The dissertation investigates design peculiarities in the context of interaction interfaces within augmented reality systems. The study explores issues related to system design and its components. Augmented reality systems (AR systems) integrate multiple interfaces within a sole product and serve as interfaces themselves between the real and virtual worlds. Designing them involves defining the building blocks that will shape the future system according to the design concept and available capabilities.
The scientific novelty emerges from the inaugural development of a typology for augmented reality interfaces and their components, rooted in a comprehensive analysis of AR system design. A formula for constructing AR as a phenomenon has been formulated. The conceptual apparatus has undergone refinement, pinpointing the types of conceptual metaphors foundational to AR formation. Two conceptual directions for AR-interfaces have been outlined: interfaces of art (coined term) and ludic (entertainment) interfaces. The study delves into the interaction underlying AR projects and systematizes levels of interactivity. Design features of content, the role and characteristics of animation, the utilization of motion, and space have been determined. A compilation of factors and fundamental principles to consider in the development process has been presented. The work addresses questions of conceptually coherent design, delineates the features of contemporary AR components, and explores possibilities for forming interactive systems that meet specific systemic and reasoned criteria. It guides the search for principles and approaches to AR design in addressing applied tasks.
The first chapter presents the results of the historiographical analysis. The examination of scholarly literature allowed tracing the stages of AR emergence and identifying its connection with audiovisual practices. The position and role of AR in relation to other forms of reality have been established. Specific features of augmented reality usage in design terminology have been delineated.
In the second chapter, the physical components of augmented reality systems are defined and classified, specifically tracking and registration tools, as well as display devices. The chapter illustrates how various components shape different forms of augmented reality interaction in terms of form and type: marker-based, markerless, superimposed, mobile, spatial, and others. Unconventional display materials such as water and sand are discussed, along with two-dimensional and three-dimensional displays. The typology of augmented reality is refined based on functional properties and domains, complemented by a distribution according to metaphors. A conceptual framework for the formation of augmented reality is proposed. Its creation is linked to the user's perception of the narrative created between virtual data and the context in the underlying reality.
In the third chapter, the concept of the interface is examined in more detail, and a classification of AR interfaces is developed based on sensory channels (modality), the degree of physical presence, and conceptual approach. Material and augmented material interfaces hold a particular place among interaction interfaces.
Two main conceptual directions have been identified for the augmented reality as an interface: the art interface (or the interface of art, an authorial term) and the ludic interface. Art interfaces showcase a development vector towards spectacularity. They possess several characteristics: immersiveness, interactivity, variability, user location, perception direction, and scalability. Ludic interfaces leverage the principles of gamifying ordinary processes to motivate and engage users, incorporating systems of levels and rewards.
It has been established that AR content has closer ties to the interface and space than in other digital systems. The main principles influencing its design have been identified. Given the ergonomic features and prevalence of mobile AR, contextual animation becomes essential, characterized by short exposure times, detail richness, and cyclicality. Space and motion become important parts of AR design. Motion and spatial interaction highly related with conditions that prompt users to move are outlined.
In the fourth chapter, the principles of constructing an AR system are discussed, including ensuring interactivity, considering the human factor, implementing multimodal communication, managing attention, and creating representations based on the principles of "calm technology." Continuous usability testing is emphasized. Different classifications of levels and planes of interactivity are systematized, applicable during the analysis and development of projects with an interactive component, particularly in AR. Systematizing the primary challenges, a designer may face during the design of an AR system.
