Spatial Transfiguration: Anamorphic Mixed-Reality in the Virtual Reality Panorama

Spatial illusion and immersion was achieved in Renaissance painting through the manipulation of linear perspective’s pictorial conventions and painterly technique. The perceptual success of a painted trompe l’œil, its ability to fool the observer into believing they were viewing a real three-dimensional scene, was constrained by the limited immersive capacity of the two-dimensional painted canvas. During the baroque period however, artists began to experiment with the amalgamation of the ‘real’ space occupied by the observer together with the pictorial space enveloped by the painting’s picture plane: real and pictorial space combined into one pictorial composition resulting in a hybridised ‘mixed-reality’. Today, the way architects, and designers generally, use the QuickTime Virtual Reality panorama to represent spaces of increasing visual density have much to learn from the way in which Renaissance and baroque artists manipulated the three-dimensional characteristics of the picture plane in order to offer more convincing spatial illusions. This paper outlines the conceptual development of the QuickTime VR panorama by Ken Turkowski and the Apple Advanced Technology Group during the late 1980s. Further, it charts the technical methods of the Virtual Reality panorama’s creation in order to reflect upon the VR panorama’s geometric construction and range and effectiveness of spatial illusion. Finally, through a brief analysis of Hans Holbein’s Ambassadors [1533] and Andrea Pozzo’s nave painting in Sant ‘Ignazio [1691-94] this paper proposes an alternative conceptual model for the pictorial construction of the VR panorama that is innovatively based upon an anamorphic ‘mixed-reality’

Cracks in the Glass: The Emergence of a New Image Typology from the Spatio-temporal Schisms of the 'Filmic' Virtual Reality Panorama

Virtual Reality Panoramas have fascinated me for some time; their interactive nature affording a spectatorial engagement not evident within other forms of painting or digital imagery. This interactivity is not generally linear as is evident in animation or film, nor is the engagement with the image reduced to the physical or visual border of the image, as its limit is never visible to the viewer in its entirety. Further, the time taken to interact and navigate across the Virtual Reality panorama’s surface is not reflected or recorded within the observed image. The procedural construction of the Virtual Reality panorama creates an a-temporal image event that denies the durée of its own index and creation. This is particularly evident in the cinematic experiments conducted by Jeffrey Shaw in the 1990s that ‘spatialised’ time and image through the fusion of the formal typology of the Panorama together with the cinematic moving-image, creating a new kind of image technology. The incorporation of the space enclosed by the panorama’s drum, into the conception and execution of the cinematic event, reveals an interesting conceptual paradox. Space and time infinitely and autonomously repeat upon each other as the linear trajectory of the singular cinematic shot is interrupted by a ‘time schism’ on the surface of the panorama. This paper explores what this conceptual paradox means to the evolution of emerging image-technologies and how Shaw’s ‘mixed-reality’ installation reveals a wholly new image typology that presents techniques and concepts though which to record, interrogate, and represent time and space in Architecture

Panoramic Depth Imaging: Single Standard Camera Approach

In this paper we present a panoramic depth imaging system. The system is mosaic-based which means that we use a single rotating camera and assemble the captured images in a mosaic. Due to a setoff of the camera’s optical center from the rotational center of the system we are able to capture the motion parallax effect which enables stereo reconstruction. The camera is rotating on a circular path with a step defined by the angle, equivalent to one pixel column of the captured image. The equation for depth estimation can be easily extracted from the system geometry. To find the corresponding points on a stereo pair of panoramic images the epipolar geometry needs to be determined. It can be shown that the epipolar geometry is very simple if we are doing the reconstruction based on a symmetric pair of stereo panoramic images. We get a symmetric pair of stereo panoramic images when we take symmetric pixel columns on the left and on the right side from the captured image center column. Epipolar lines of the symmetrical pair of panoramic images are image rows. The search space on the epipolar line can be additionaly constrained. The focus of the paper is mainly on the system analysis. Results of the stereo reconstruction procedure and quality evaluation of generated depth images are quite promissing. The system performs well for reconstruction of small indoor spaces. Our finall goal is to develop a system for automatic navigation of a mobile robot in a room

Mosaiced-Based Panoramic Depth Imaging with a Single Standard Camera

In this article we present a panoramic depth imaging system. The system is mosaic-based which means that we use a single rotating camera and assemble the captured images in a mosaic. Due to a setoff of the camera’s optical center from the rotational center of the system we are able to capture the motion parallax effect which enables the stereo reconstruction. The camera is rotating on a circular path with the step defined by an angle, equivalent to one column of the captured image. The equation for depth estimation can be easily extracted from system geometry. To find the corresponding points on a stereo pair of panoramic images the epipolar geometry needs to be determined. It can be shown that the epipolar geometry is very simple if we are doing the reconstruction based on a symmetric pair of stereo panoramic images. We get a symmetric pair of stereo panoramic images when we take symmetric columns on the left and on the right side from the captured image center column. Epipolar lines of the symmetrical pair of panoramic images are image rows. We focused mainly on the system analysis. Results of the stereo reconstruction procedure and quality evaluation of generated depth images are quite promissing. The system performs well in the reconstruction of small indoor spaces. Our finall goal is to develop a system for automatic navigation of a mobile robot in a room

Sketching space

In this paper, we present a sketch modelling system which we call Stilton. The program resembles a desktop VRML browser, allowing a user to navigate a three-dimensional model in a perspective projection, or panoramic photographs, which the program maps onto the scene as a `floor' and `walls'. We place an imaginary two-dimensional drawing plane in front of the user, and any geometric information that user sketches onto this plane may be reconstructed to form solid objects through an optimization process. We show how the system can be used to reconstruct geometry from panoramic images, or to add new objects to an existing model. While panoramic imaging can greatly assist with some aspects of site familiarization and qualitative assessment of a site, without the addition of some foreground geometry they offer only limited utility in a design context. Therefore, we suggest that the system may be of use in `just-in-time' CAD recovery of complex environments, such as shop floors, or construction sites, by recovering objects through sketched overlays, where other methods such as automatic line-retrieval may be impossible. The result of using the system in this manner is the `sketching of space' - sketching out a volume around the user - and once the geometry has been recovered, the designer is free to quickly sketch design ideas into the newly constructed context, or analyze the space around them. Although end-user trials have not, as yet, been undertaken we believe that this implementation may afford a user-interface that is both accessible and robust, and that the rapid growth of pen-computing devices will further stimulate activity in this area

Virtual reality learning resources in building pathology

Building surveying students must be capable of analysing the condition of buildings and their components and, where this falls below an agreed standard, make recommendations for their repair. Hence university courses must provide opportunities for students to learn about the main causes of deterioration. Fieldwork exercises are essential but there are often problems locating appropriate buildings, programming visits to satisfy course timetables and complying with health and safety requirements. Whilst virtual surveys of existing buildings are not considered to be a substitute for real-life educational visits, this paper critically examines the development of a novel building pathology educational resource. Alternative technologies for creating digital panoramas are examined, prior to the development of an interactive case study, which enables students to conduct an on-line survey of a Grade 1 listed 16th Century hunting lodge. 360 degree panoramic scenes are linked with hot spots to create an interactive virtual tour of the building. The paper considers how virtual resources can be embedded within the curriculum, gauges tutor reaction to case study materials and identifies opportunities for the development of a suite of building pathology educational media-rich learning materials

Capturing Panoramic Depth Images with a Single Standard Camera

In this paper we present a panoramic depth imaging system. The system is mosaic-based which means that we use a single rotating camera and assemble the captured images in a mosaic. Due to a setoff of the camera’s optical center from the rotational center of the system we are able to capture the motion parallax effect which enables the stereo reconstruction. The camera is rotating on a circular path with the step defined by an angle equivalent to one column of the captured image. The equation for depth estimation can be easily extracted from system geometry. To find the corresponding points on a stereo pair of panoramic images the epipolar geometry needs to be determined. It can be shown that the epipolar geometry is very simple if we are doing the reconstruction based on a symmetric pair of stereo panoramic images. We get a symmetric pair of stereo panoramic images when we take symmetric columns on the left and on the right side from the captured image center column. Epipolar lines of the symmetrical pair of panoramic images are image rows. We focused mainly on the system analysis. The system performs well in the reconstruction of small indoor spaces

The ESO Spectroscopic facility

We present the concept of a novel facility dedicated to massively-multiplexed spectroscopy. The telescope has a very wide field Cassegrain focus optimised for fibre feeding. With a Field of View (FoV) of 2.5 degrees diameter and a 11.4m pupil, it will be the largest etendue telescope. The large focal plane can easily host up to 16.000 fibres. In addition, a gravity invariant focus for the central 10 arc-minutes is available to host a giant integral field unit (IFU). The 3 lenses corrector includes an ADC, and has good performance in the 360-1300 nm wavelength range. The top level science requirements were developed by a dedicated ESO working group, and one of the primary cases is high resolution spectroscopy of GAIA stars and, in general, how our Galaxy formed and evolves. The facility will therefore be equipped with both, high and low resolution spectrographs. We stress the importance of developing the telescope and instrument designs simultaneously. The most relevant R\&D aspect is also briefly discussed.Comment: 6 pages 4 figures , presented at IAU Symposium 334 "rediscovering our galaxy