Immersive and Oceanic

navy[Image: Undersea augmented reality headgear; courtesy of the U.S. Navy].

By now you’ve no doubt seen Hyper-Reality, the new short film produced by visualization wunderkind Keiichi Matsuda, whose early video experiments, produced while still a student at the Bartlett School of Architecture, I posted about here a long while back.

As you can see in the embedded video, above, Matsuda’s film is a POV exploration of information overload, identity gamification, and the mass burial of public space beneath impenetrable curtains of privately relevant, interactive marketing data, all cranked up to the level of cacophony; when it all shuts off at one point, leaving viewers stranded in a nearly silent, everyday supermarket, the effect is almost therapeutic, an intensely relieving escape back to cognition free from popup ads.

[Image: From Hyper-Reality by Keiichi Matsuda].

I was reminded of Matsuda’s film, however, by the recent news that so-called heads-up displays, or HUDs, are coming to an underwater experience near you: the U.S. Navy has developed an augmented reality helmet for undersea missions.

This unique system enables divers to have real-time visual display of everything from sector sonar (real-time topside view of the diver’s location and dive site), text messages, diagrams, photographs and even augmented reality videos. Having real-time operational data enables them to be more effective and safe in their missions—providing expanded situational awareness and increased accuracy in navigating to a target such as a ship, downed aircraft, or other objects of interest.

Wandering among enemy seamounts, swimming through immersive 3-dimensional visualizations of currents and tides, watching instructional videos for how to infiltrate an adversary’s port defenses, the U.S. Navy attack crews of the near-future will be like characters in an aquatic Hyper-Reality, negotiating drop-down menus and the threat of moray eels simultaneously.

[Image: From Hyper-Reality by Keiichi Matsuda].

This raises the question of how future landscape architects, given undersea terrains as a possible target of design, might use augmented reality on the seabed.

Recall the preservation program underway today in the Baltic Sea, whereby historically valuable shipwrecks are being given interpretive signage to remind people—that is, possible looters—that what they are seeing down there is not mere debris. They are, in effect, swimming amidst an open-water museum, a gallery of the lost and sunken.

So here’s to someone visualizing the augmented reality underwater shipwreck museum of tomorrow, narratives of immersive data gone oceanic.

Augmented Metropolis

Keiichi Matsuda, a recent graduate from the Bartlett School of Architecture, whose film Domestic Robocop was featured on BLDGBLOG several months ago, has a new project out: Augmented City. And it’s in 3D.

The film “focuses on the deprogramming of architecture and the spontaneous creation of customised, aggregated spaces,” Matsuda writes. We see its central protagonist surrounded by pop-up menus and projected touchscreens, able to switch urban backgrounds—graffiti to gardens—in an instant. From the project description:

The architecture of the contemporary city is no longer simply about the physical space of buildings and landscape, more and more it is about the synthetic spaces created by the digital information that we collect, consume and organise; an immersive interface may become as much part of the world we inhabit as the buildings around us.
Augmented Reality (AR) is an emerging technology defined by its ability to overlay physical space with information. It is part of a paradigm shift that succeeds Virtual Reality; instead of disembodied occupation of virtual worlds, the physical and virtual are seen together as a contiguous, layered and dynamic whole. It may lead to a world where media is indistinguishable from ‘reality’. The spatial organisation of data has important implications for architecture, as we re-evaluate the city as an immersive human-computer interface.

The film is even better, Matsuda points out, with 3D glasses. Watch it here, over at Vimeo, or on YouTube.

(Related: Transcendent City).

Homefront Dissolve

Keiichi Matsuda, a student at the Bartlett School of Architecture, produced this short video in the final year of his M.Arch. It was, he writes, “part of a larger project about the social and architectural consequences of new media and augmented reality.”

The latter half of the 20th century saw the built environment merged with media space, and architecture taking on new roles related to branding, image and consumerism. Augmented reality may recontextualise the functions of consumerism and architecture, and change in the way in which we operate within it.

The bewildering groundlessness of surfaces within surfaces is beautifully captured by this video, and its portrayal of drop-down menus and the future hand gestures needed to access them is also pretty great. Augmented-reality drop-down menus are the Gothic ornamentation of tomorrow.

Now how do we use all that home-jamming ad space for something other than Coke and Tesco? What other subscription-content feeds can be plugged into this vertiginous interface?

Take a look—and you can find more thoughts, and another video, on Matsuda’s own blog.

(Thanks to Nic Clear for the tip!)