Aleksandra Terenteva
STUDIO FABLE Tutors: Matthew Greenwood & Michael Mack
University of Melbourne 2018
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CONTENT: 3-16
Architecture of Augmented Reality
17-28 How does it work? 29-42 Optical Tracking 43-54 Testing 55-66 4 Points 67-79 Site Analysis 80-81 References
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ARCHITECTURE OF AUGMENTED REALITY
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THESIS STATEMENT Putting virtual objects into the physical environment is now possible using augmented reality. It provides endless opportunities to turn cities into an interactive canvas for art, game, history and education, blurring the edge between creator and viewer and bringing with it new design opportunities. To make this happen we need to answer the question: what physical properties should environments express in order to become usable platforms for virtual objects? 

In other words: What is the architecture of augmented reality? In order to answer that, we should understand how computers see the built environment and how they analyse or distinguish textures and shapes. CONTRAST, VERTICES, CURVATURE and ANGLES are 4 key factors that affect environment recognition and trackability. Working together they create a unique feature points map for each geometry that allows overlay virtual objects using mobile devices. Through a design-research prototyping process, this project explores a series of structures for new architecture, that can perfectly works as an augmented reality platform on a different scale.
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PHYSICAL ENVIRONMENT
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DIGITAL ENVIRONMENT
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PHYSICAL ENVIRONMENT
CREATOR
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USER
DIGITAL ENVIRONMENT
CREATOR = USER
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PRECEDENTS
Hyper-Reality (2016) A concept film by Keiichi Matsuda with a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media.
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Ghost in the Shell (2017)
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HOW DOES IT WORK?
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Augmented Reality turns the environment around you into a digital interface by placing virtual objects in the real world, in real-time. AR can be seen through a wide variety of experiences. Through mobile devices like smartphones and tablets, AR acts like a magic window; through the viewer you can see holograms and manipulate 3D models. Hundreds of Augmented Reality apps are available on iPhone, iPad, and Android On head mounted displays, glasses, and lenses, Augmented Reality becomes a part of your entire field of view, making for more life-like Augmented Reality experiences.
With a mix of smart sensors that perform depth detection and motion tracking with a high-quality light source, you can create the closest thing we have today to interactive holograms. The projectors create objects out of light that typically exist on a flat plane either in front of the projector or below on a tabletop. You can interact with these virtual objects using your hands while the projector’s software is able to recognize and track your movements.
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HISTORY
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AR IN PRACTICE
There are myriad uses for AR in the broad public sector, and as with any new technological innovation, its potential is limited only by the creativity and ingenuity of its users. The following potential use cases – some of which are already being planned or in the proof of concept stage – provide a cursory overview of the possibilities.
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On a small scale AR helps to expand functionality of space and surfaces and to make construction and manufacturing faster and more accurate.
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OPTICAL TRACKING
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TRACKING TYPES Markerless tracking is a method of positional tracking - the determination of position and orientation of an object within its environment. This is a very important feature for AR, making it possible to know the field-of-view and perspective of the user - allowing for the virtual environment to react accordingly or the placement of augmented reality content in accordance with real objects. While marker-based methods of motion tracking use specific optical markers, markerless positional tracking does not require them, making it a more flexible method.Contrary to marked-based tracking, a markerless approach allows the user to walk freely in a room or a new environment and still receive positional feedback, expanding the applicability range. Image processing applied to markerless tracking uses natural features in the images received to calculate the camera’s pose.
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FEATURE POINTS
A point of interest in an image, distinctive in terms of intensity, is a feature. Markerless tracking systems automatically detect features for tracking purposes. In ideal conditions, features should be re-observable from different point of views under various lighting conditions. This is called repeatibility and is a very important property. Features that are unique and easy to distinguish from their environment and each other will make the tracking easier to achieve.
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FEATURE INIQUENESS
Spot
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Spot/Flat
Line end
Edge
Corner
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IMAGE TARGETS + AR
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TESTING
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1A
2A
3A
4A
1B
2B
3B
4B
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1C
2C
3C
4C
1D
2D
3D
4D
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1E
2E
3E
4E
1F
2F
3F
4F
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1G
2G
3G
4G
1H
2H
3H
4H
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4 POINTS
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ANGLES
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CONTRAST
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CURVATURE
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VERTICES
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7/20
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VERTICES / FEATURE POINTS 5/12
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SITE ANALYSIS
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FEDERATION SQUARE
Melbourne's culture with all its’ constantly evolving street art and busy public places gives a good grounding for an additional level of an interaction between the built city and the public: a digital interaction. Federation Square, being one of the primary public places of Melbourne. It's a great example of many functions concentrating in one place creating overlaps and interactions with each other. I took it as a testing ground to show how augmented reality could improve it , when everyone can put their own digital installations, objects and functional overlay over the same place and will be able to see it through their phone or glasses, giving a new meaning to the words ‘public place’.
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VIEWS ANALYSYS
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TEXTURE ANALYSIS
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REFERENCES
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p.5 images:
''Adventure Time'' by Cartoon Network, 2010; "PokĂŠmon" by Nintendo, 1998; "Tabby Cat" by Leslie Zacharkow, 2017
p.10-11 images:
"The Ultimate Gradient Trends" by Awwwards, 2018
p.12-13 icons:
from thenounproject.com
p.14 image:
"Hyper-Reality" by Keiichi Matsuda, 2016
p.15 image:
"Ghost in the Shell" by DreamWorks Pictures, 2017
p.16 photo:
from shatterbox.com
p.19 icons:
from thenounproject.com; ARKit by Apple, 2017; ARCore by Google, 2017;
p.20 icons:
from thenounproject.com; Unity by Unity Technologies, 2005; Unreal Engine by Epic Games, 1998;
p.21 icons:
from thenounproject.com; Unlimited Detail by Euclideon, 2005; Metagram from metagram.com
p.22 images:
KARMA from ptgmedia.pearsoncmg.com; X-38 by NASA
p.23 icons:
from thenounproject.com; ARKit by Apple, 2017; ARCore by Google, 2017; "Pokemon Go" by Nintendo;
p.25-27 icons:
from thenounproject.com; AUGMENT; SCOPE;
p.28 image:
from shatterbox.com
p.33 images:
Concetto spaziale by Lucio Fontana, 1965; Troubadour by by Giargio de Chirico, 1940; "Two studies for a-portrait of George Dyer" by Francis Bacon, 1968;
p.34 images:
Villa Savoye by Le Corbusier, 1928; Haute Cour, Chandigarh, photo by Vera Cardot et Pierre Joly
p.35 images:
''Leningrad" by Nevskaya Palitra;
p.66 photo:
from fedsquare.com
- Ziegler, E. (2010). Real-time markerless tracking of objects on mobile devices. Bachelor Thesis, University of Koblenz and Landau; - Steven Feiner. Redefining the User Interface: Augmented Reality, Department of Computer Science and Center for Telecommunications Research Columbia University, New York; - Tobias Höllerer, Jason Wither, and Stephen DiVerdi. „Anywhere Augmentation“: Towards Mobile Augmented Reality in Unprepared Environments, University of California; - Jozef Novak-Marcincin, Jozef Barna, Miroslav Janak, Ludmila NovakovaMarcincinova. "Augmented Reality Aided Manufacturing", Faculty of Manujfacturing Technologies, Technical University of Kosice; - Bruce Thomas, Mark Billinghurst (2016). "AR Technology: Tracking", University of South Australia
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