Technologies for Building a Spatial Augmented Reality Prototype to Act as a Creative Resource for Designers and Artists

Technologies for Building a Spatial Augmented Reality Prototype to Act as a Creative Resource

for Designers and Artists Francisco Felip, Universitat Jaume I, Spain Vicente Chulvi, Universitat Jaume I, Spain Carlos García, Universitat Jaume I, Spain Diego Díaz, Universitat Jaume I, Spain Julia Galán, Universitat Jaume I, Spain Elena Mulet, Universitat Jaume I, Spain

Abstract: This paper analyzes the technologies, devices and equipment available today that can contribute to the creation of an interactive environment based on Spatial Augmented Reality (SAR). The objective is to define what should be considered in order to build a room-sized workspace equipped with SAR tools, aimed at making it easier for both artists and designers to develop their creations. This workspace will be designed as a "white box" cabin in which the user will be placed. Users will be able to interact with images projected on the walls and primary volumes by using gestures and their own body movements. Interaction with an interface based only on projected images can be carried out in an intuitive and gestural way, thus removing the technological constraints that appear when working simultaneously with different devices and interfaces. To be immersed within a physical space where the environment itself acts as a working tool would change the concept of workplace by eliminating everything that could cause problems and hinder the creative task.Once built, this prototype would be used to develop a methodology for analyzing the influence of SAR on the process of creation of indoor spaces, at both the creative and the emotional levels in designers and artists, as well as the influence it has on the design itself.

Keywords: Spatial Augmented Reality, Design, Creativity

Introduction

ugmented Reality (AR) (Bimber et al. 2005) is one of the concepts related to Information and Communications Technology (ICT) that has shown a great deal of potential in recent years to expand and improve the visualization of information. AR is defined as the

coexistence of both real-world images and computer-simulated images within the same representational space, thereby improving and expanding perception. It should not, however, be confused with the term Mixed Reality (MR) (Milgram and Kishino 1994, 1322; Charles et al. 2004, 33), which refers to a space defined by a combination of physical and digital objects. The term AR is part of the concept of MR and originated in the early 90s, referring to the intersection between two realities – the physical and the virtual (Caudell and Mizell 1992, 659) – in order to generate an enhanced version of the real world. Ronald Azuma sets it apart from Virtual Reality (the user is immersed inside a synthetic environment), since it allows the user “to see the real world, with virtual objects superimposed upon or composited with the real world” (Azuma 1997, 356).

The use of AR has experienced a remarkable growth in the last decade, thanks to the improvement of technology and the decrease in production costs of associated devices, a factor that has made it possible to expand toward a greater and more diverse number of users. It currently has direct applications in several sectors, such as the revitalizing and educational diffusion of built cultural heritage (project PRISMA, by The Movie Virtual, VICOMTech and Ereiten Kultur Zerbitzuak), applications in museums (DNP Louvre Museum Lab), artistic projects (Virtual Public Art Project, by University City Science Center), mobile applications

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The International Journal of Visual Design Volume 8, Issue 2, 2014-2015, www.designprinciplesandpractices.com, ISSN 2325-1581 © Common Ground, Francisco Felip, Vicente Chulvi, Carlos García, Diego Díaz, Julia Galán, Elena Mulet, All Rights Reserved Permissions: [email protected]

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(Acrossair Augmented Reality Browser), interior design (iLiving, by Metaio, Inc.), and games and toys (Magic Tee, by Brights and Stripes), among others.

Research on new applications of AR in several areas has been possible since the use of various existing technologies became available, including the open-source electronics platform Arduino (http://www.arduino.cc/), the CastAR glasses (http://technicalillusions.com/), the environment scanner Structure Sensor (http://structure.io/), the low-cost small-sized Raspberry Pi computers (http://www.raspberrypi.org/), and Radio Frequency Identification (RFID) devices. Such technology has made it possible to develop applications in the fields of simultaneous translation (Powell 2012), the application of assembly guidance in an AR environment (J. Zhang 2011) or three-dimensional registration of household objects (Molitch-Hou and Matich 2014), among others.

The combination of AR with surrounding objects or functions has been a solid field of study (Mackay 1998), and recent studies have even considered the relationship between AR and the surrounding architecture in three ways: by analyzing the possibilities of combining virtual reality and virtual spaces both from a technical and artistic perspective (Stapleton, Hughes and Moshell 2002), by analyzing the possibilities of interaction and scenography in these environments (Galantay, Torpus and Engeli 2004, 64), and proposals concerning the use of the architecture itself as the interface of the system (Ribagorda 2006, 2). Interesting studies about spatial user interfaces conducted at the Massachusetts Institute of Technology have reflected on the importance of displaying information for the user properly. Several AR and ambient interfaces were implemented in a kitchen to analyze user efficiency in performing a variety of tasks. The results allowed the development of methodologies to enhance human perception in complex domestic spaces that help people to reach their goals (Chia-Hsun 2005).

One of the elements related to AR is the gestural interface, which is based on motion detection systems. These systems are grounded on the development of complex algorithmic structures based on information obtained through different measurement techniques. The main methods of identification of motion are optical and acoustic detection.

The latest innovations in this regard, which have been applied within the field of video games (Microsoft Kinect® and Asus Xtion Pro®), are based on user identification by differentiating them from the environment. They use a combination of two technologies: differentiation by contrast with the background, and differentiation based on the distance from the camera to the user.

Yet, in addition to gestural interfaces, AR is also related to image projection systems. These systems, applied in performing installations, have their origins in the 70s, when pioneers like Myron Krueger managed to project images that reacted in real time with the presence of a user (Krueger, Gionfriddo and Hinrichsen 1985, 35). Since then these techniques have become more popular in several areas, but it was not until the late 90s when video-mapping was first used in mass media productions. To allow video-mapping to be carried out properly it is necessary to create a three-dimensional model of the space or surface on which it is intended to be projected, so that the deformation of perspective and the volume of the model can be adjusted. Currently, computer vision systems based on depth keying (Gvili et al. 2003, 564) are starting to join adapted projections effectively, thereby enabling the user to interact intuitively with gestural and AR immersive environments. This technology is the basis for Spatial Augmented Reality (SAR), which is characterized by enhancing the surface of walls and real-world physical objects only through graphical projections, eliminating the use of monitors or other uncomfortable displays integrated into the user's body, like head-mounted displays or hand-held devices.

Compared to the classic graphic representations on screens, these technologies offer more real representations and new possibilities for interaction, which have a potential in design and art that need to be analyzed in order to know the best way to use them. In this sense, there have already been several experiences that evaluate the usability of these technologies positively. In the field of face-to-face collaborative design review, Wang and Dunston (2008) developed an AR

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FRANCISCO FELIP, ET AL.: TECHNOLOGIES FOR BUILDING A SPATIAL AUGMENTED REALITY

prototype which was intended to investigate how users experienced virtual models and assess the effectiveness of this system for the evaluation of designs, the results of their studies proving the usefulness of the tool for detecting design errors. Recent studies dealing with design evaluation (Ng et al. 2011), based on the idea of using physical or virtual prototypes to evaluate a product, propose a new gesture-based augmented reality system for design evaluation that allows the user to enjoy the advantages of both types. The development of the prototype of this system (GARDE), which makes use of the intuitiveness of hand gestures for interaction with virtual elements, has proven itself to be an effective tool for evaluation purposes, but also for performing in-situ design. However, further exploration of the possibilities of these systems as tools for artistic expression and creative design is still needed.

The objective of this work is to define what should be considered to build a room-sized workspace equipped with SAR tools, aimed at making it easier for both artists and designers to perform the tasks required to develop their creations. To achieve this, we have to analyze what technologies, devices and equipment are available today that can contribute to the creation of this interactive environment. Once identified, it would be possible to construct a methodology for analyzing the effect of SAR in the process of creating indoor spaces, at both the creative and the emotional levels in designers and artists, as well as the influence on the design itself. The objectives to be fulfilled by the prototype are:

• The projection of virtual images on the walls of a physical cabin, thus creating anenvironment that enhances the creative expression of designers and artists.

• The projection of images onto basic physical volumes to be introduced into thecabin.

• The images to be projected must be selected from a database and should be easy forthe designer / artist to use.

• The designer / artist must be able to create elements to project into space along withthe elements from the database.

• It should be possible to make changes easily and quickly.

Design Considerations

In order to carry out the project presented for the construction of a creative tool based on SAR, we must consider the current state of scientific and technical knowledge of spatial perception and gestural manipulation of virtual tools. That is, we need to know what the market offers today that allows this prototype focused on indoor spaces to be implemented.

To achieve the goals outlined in the previous section three areas of study should be considered: detection of the user by the system, the projection of images in space, and the user’s selection of possible solutions from a database by means of a gestural interface.

User Movement Detection by the System

Among the main methods of identifying movement we highlight tracking video, which responds to user identification and differentiation algorithms with regard to other objects in the scene and with respect to the background and the environment itself. Currently different techniques are used for this purpose: frame differencing (detects movement), background subtraction (detects presence), brightness thresholding (based on differences in brightness between the user in the foreground and the background), and fiducial points (detection by points).

Recent innovations developed within the field of video games are an evolution of background subtraction to what is known as depth keying (Kawakita et al. 2004, 238), based on user identification by differentiating them from the environment. The system is able to identify key points of the user that define the different parts and joints, thus constructing a skeleton of it, with which to interact in real time. Furthermore, the system is able to identify more than one user in the same scene using a single device, thus opening up a wide range of possible applications.

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The main commercial systems (hardware) used for identification of movement based on depth keying are Microsoft Kinect® and Asus Xtion Pro®. To program such systems there are currently several different programming libraries or SDK available to facilitate this work, such as Microsoft Kinect® SDK for Windows® or Xbox® and OpenNI, a set of programming interfaces for natural interaction.

Equally important are the advances in programming related to these technologies that have allowed the input from the user's movements to be interpreted and their subsequent conversion into specific responses of the system. The synchronization of the movements that the user performs with the action we see displayed is based on natural physical actions that the user understands and is familiar with (moving their hands, turning their arms, etc.). In this way, a meaningful intuitive interface for the user (body movements) that is more efficient than the physical interface has been found (Quek 1994, 17; Cabral et al. 2005, 100).

Projection Devices for the User to Interact with the System

Based on the communicative relationship that a user can establish with the environment, we can define two types of projections: static and dynamic. Static projections can be defined as those that remain unchanged regardless of the actions of the user, the environment being classified as non-interactive. By contrast, dynamic projections are those that respond to specific user actions, and so would help to create an interactive environment to a greater or lesser extent.

Within this second group we find adapted projections, which are characterized by being dynamically linked with a changing environment. This flexibility feature requires the system to perform video-mapping (recognition of the environment) before projecting the image.

The space or surface on which the images are to be projected has to be modeled in three dimensions in order to allow proper video-mapping to be performed, so we can adjust the image to the distortions of perspective and volume of the model. It is when the projection changes dynamically with the variation in the environment that it results in adapted projections, a clear view without distortions thus being obtained. This system consists of a set of hybrid technologies:

• 3D scanning. This consists in generating a three-dimensional virtualenvironment with the same geometrical characteristics as the real environmenton which we will project. Although there are several techniques with which toimplement it, the most widespread technology today is based on depth keying(described above) due to its potential, versatility, and economy.

• Integration. This refers to the application of different colors, textures andscanned images on the three-dimensional model. It is based on performingcalculations in 3D projective geometry to integrate the two environments: thescanned model and predesigned virtual images.

• Projection. In this last process, the projected image is adjusted to thecharacteristics of the interior space. To accomplish this we use multipleprojectors in order to have an impact on the same surface from different anglesand thus avoid shadows, as well as being able to adjust overlap and transitionzones and avoid blurs and distortions due to perspective.

At present, the computer vision systems described above based on depth keying are starting to join adapted projections more effectively, the result being that the user can interact intuitively with gestural and augmented reality immersive environments.

User Interaction with a Graphical Database

Considering the objectives for this prototype, users must be able to establish a dynamic relationship with their environment and to manipulate the textures and images in the surrounding space. One necessary prerequisite to the practice of creative activity is that the adapted

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projections can be handled very easily and intuitively. With this in mind, we can consider two types of technologies: first, a traditional physical interface (keyboard, mouse, screen) and secondly, as specified above, a proposed intangible gestural interface based on depth keying, which recognizes the movements of the user and acts accordingly, the result being far more intuitive and natural for the user.

Similarly, the usability of the prototype will also be conditioned by the system’s speed of response. That is why in addition to motion detection, it is necessary to have workstations with sufficient computing power to interpret the user’s gestures and immediately project a result. A response rate in the order of hundredths of a second can give users the feeling of working in real time, thereby suggesting that the interface does not really exist and, with their gestures, they are able to manipulate the image itself.

The range of operations that the user can perform with the projected images must be previously defined in accordance with the function of the prototype. Three basic groups of operations can be established: consultation of images in the database, application of solutions to the cabin, and creation of new images. Previously, for each of the three operating groups studies must be conducted to determine how each of the movements is interpreted by potential users of this platform. Therefore, it will be necessary to conduct a study of designers and artists, in order to identify the best equivalence of meaning between gestures and operations to be performed, and thus program the system properly.

SAR in Design and Creativity

In recent years interesting studies about how AR can be used as a tool in creative design processes have been conducted. Since it is based on visual stimuli and data visualization, for its development it is always necessary to consider issues such as spatial perception, color psychology, the interpretation of images or integration of textual, visual and gestural languages (Ware 2013). Some studies have searched for new metaphors with which to build an interface system that allows efficient manipulation of complex three-dimensional information. In this regard, Schmalstieg (Schmalstieg et al. 2002) developed a pen-and-pad interface to interact with the virtual environment, the user being allowed to combine augmented reality, projection displays, and ubiquitous computing when needed. The development of tools for creating new AR applications (MacIntyre et al. 2003) in recent years has helped designers and artists to boost their creative side and enhance the display of their ideas. A number of studies (Bratteteiga and Wagnerb 2012) have defended the benefits of using MR-based tools for co-developing creative ideas for the design of physical spaces.

Other researchers have continued to delve deeper into the benefits of hybridizing physical and virtual spaces to encourage creativity in collaborative work. In this sense, a recent study on interactive collaborative environments (ICEs) concluded that the effectiveness of its configuration depended on the combined performance of five tasks: to identify and understand the purpose, to examine how people currently work, to determine the project constraints, to determine appropriate technologies for the space, and to model and map the space details (Benyon and Mival 2012).

In all these cases, AR provides resources that can be used to improve both the work and the creativity of the user. In most cases, several devices are integrated into workplaces (screens, tablets, keyboards, tables), each of which helps to perform a particular task, but a workspace composed of different devices can hinder the user's actions while carrying out the tasks, since the devices use different interface systems, thus slowing down the work and conditioning creativity. In the SAR prototype we propose to construct and analyze, all the interfaces will be of the same nature and better integrated in space, as they will be based only on projections on the space around the user, thereby achieving a more homogeneous working environment that may prove to be more intuitive.

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Overview

By studying the state of the art in different fields it becomes possible to identify the most appropriate technologies and methods to develop an experimental prototype, which can be used as a setting to measure various aspects of interest related to the field of design and creativity. The conceptualization and subsequent creation of this prototype would allow SAR technology to be applied to the creation of indoor spaces (by means of several case studies) to be experienced through the physical interaction of the user. Specifically, this prototype could be used to measure, on the one hand, users’ emotions and the usability of the environment (interactivity and gestural responses) and, on the other, the creativity of the solutions achieved with the application of this new technology as a tool used by artists and designers.

This prototype should integrate digital information with physical elements of the space and use certain types of interaction between the user and the architectural space around him or her. The general idea is to break formal and conceptual boundaries between technological and non-technological elements, thereby creating a habitat where technology is integrated into space and furniture, and where highly interactive elements react to external stimuli.

System Description

In order to understand the way the system works we should analyze the relationship between the different components of the prototype (Figure 1). The basic scheme is grounded in an initial cabin similar to a white box in which the user is placed. Several projectors will be installed in this space along with a software application that enables an immersive SAR environment to be accomplished. Primary physical volumes of various geometric shapes and neutral colors will be placed within that space. The prototype will operate as follows: images will be projected on the walls and primary volumes, so the user can interact and change the color and visual texture of the environment using his or her body movements, which will allow us to investigate the use of the human body as a highly intuitive gestural interaction interface. This will require the integration of a number of different components, namely three workstations, nine projectors, three projection screens, and four tracking cameras.

Three interconnected workstations will carry out the calculations of input and output information. They should be of sufficient power to allow rapid interpretation of input data, and provide an output data flow that is perceived naturally and continuously by the system user.

One of these stations (3) will have an extensive graphic database and will be connected to three projectors (environment projector 1, 2 and 3) that are capable of providing a recommended XGA resolution of 1024 x 768 pixels and a brightness of at least 2000 ANSI lumens so as to show clear images in dimly lit environments. In order to define an environmental setting, these three projectors will use rear-projected images on the outer side of the white fabric screens that form the walls of the cabin (projection screens 1, 2 and 3), which are perceived by the user in its interior.

Another workstation (1) will contain a graphical database of materials and textures that will be screened by similar projectors on the primary volumes contained in the cabin and on the ground. To ensure projection on all visible sides of the volumes, and to correct the effect of the user's shadow on them so as not to affect the perception of surface quality to any significant extent, it will be necessary to have between four and six projectors (inside projectors 1 to 6), located in different positions.

Finally, the remaining workstation (2) will act as a center for processing and interpreting data received by tracking cameras 1 to 4. Tracking camera 1 detects the user's movements (arms and hands), which must be interpreted as actions involving manipulation of the projected images (moving, changing or altering their chromatic properties). Cameras 2 to 4 will track the actual

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position of the volumes within the cabin to determine the coordinates at which images and textures must be projected.

Figure 1: Functional diagram of the prototype. Components and data flow.

In brief, considering everything described in the previous sections, we can summarize several ideas for building a prototype with these features as follows:

• The most appropriate technology that allows identification of the user'smovement for the use of SAR in design is one based on depth keying(Microsoft Kinect® or Asus Xtion Pro®), which can easily be programmedtaking into account the range of natural body movements (OpenNIFramework).

• Having several projectors running simultaneously is the best option to adjustthe projected image to the volumes present in the interior space. For thispurpose, they must have been previously scanned by 3D technology based ondepth keying.

• An efficient interconnection is essential to build a functional SAR prototype. Itmust be possible for the user's movements to be captured by the cameras andquickly interpreted. Likewise, the system must be able to give an operationalresponse on the projected images. Only then can we ensure an interactiveenvironment that feels natural to the user, which is an essential feature to beable to evaluate some honest feedback or measure the level of creativity that adesigner or artist can achieve using a tool free of constraints.

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Discusion and Conclusions

This paper identifies the methods and technologies for developing a prototype that will make it possible to determine the influence of SAR in the creativity of designers and artists. A workplace that shares the features described in this prototype definitely has clear advantages. To be immersed within a physical space where the environment itself acts as a tool will clearly change the concept of 'workplace' by eliminating everything that could cause problems for the creative task. Moreover, the possibility of seeing the results of the work in progress not on a display, but projected on a physical space, would improve the perception of the ongoing work.

The proposed prototype created using the methodology described here may have a wide range of possibilities and great potential as a tool for designers and artists. The study shows that the joining of the motion identification technologies based on depth keying, video-mapping and adapted projections allows the creation of interactive real physical spaces on which to project virtual content, in order to provide an immersive space for collaborative creation.

That is, the use of SAR as a resource for designers and artists that provides them with a virtual indoor space as an element of expression may boost their creative capacity. Nonetheless, more research is needed in order to prove this new hypothesis, but the proposed prototype will allow it to be tested properly. As the prototype depicted in Figure 1 allows the operation of a SAR structure for designers and artists in which it is possible to observe their behavior, the authors suggest an experiment to measure the emotional parameters of users when working in the described virtual workplace by means of neuroheadsets, like the Emotiv EPOC, which have been used in several research studies to measure the designer’s emotions (Inventado et al. 2010, 72; Tammen and Loviscach 2010, 25), and face recognition technologies (Bänziger et al. 2009, 691), to accurately identify each of the interactions that designer and artist would perform with the SAR. These measures of the designers’ emotions and behaviors can be compared with their work results, thereby making it possible to discover facts and prove hypotheses that will considerably improve the design results. Future research in this line points to analyzing the hypotheses about the effectiveness of the collaborative work of teams working in CAVEs in different countries, analyzing the effect of creativity when working in AR environments, and comparing the results when working in physical modeling or virtual modeling in terms of quantity, quality, and novelty of the ideas.

At this moment, the first phase of this work has been completed. Future work will continue with the implementation of the prototype and analyses through case studies, while also conducting several experiments under controlled conditions.

Acknowledgements

This work has been conducted as part of the research project "Advances in digital content for serious games" (2014-2016, code TIN2013-47276-C6-6-R), funded by the Spanish Ministerio de Economía y Competitividad (MINECO).

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ABOUT THE AUTHORS

Dr. Francisco Felip: Assistant Professor, Department of Industrial Systems Engineering and Design, Universitat Jaume I, Castellón, Spain.

Dr. Vicente Chulvi: Assistant Professor, Department of Mechanical Engineering and Construction, Universitat Jaume I, Castellón, Spain.

Dr. Carlos García: Assistant Professor, Department of Industrial Systems Engineering and Design, Universitat Jaume I, Castellón, Spain.

Dr. Diego Díaz: Associate Professor, Department of Industrial Systems Engineering and Design, Universitat Jaume I, Castellón, Spain.

Prof. Julia Galán: Associate Professor, Department of Industrial Systems Engineering and Design, Universitat Jaume I, Castellón, Spain.

Prof. Elena Mulet: Associate Professor, Department of Mechanical Engineering and Construction, Universitat Jaume I, Castellón, Spain.

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Technologies for Building a Spatial Augmented Reality Prototype to Act as a Creative Resource for Designers and Artists

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