Automated vehicles can perceive their environment and control themselves, but how to effectively transfer the information perceived by the vehicles to human drivers through interfaces, or share the awareness of the situation, is a problem to be solved in human–machine co-driving. The four elements of the shared situation awareness (SSA) interface, namely human–machine state, context, current task status, and plan, were analyzed and proposed through an abstraction hierarchy design method to guide the output of the corresponding interface design elements. The four elements were introduced to visualize the interface elements and design the interface prototype in the scenario of “a vehicle overtaking with a dangerous intention from the left rear”, and the design schemes were experimentally evaluated. The results showed that the design with the four elements of an SSA interface could effectively improve the usability of the human–machine interface, increase the levels of human drivers’ situational awareness and prediction of dangerous intentions, and boost trust in the automatic systems, thereby providing ideas for the design of human–machine collaborative interfaces that enhance shared situational awareness in similar scenarios.

Both physical and cultural aspects are important for urban areas. In the context of urban space involving cultural resources, the application of augmented reality (AR) could physically integrate cultural resources into the physical facilities of the city. In this paper, the narrative approach is introduced to the construction of an urban cultural scene based on AR technology. Following the collection of historical materials about the Bund in Shanghai in the 1920s and 1930s, this study creates the characters and events in a non-fictional way, organizing a series of narrative elements around themes based on real historical contexts. This is in line with AR, a technology that superimposes virtual information in the real world. As part of this non-fictional narrative design, the author has chosen suitable characters as ‘avatars’ to observe and experience the development of the narrative from a first-person perspective. A participatory viewing can be brought about by adopting a non-fictional approach, rather than a simple information transfer and passive reception. The result is that instead of the traditional guide centric model, a multi-path tour model is created. In conclusion, this paper believes that the use of AR technology can link the narrative to the region more directly and closely. Further, a new cultural scene is created that allows visitors to have an immersive experience. AR technology provides a narrative perspective based on regional knowledge that reinforces and represents the image of the region in a cohesive way.