JOURNAL GROUP 3 _ S -I LAB 3D SCANNING

S - I LAB 3D SCANNING GROUP 3 Zirui Zuo (William) - 1150381 Huaqing Tao (Elaine) - 900834 Samira Fattahi - 1238530

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A. INTRODUCTION. ELAINE, SI-LAB

REFLECTIONS Alberti’s concept of identical replication and transmission could be realized through the development of technologies. Although most of his inventions failed, many of his ideas thrived and came to reality by modern mechanical technologies, such as printers, CAD CAM Integration, and 3D scanning. Compared with the Albertian concepts, digital modeling skills are transcending the Albertian paradigm by achieving the combination of simultaneously designing and making, while the 3D scanning technology preserves the essence of recording.

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Alberti proposed an indexical operation by using notations and polar coordination to accurately record the information.

His digital processes of transmitting and reproducing the data information predicate the future development in identical translating data information into 3D objects. For instance, the modelling or 3D scanning technologies involve in a process of analyzing points information and the digitalization of the numerical matrix. However, Albertian principles differ from modern digital technologies by the distinction between notation and reproduction due to the process of transmitting. According to Mario, Alberti emphasized that the drawings should be fully verified and visualized before reproduction, and as a result, his system of notation became necessary for a clear and accurate delivery. Because of the process of accurately scripting from the author and another step of understanding by the receivers, designing and producing have to become two separate processes.

This distinction could be easily eliminated by modern technologies, because the designers no longer need to rely on the notational model, and the powerful digital tools bring the potential of simultaneously designing and making.

Although some of the modelling technologies reverse Albertian principles by bridging the gap between notation and production, 3D scanning technology preserves the way of recording the data of the point cloud and makes the most of the strength. The Lidar 3D Scan can achieve a precise record in space that can be digitally transmitted for revisiting,

such as scanning in crime scenes or for landscape measurement. Although the digital modelling technology transfers the emphasis into a more effective way of producing, 3D scanning technologies continues the Albertian paradigm and explores the newer areas of identical reproduction.

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1-4. Task 01 Working Process

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A. TASK 02 (PP. 14-21)

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TASK 2 READING REFLECTION Though we are not yet living in a genuinely post-industrial world yet, the rise of information technologies, service economy and networks-based services in many developed countries has been accompanied by a series of transformations:

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The first noticeable change is related to the relevance of traditional technological objects like cars and aeroplanes. The concept of an object has been transformed into quasi-objects. Quasi-objects are not abstract figures. The conventional idea of an object is superseded by more comprehensive and at the same time abstract entities such as networks and fields. Cloud-based services and mobiles and their networks and coverage are a sample of these changes. Components of technological objects are less and less assembled according to schemes based on geometry and mechanics.

The structural dimensions are threatened by the rise of information. There are no micro or macro components. The scale of information is much different.

Wireless networks are networks and fields are merged in a more fluid way. This explains the metaphoric uses of verbs like “to surf “.

EFFECT ON ARCHITECTURE Another aspect of the present situation is the blurring between what used to be a structural and what is considered superstructure. There is no clear definition of software and hardware anymore. Cloudbased systems are something between software and hardware.

The redefinition of virtual and natural, and artificial is happening in architecture.

This techno-natural environment is changing architecture. We are confronted with a technological world that is no longer easy to grasp using simple categories/ senses.

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1. The concept of object is superseded by Quasi-objects and a network of points/objects.

2. Yokohama International Port Terminal, 1995-2002, Foreign Office Architects.

3. There is no clear boundary between natural and virtual realities.

4. Objects are losing their traditional concepts.

A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

PHOTOGRAMMETRY VS LIDAR Photogrammetry and LiDAR (Light detection and ranging) are both extremely useful for land surveyors and geospatial professionals to conduct visual mapping and land survey documents. Although they can produce similar output, their methodologies are quite different.It’s esstential for practitioner to understand the similarity and difference between those two technologies to increase working efficiency and accuracy.

Photogrammetry: It can extract the information of the research object from the captured images, determine the shape, size, spatial position, nature and interaction of the object, and then generate a 3D drawing.

Further development of analytical photogrammetry is digital photogrammetry. Specifically, it is based on three-dimensional digital images. The computer performs image processing and image matching, automatically recognizes the corresponding image points and coordinates, uses analytical photogrammetry to determine the threedimensional coordinates of the captured object, and outputs digital elevation models and orthographic images: Digital imagery, or geographic information such as graphical contour maps and orthophoto maps with contour lines. The raw data processed by digital photogrammetry is digital photography. Image analysis and image matching are essential contents of photographic processing.

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LiDAR: A system that integrates three technologies: laser, global positioning system (GPS) and inertial navigation system (INS) to obtain data and generate accurate digital elevation models (DEM).

Specifically, it uses the laser as the signal source. The pulsed laser emitted by the laser hits trees, roads, bridges and buildings on the ground, causing scattering, and part of the light waves will be reflected in the lidar receiver. Based on the calculation of the ranging principle, the distance from the lidar to the target point is obtained. The pulse laser continuously scans the target object, and the data of all

target points on the target object can be obtained.

After imaging processing with this data, accurate three-dimensionality can be obtained—stereoscopic image.

In summary, there difference is not only about the way they obtain the data, but also depend on the situation of the target environment, cost, and precision requirement.

Photogrammetry works better when: ---Mapping bare mines, geoengineering projects, and other places that are not blocked by trees, buildings, or equipment, drones are cheaper, lighter, and faster.

BindiAng the camera to your drone will save you costs.

---For a small mapping project, photogrammetric data can be sufficientmeet all needs.

LiDAR works better when: ---Mapping tree canopies, mine conveyors, and other obstacles, it is challenging to use photogrammetry to build an elevation model for the area where the object blocks the ground.

---Modelling slender objects that require more accurate details, such as transmission lines, pipes, objects with sharp features (such as roof edges) or rock fields, alternative drawing methods such as the SfM algorithm and DIM have lower performance than LIDAR. Consistency” The diagram on the right side shall compare those two technologies in a more direct way.

1. Drone Photogrammetry vs LiDAR 2. Photogrammetry & LiDAR comparison 3,4,5: The Hammerfest Hiking Carbins, source from Archdaily

A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

PRECEDENT: THE HAMMERFEST HIKING CARBINS

BY SPINN ARKITEKTER The Hammerfest branch of the Norwegian Trekking Association (DNT) decided to build two simple greenhouses to promote hiking in the mountains around the town.

The introduction is simple-”We imagine a small hiking hut with good windows. It has a wood-burning stove and simple benches. It is placed near the top of the mountain and is designed to fit the terrain.”

These locations are drawn in 3D using drones and photogrammetry software to provide a detailed map of the surface, which is used as a baseline for formfinding. The initial shape made by the architect in Sketchup and Rhino was further optimized and converted by the engineer using kangaroo, Grasshopper and some custom script tools developed

by FORMAT. The result is a wooden cross-laminated wood shell with 77 unique panels, put together like a 3D puzzle.

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1-3. Task 02 Working Process 3

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A. TASK 03 (PP. 23-31)

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DRAWING, PHOTOGRAPH, AND IMAGE ARE THREE FORMS OF MEMORY AND STORAGE OF DATA. - Drawings are a hand-mechanical, geometric storage format - Photographs are chemical-mechanical storage with light - Images are a statistical-electrical storage format. one format can gradually – or suddenly – eliminate not only a previous format (technical obsolescence) but also an entire mode of storage and its attendant forms of thought, imagination, and consciousness.

DRAWING: Drawings consist of hand-mechanical gestures that carve geometric, rule-bound marks into a seemingly stable surface.

Hand-mechanical depiction is static: once drawn, drawings do not move. Even sketching always involves the become -mechanical, through practice, of hand movements in relation to a tool.

PHOTOGRAPH: All photography is a form of heliography: the writing of the sun. Whereas the constructed perspective drawing was a thoroughly mathematical depiction, the mathematics of a photograph always remains locked deep within its chemical composition. The photograph offers no empirical surface for immediate calculation; it must be laboured over if quantities are to be extracted from it.

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IMAGE: all imaging today is a process of detecting energy emitted by an environment and chopping it into discrete measurable electrical charges called signals, which are stored, calculated, managed, and manipulated through various statistical methods.

As a storage format, images are always already quantified, always already mathematized.

ORTHOGRAPHY orthography is a geometric gesture that arranges marks into repeatable, and therefore recognizable lines and texts. For the orthographer, the world was geometry, as both text and drawing 2 competing visions of the world: - In the first vision (alpha numeric handwriting), geometric gestures structured by “the device of linearity” represented the audible and phonetic - In the second vision (orthographic drawing), geometric gestures structured by the laws of scale and proportion represented the silence of lived spatial experience, thus placing form and materiality at the centre of thought Drawing (like musical notation) emerged as a kind of nonalphabetic orthography – a writing of space and form – while writing itself progressed as a kind of alphabetic drawing, in which ideal geometries were pieced together to form alphanumeric characters.

ARCHITECTURAL VIEW This correspondence between past and present, embedded in the technics of the orthographic drawing, established a deep connection between architectural experimentation and historical reasoning.

For many thousands of years prior to the emergence of orthographic writing time was conceived of as a circle or cycle is proof that we are not born thinking linearly or historically.

We trained this way of thinking into ourselves and our cultures by way of orthographic media: texts, drawings, and other forms of notation. It follows from this that cultures can train themselves out of linear, historical thinking – and we are currently doing just that, through our immersion in post orthographic surfaces.

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POST-ORTHOGRAPHY: In Real Time the world of the post-orthographer is simultaneously an image and a model – an electrical image and an electrical model, signally mapped onto one another Unlike historical time, which was predicated on technical regimes and gestures that continually related present and future to the past, real time relates the present to all possible futures at once (or at least as many as can be recorded and computed).

The always-present experience of all calculably possible future states – which is the logic of real-time modelling – is a very different imaginative framework than the orthographic imagination, which always drew on the past to “project” the future.

We see this difference the kinds of evidence that are now used to justify architectural form. If the graphic language of historical precedent was once used to legitimize architectural objects, we now use the imagery and language of real-time data: images of performance, efficiency, fidelity, and control.

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1. Film still from The Language of Drawing, Mechanical Drawing Series, produced by the McGraw Hill Book Company, 1948.

2. Nicéphore Niépce, View from Window at Le Gras, ca. 1826–27.

3. John Logie Baird, Oliver Hutchinson, a telescan produced on January 26, 1926, 4. The construction of oblique letters for the Romain du roi.

5. Santa Maria Novella, Florence. Facade geometries.

A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

3D SCANNING IN GAMING Over the years, real-time 3D has made remarkable developments. The hardware can push more and more vertices and pixels, spitting out 30 to 60 full HD images per second. Game makers are constantly improving modelling techniques and applications on the road to breaking the boundaries between reality and virtuality.

In order to ensure the smooth running of the game, game makers need to control the geometric complexity of the object (the number of triangles) to match the processing power of the GPU. And need to limit the resolution of its texture to fit the memory. But the traditional manual engraving and painting mode will take a lot of time and has low accuracy, not enough to fake it. Especially for large-scale productions like GTA, Assassin’s Creed or The Last Survivor, to ensure efficiency, funding, and release dates, game companies must use new technologies to assist in creating scenes and characters.

Sports in 2006--They captured more than 1,400 players in Major League Baseball.

To obtain an animated character, the scan is usually mapped to a pre-assembled model. Some games pay great attention to facial expression capture, conveying various emotions most realistically. Good examples are LA Noire and Beyond: Two Souls. Together with motion capture, the high-resolution animated texture of the face ensures that the graphics match the depth of the animation, resulting in an ‘almost real’ final result. Nowadays, metahuman under Epic games provides a more convenient way to obtain character models. People only need to edit online to get high-precision, real-time interactive character models.

More and more companies are beginning to apply 3D scanning technology to reduce development time. 3D scanning technology is a technology that captures and reconstructs real-world (physical) objects into digital 3D representations. It has been around for a long time, and many game developers have been using 3D scanning to create highly detailed content for their games.

APPLICATION IN CHARACTERS One of the most challenging elements to sculpt and paint manually is the face. We see all kinds of faces every day, so even if the tiny details are incorrect, we will P. 26 immediately notice and even experience the uncanny valley effect. In the early days, game developers did not need to scan because low-resolution game characters can still be drawn by hand.

But as gaming hardware becomes more powerful, developers want characters that look more realistic and of higher quality.

Companies that provide scanning services for the VFX industry began to cooperate with game developers. One early years example can be the collaboration between Sony Entertainment America and 2K

1. Mads Mikkelsen during the photogrammetry process of Death Stranding.

2. Mads Mikkelsen in Death Stranding (result) 3. Epic Games’s MetaHuman creator.

A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

APPLICATION IN OBJECTS In the real world, no two stones are exactly the same. Dust will accumulate in certain places with the wind, and the rocks will undergo slow changes in shape with natural and external factors. The real world is full of small details that are difficult to imitate in the virtual world. It is almost impossible to sculpt and draw these subtle details, or from an economic point of view, it is not feasible due to a large amount of work and time required. Decomposing the scenes in the game, you will find that it is mostly composed of common elements such as ground, rocks, low vegetation, large plants, etc., and these are also called game assets, which can be freely combined to create ever-changing scenes. In addition to props, 3D scanning technology is also applicable to game scene modelling. 3D scanning technology can extract rocks, tree trunks and ground coverings in the real scene, and even mountain streams, decompose them into model resources, and combine them freely; processed by Reality Capture, ZBrush, SD, SP and other software, make them into independent models or PBR The intelligent material template will greatly improve the modeling efficiency of large-scale game scenes.

For example, the Vanishing of Ethan Carter (released in 2014), the produce team Astronauts captured various of objects such as old buildings, trains, and rocks... that could not be actually brought to the studio. Fortunately, as long as there is enough overlap between the images, the photogrammetry software can process images taken from noncalibrated camera positions. In other words, people take enough photos from all angles, the software should be able to reconstruct a digital 3D representation of the object. However, to obtain the best scanning results, many factors need to be considered. The lighting conditions need to be correct. For example, it is best to avoid direct (sun) light. In addition, the camera needs to be configured correctly. Once game producers master this process, the results will be excellent, as the Astronaut team demonstrated.

1. (upper left) Creating rockes in the game ‘the Vanishing of Ethan Carter’.

2. (lower left) 3D scanned house from game ‘the Vanishing of Ethan Carter.

3. (right) Equipments used for photogrammetry process.

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INFLUENCES IN HERITAGE BUILDINGS With the popularization of 3D scanning technology, architects also store the scanned building information as archives, which is conducive to reviewing and updating buildings in the future, also applying them to teaching. However, compared to the traditional educational purpose of architectural scanning, scanned buildings in the game can leave a more profound impression on people to promote people’s attention tp help maintain cultural heritage buildings.

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Like the scenes constructed by the upcoming game Black Myth-Wukong, the buildings are all taken from real historical and cultural buildings in China. The details of religious buildings are displayed more realistically using 3D scanning technology and Unreal Engine 5. This method of displaying and storing ancient buildings in the game will enrich people’s cultural knowledge and promote the awareness of protecting heritage buildings.

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1. The city is an orthographic idea that is being writing and drawing over time during the emergence of digital architecture.

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1-3. Task 03 Working Process

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A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

V EXPERIENCE THE ROMANO-BRITISH LIFESTYLE. This VR experience invites people to explore a Romano-British villa, which has a range of fully furnished rooms including: bathrooms, kitchen, and living spaces, as well as a courtyard. Those who have tried the experience have said it provides a real insight into what it was like to be in a Roman house, it shows how these spaces worked, what they looked like and felt like.

One viewer said “I have been to Pompeii, but that was hard to understand as it was all ruins… this provides a feel for what it was really like”. Based on gaming engine technology, people can navigate around the building at their own pace in real time.

The VR also has sound and autoexposure lighting to help create a highly realistic fully immersive experience. All models and textures have been created by our in-house Studio creatives and are based on real Roman-British archaeological examples.

The mosaic in the dinning room alone has over 1000 tesserae all laid by hand!irtual Reality experience Romano-British lifestyle.

we can reconstruct environment and landscapes based on real archaeological facts.

Bringing the past to life: We have had great feedback from the thousands of people who have tried our VR experience. From five years old to octogenarians, we have only found enthusiasm for this kind of experience and a thirst for more. Not wanting to disappoint we are now working on a second VR experience to be released in 2020, but this one will be interactive!

Understanding the past: Wessex archaeology is uniquely placed to create this kind of experience, as a leading heritage company we excavate hundreds of archaeological sites every year, and handle thousands of real objects from the past. Wessex Archaeology employs an impressive array of specialists, who have a great in-depth knowledge about all aspects of the past. From prehistory to the second world war, our expertise covers all time periods.

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The aim of our reconstruction work is to create a quality product that is as accurate as possible, recreating both events and scenes from the past. With our expert inhouse knowledge of changing construction techniques, building fabrics, styles of pottery and other artefacts, along with our understanding of the tools and technology available over time, we can be certain that we are creating a heritage experience which matches the archaeological evidence and replicates as closely as possible the scene that existed all those years ago. With the help of our in-house specialists in environmental evidence

1. Diagram of VR experience 2. Diagram of understanding the past 3. Diagram of bringing the past to life

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FRONT AND MOROSO’S DESIGN BY NATURE FURNITURE IMITATES MOSSY ROCK FORMATIONS Swedish studio Front has collaborated with Italian brand Moroso to translate elements in nature into amorphous furniture items using 3D-scanning technologies.

The Design by Nature furniture collection, which comprises six seating objects, is designed to mimic various objects typically found in the wilderness, such as branches and rocks covered with moss, lichen and algae.

The creators took photos and 3D scans of various rocky woodlands and seaside areas, as well as drew sketches, before using these images to digitally build the six designs.

The wooden furniture items were given their undulating, rocky shapes by a milling machine before being coated in patterned, tapestry-like fabric produced by Dutch textile company Febrik, owned by Kvadrat.

While each of the fabrics feature a dappled design, some are coloured in rock-grey tones scattered with mossy green hues to emulate lichen-covered rocks. Others are knitted from a range of blue yarns to represent rocks beside the sea.

Front and Moroso wanted to use the furniture designs to bring elements of the outside, in.

While the six objects function as seating, it is not in the conventional sense, Front told Dezeen. Rather, the pieces are designed to mimic “the way one sits in nature”, encouraging users to climb on top of and lay down on them.

“We wanted the pieces to create the feeling that someone had lifted a whole glade from a forest with a gigantic shovel and moved it to a home,” said Front co-founder Sofia Lagerkvist.

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“We documented these places using different techniques, both high tech and traditional,” explained Front co-founder Anna Lindgren. “We wanted to collect both the dimensions and physical properties, but also the experience and atmosphere of nature.”

“There were lots of paintings and drawings, and we 3D-scanned entire areas in different natural settings and used those forms to create the pieces of furniture,” she continued.

A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

The designers wanted to focus on nature when creating the collection because of the positive effects it has on people’s mental and physical health.

“Being close to nature is of course a stress reliever and good for your health. But we are also interested in other strong effects of images of the natural world,” said the designers.

“For instance, there are studies that suggest that people feel good when they see various aspects of nature at the same time. You instinctively understand that there are many ways to survive: you can take fish from the water, you can pick berries and hunt in the forest and fields.”

Front and Moroso also researched the homes and structures that animals build, how they choose their locations and what “intelligence” can be found in their designs.

The two brands used this research to create a separate but similar collection of objects that will be unveiled alongside the Design By Nature furniture in an exhibition due to take place during Milan design week 2021.

“This is very basic, a fundamental part of human perception that we are interested in experimenting with,” they added.

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A. RESEARCH. GROUP 3, SI-LAB. 2021 SEM2

PHOTOGRAMMETRY VS LIDAR Garden and landscape design are considered as a decorative art that allied to architecture in the past. They are historically used to enhance the settings for recreational spaces in built environment.

Although the garden and landscape are designed as a supplementary space that attached to the architecture or public space, it shows the effort of maintaining the contact with the original or rural landscape and creating a continuity between environment and cities. Landscape design is defined as arranging the natural elements for human use and enjoyment, and the design presents significant differences in different cultures.

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For instance, a fresco of garden view was found in the Villa of Livia in Rome and is interpreted as “perfect combination of variety and abundance with stylization and order”. Various archaeological and archaeobotanical finings indicate that the Gardens and landscapes were thus an integral and dominant feature of the villa’s architectural design. The influx of wealth and newfound interest results in an idealization of nature through an increase of ornaments in that period. In addition to enhancing architecture and recalling urban settings, plants and trees were encoded with symbolic and sacred significance.

Similar in the gardens in Eastern culture, the traditional gardens in Ming Dynasty were integrated with symbolic significance, complicated ornaments and rigorous spatial arrangement. The spatial tactics includes dualities or balancing, narrative themes and directional manipulation.

The purpose of theses gardens has a very different setting with wester culture, which includes the ideals of islands of the immortals, hermitage in the mountains and inhabiting in a landscape painting.

The common feature of garden design in different cultures suggest a similar purpose of brining natural elements into the built environment and creating a dialog between informality and formality. The approach of designing usually involves in a series of precise and well-concerned techniques and methods, and relates to some cultural beliefs, doctrines or religious beliefs.

The approach of designing landscape and the concept of gardens start to change in contemporary designs. The precision, complexity and intervention were no longer the most essential vision of a garden. The design is moving towards an adaptable, protective or revealable approach. The garden and landscape design started to consider the complex ecological change and understanding of the original environment. In the Australian Pavilion by Baracco + Wright Architects, the building aims to expand the point of view from the object of architecture, to the way it operates in its context, by repairing of the places it is part of: the soil, hydrology, habitat, connections, microorganisms, vegetation. They use a living installation of over sixty species of Victorian Western Plains Grassland plants to reveal and recall the previous environmental conditions in Australia. In addition, buildings such as Chichu Art Museum attempts to leave the salt terrace unaltered and bury structures in order not to damage the landscape.

These approaches suggest a more adaptable and protective attitude to the landscapes.

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1. Frescoed walls in garden room of the Villa of Livia.

2. garden room of the Villa of Livia.

3. Net Master’s Garden 4. Australian Pavilion, 16th International Architecture Exhibition.

5. Australian Pavilion, 16th International Architecture Exhibition.

6. Chichu Art Museum.

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1-4. Task 04 Working Process