel International
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IBM (2014) IBM Watson [ONLINE] Available from: http://www.ibm.com/smarterplanet/us/en/ibmwatson/ [Accessed: 01.12.14]
UNKOWN (2014) Heritage Counts [ONLINE] Available from: http://hc.english-heritage.org.uk/content/ pub/2014/heritage-counts-summary-2014.pdf [Accessed: 04.12.14]
IBM (2014) IBM Watson [ONLINE] Available from: http://www.ibm.com/smarterplanet/us/en/ibmwatson/ [Accessed: 01.12.14]
UNKOWN (2014) Heritage Counts [ONLINE] Available from: http://hc.english-heritage.org.uk/content/ pub/2014/heritage-counts-summary-2014.pdf [Accessed: 07.12.14]
IBM (2014) IBM Watson [ONLINE] Available from: http://www.ibm.com/smarterplanet/us/en/ibmwatson/ [Accessed: 01.12.14]
UNKOWN (2014) Heritage Fact Sheet [ONLINE] Available from: https://www.english-heritage.org.uk/ content/imported-docs/f-j/heritage-fact-sheet-2.pdf [Accessed: 05.12.14]
In a conversation on 09th December 2014 W. Lewis
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UNKOWN (2014) Heritage Initiative [ONLINE] Available from: http://www.visitleicester.info/welcome-toleicester/connecting-leicester/greyfriars-townscape-heritage-initiative/ [Accessed: 05.12.14]
Page 20
UNKOWN (2014) Heritage Initiative [ONLINE] Available from: http://www.visitleicester.info/welcome-toleicester/connecting-leicester/greyfriars-townscape-heritage-initiative/ [Accessed: 05.12.14] UNKOWN (2014) Regeneration in Leicester [ONLINE] Available from: http://www.leicester.gov.uk/yourcouncil-services/ep/economic-regeneration/regenerationnews/ [Accessed: 05.12.14]
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SPYEGLASS (2014) 3M Vikuiti [ONLINE] Available from: http://www.spyeglass.com/3M-vikuiti-rigid.html [Accessed: 09.12.14]
Page 27
MUSEUM OF LONDON (2014) StreetMuseum App [ONLINE] Available from: http://www.museumoflondon. org.uk/Resources/app/you-are-here-app/home.html [Accessed: 06.12.14] MUSEUM OF LONDON (2014) StreetMuseum App [ONLINE] Available from: http://www.museumoflondon. org.uk/Resources/app/you-are-here-app/home.html [Accessed: 06.12.14]
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Web Urbanist (2013) Coraline [ONLINE] Available from: http://blog.wk.com/2009/02/06/shes-heeeeere/ [Accessed: 09.12.14] SPYDEGLASS (2009) Coraline [ONLINE] Available from: http://www.spyeglass.com/featured-Coraline. html[Accessed: 09.12.14]
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Text References
Page 12
Image References
1.1
PINTEREST (2014) Marco Ugolini [online image] Available from: https://www.pinterest.com/ pin/325103666825811402/
2.15
MUSEUM OF LONDON (2014) Tube [online image] Available from: http://www.museumoflondon.org.uk/ Resources/app/you-are-here-app/home.html
1.2
PINTEREST (2014) Leicester by Night [online image] Available from: https://www.pinterest.com/ pin/325103666825833684/
2.16
MUSEUM OF LONDON (2014) Bomb [online image] Available from: http://www.museumoflondon.org.uk/ Resources/app/you-are-here-app/home.html
2.17
MUSEUM OF LONDON (2014) Police [online image] Available from: http://www.museumoflondon.org.uk/ Resources/app/you-are-here-app/home.html
2.18
SPYEGLASS (2014) Interactive Advert [online image] Available from: http://www.spyeglass.com/ featured-Coraline.html
2.19
SPYEGLASS (2014) Interactive Advert [online image] Available from: http://www.spyeglass.com/ featured-Coraline.html
2.20
SPYEGLASS (2014) Coraline [online image] Available from: http://www.spyeglass.com/featured-Coraline. htmlt
2.1
ENGLISH HERITAGE (2014) Heritage Infographic [online image] Available from: http://hc.englishheritage.org.uk/content/pub/2014/heritage-counts-summary-2014.pdf
2.2
FLICKR (2013) Leicester Guildhall [online image] Available from: http://www.flickr.com/photos/ nedtrifle/8430943387/
2.3
PINTEREST (2014) Reflection [online image] Available from: https://www.pinterest.com/ pin/325103666825811348/
2.4
PINTEREST (2014) Leicester pin/325103666825833694/
2.5
PINTEREST (2014) Leicester Town Hall [online image] Available from: https://www.pinterest.com/ pin/325103666825833668/
2.7
GUARDIAN (2013) Leicester 1948 [online image] Available from: http://www.theguardian.com/world/ gallery/2013/mar/24/bert-hardy-photographs-in-pictures
2.8
AMAZON (2014) Iron Man [online image] Available from: http://www.amazon.com/ s/?url=me%3DA2VB656C8EUCIE&field-keywords=iron+comic&ref=nb_sb_noss
2.9
PURPLE CLOVER (2014) Augmented Reality [online image] Available from: http://www.purpleclover.com/ tech/?&p=2
2.10
FLICKR (2011) Boarding Pass [online image] Available from: http://rasmuskeger.com/rasmuskeger/2011/03/18/cabin-crew-ready-for-take-off
2.11
BIOENGINEER (2014) IBM Watson [online image] Available from: http://bioengineer.org/ibm-bringingwatson-smartphone/
2.12
SPYEGLASS (2014) Storefronts [online image] Available from: http://www.spyeglass.com/galleryoutdoor-signage.html
2.13
SPYEGLASS (2014) Advert [online image] Available from: http://www.spyeglass.com/gallery-outdoorsignage.html
2.14
SPYEGLASS (2014) Screen [online image] Available from: http://www.spyeglass.com/gallery-outdoorsignage.html
[online
image]
Available
from:
https://www.pinterest.com/
43
3.1 3.2 3.3
FLICKR (2011) Shadow [online image] Available from: https://www.flickr.com/photos/robhuntley/ PINTEREST (2014) Tree Symmetry [online image] Available from: https://www.pinterest.com/ pin/325103666825811377/ WORDPRESS (2012) Tram [online image] Available from: https://cristinabarkerjones.wordpress. com/2013/09/24/black-white-photography-part-3/
UNKNOWN (2014) Augmented Reality [Online] The Guardian. Available from: http://www.theguardian. com/technology/augmented-reality (Accessed 01.12.14) UNKNOWN (2014) IBM Watson [Online] IBM. Available from: http://www.ibm.com/smarterplanet/us/en/ ibmwatson/(Accessed 03.12.14)
Journals & Newspapers
IOANNIDIS, Y (2014) Tell Me a Story: Augmented Reality technology in museums. The Guardian, 4 Apr, p.1. Available from: http://www.theguardian.com/culture-professionals-network/culture-professionalsblog/2014/apr/04/story-augmented-reality-technology-museums
UNKNOWN (2014) What is Watson? [Online] IBM. Available from: http://www.ibm.com/smarterplanet/us/ en/ibmwatson/what-is-watson.html (Accessed 03.12.14)
ELLIS-PETERSON, H (2014) Manchester Art Sculpture. The Guardian, 26. Nov 2012. Available from: http://www.theguardian.com/uk-news/2014/nov/26/manchester-beswick-ryan-gander-art-sculpturechess-industrial-past
UNKNOWN (2014) What is Watson? [Online] IBM. Available from: http://www.ibm.com/smarterplanet/us/ en/ibmwatson/what-is-watson.html (Accessed 03.12.14) UNKNOWN (2014) The Journal’s Mission [Online] Cognitive Technology Journal. Available from: http:// www.cognitivetechnologyjournal.com/ (Accessed 03.12.14)
WAINWRIGHT, O (2014) Liverpool Locals Took Control Long Neglected Streets. The Guardian, 27. Nov 2014. Available from: http://www.theguardian.com/artanddesign/2014/nov/27/liverpool-locals-tookcontrol-long-neglected-streets
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UNKOWN (2014) Visiting the Past [Online] English Heritage. Available from: https://www.english-heritage. org.uk/content/imported-docs/u-z/visiting-the-past.pdf UNKOWN (2014) Heritage Counts Summary [Online] English Heritage. Available from: http://hc.englishheritage.org.uk/content/pub/2014/heritage-counts-summary-2014.pdf UNKOWN (2014) British Empire Through Time [Online] BBC. Available from: http://www.bbc.co.uk/ bitesize/ks3/history/uk_through_time/british_empire_through_time/revision/2/ UNKOWN (2014) Heritage Counts [ONLINE] Available from: http://hc.english-heritage.org.uk/content/ pub/2014/heritage-counts-summary-2014.pdf UNKNOWN (2014) 3M Vikuiti Rigid [Online] Spyeglass. Available from: http://www.spyeglass.com/3Mvikuiti-rigid.html UNKNOWN (2011) StreetMuseum App [Online] Museum of London. Available from: http://www. museumoflondon.org.uk/Resources/app/you-are-here-app/home.html
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Website
appendix
Questionnaire
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Appendix
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appendix
Questionnaire
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3M Vikuiti™ Rigid Screen Materials The true test of any rear projection screen is how well projected images look in unfavorable lighting conditions or when viewed from a poor angle or up close. Even in challenging situations like these, 3M Vikuiti™ Rigid technology enables an exceptional visual experience, maintaining a consistent level of brightness across the screen removing all “hot spots” and dark corners. These pages cover the technical information on the 3M Vikuiti™ Rigid non-glare acrylic screen material.
ambient light
To counter this, 3M Vikuiti™ Rigid screens are coated with millions of optical microspheres seated in a black chemical layer. The microspheres focus the projected light so it exists at just one point (or plane) on the acrylic substrate while the black layer absorbs any ambient light. To further enhance the viewing experience, the screen system also features a durable acrylic nonglare surface. The result of this process is a brilliant high contrast image that can be seen from any angle.
fax: 612.722.5191
ambient light
projected light
optical microspheres
How it works Optical microspheres focus projected light through a black layer that prevents the image from washing out in harsh ambient light conditions. One of the toughest barriers to maintaining a crisp image on rear projection screens is preventing ambient light from degrading the black level of the image.
office: 612.435.2246
ambient absorbing layer
viewer
acrylic substrate with non-glare surface
XRVS recommended throw distance: For projection systems such as that shown in Figure 1 (pg. 2), with the projector placed offaxis to the screen, a ratio of at least 1.8 is recommended. For ratios less than 1.8 a Fresnel lens is recommended to ensure consistent contrast and brightness on the outer edges of the screen. For projection systems such as that shown in Figure 2, with the projector placed on-axis (centered) to the screen, a ratio of at least 1.2 is recommended. For ratios less than 1.2 a Fresnel lens is recommended to insure consistent contrast and brightness on the outer edges of the screen.
2740 31st Avenue S, Minneapolis, MN 55406
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www.spyeglass.com
Appendix
3M Vikuiti™ Rigid Spec Sheet