Brygg Ullmer, P. Paar, L. Coconu, Jing Lyu, Miriam K. Konkel, H. Hege
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引用次数: 2
摘要
2004年，一组研究人员实现了一个半沉浸式的互动画廊装置，将1834年的地中海花园可视化，由Peter Joseph lenn介绍为“italienisches kunstst ck”(意大利戏法)。该公园最初是在德国波茨坦的无索宫(Schloss Sanssouci)的场地上建成的。该装置集中在全景显示器上投影的数百种植物的高度详细的渲染图上。交互性是通过一个有形的界面来表达的(虽然现在已经过时了)，我们相信在当时或以后都没有先例。我们展示了这个装置(大约有20,000名参观者体验过)，重点是互动方面。我们引入了新的书籍和表格/门格式的模型。根据科学家哲学家弗里曼·戴森(Freeman Dyson)的启发，我们考虑了2018年、2032年和2202年背景下的未来前景变化。我们认为这个练习可以推广到各种相似的和广泛不同的应用领域。
An 1834 Mediterranean Garden in Berlin: Engaged from 2004, 2018, 2032, and 2202
In 2004, a team of researchers realized a semi-immersive interactive gallery installation, visualizing an 1834 Mediterranean garden, introduced as "italienisches Kunststück" (Italian legerdemain) by Peter Joseph Lenné. The park was originally realized on the grounds of Schloss Sanssouci in Potsdam, Germany. The installation centered on highly detailed renderings of hundreds of plants projected upon a panoramic display. Interactivity was expressed with a tangible interface which (while presently dated) we believe remains without near-precedent then or since. We present the installation (experienced by roughly 20,000 visitors), focusing on the interaction aspects. We introduce new book and table/door-format mockups. Drawing upon a heuristic of the scientist-philosopher Freeman Dyson, we consider grounded future prospect variations in the contexts of 2018, 2032, and 2202. We see this exercise as prospectively generalizing to a variety of similar and widely diverse application domains.
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