 Welcome to scanning an architecture. So this is going to be a lecture and then also a short kind of technical introduction in terms of, you know, things you need to consider when you're scanning yourself. It won't be so much of a demo because there's already a prerecorded software tutorials online that you can check on the skills tree. So when you go on to the skills tree, there's a whole trail called introduction to photogrammetry. So check that out if you're interested in actually learning about using photogrammetry and reality capture. Today, it's a little bit more, you know, talking about what three scanning and photogrammetry can do in architecture and sort of the expanded potentials. I'll be showing a lot of examples and case studies. I'll be talking a little bit about the history and kind of where the country comes from. And finally, again, sort of just just talk kind of a little bit general about about technical principles. So I am posting into the Slack right now or into the group chat, a link to the Google slides presentation that I'll also be sharing on the screen. So you can follow along with me or you can also, you know, kind of go at your own pace or in your own on your own desktop with high resolution. You can also follow along on there. And I have some most of these images have links on them so you can just click on an image and it'll take you to a link that will show you more information about that specific project or company or, you know, whatever I am presenting in there. So, yeah, that's just kind of in terms of technical technicalities. So let me share my screen with you so that you can, you can start the presentation right away. All right, so here is the Google slide. Can everybody see pretty much black screen. Yes. Perfect. All right, so I'm scanning an architecture. First, I want to talk about, you know, we will be mostly focusing on photogrammetry as a kind of specific technique of scanning. And I'll explain why in particular photogrammetry there's lots of different types of scanning and I'll quickly kind of mention what types of scanning are out there. But photogrammetry is literally a kind of, you know, the term is a combination of three Greek words. Photos stands for light, grammar stands for letter or drawing and the train to measure. So photogrammetry literally means measuring with light. So it's almost like a poetic interpretation of scanning, right? Like we are, when we're doing photogrammetry, we're measuring with light. So just want to kind of leave that with you. Oh, just because I see the chat popping. I want to say one thing about the chat. So whenever you have questions that come up while, while I'm talking, please just put them in the chat right away so that then at the end we'll have a short Q&A so we can sort of, so they're kind of recorded there. And also, if there's a particular project you like or find interesting, also just, you know, use the chat as a tool to communicate your ideas and stay engaged. So, you know, just to give you an overview over, let's see. Okay, the menus are, okay, so how can I hide them completely? Can I just exit this? Sorry, no. So there should be a, I think there's a little bar here at the bottom. Yes, that's right. Okay. It just move it around, so I'm not sure. Yeah. Okay, is it pretty much gone? Yeah, it's not covering the image anymore. Okay, great. There's, you know, a lot of going on screen share presentation anyway. But just, you know, before we get into photogrammetry specifically, the other types of scanners are basically two general types, there's contact scanners and non-contact scanners. And contact scanners are actually very, very used, but I like to include them in this presentation because they're actually where the first type of scan that I used back in 2004 at the Angiband in Vienna where I was literally scanning an actual model point by point by point. So this was kind of like a far alarm that would essentially, you know, you would have a pedal at the bottom and then you would register each point in space. And maybe, you know, like, every, every good story needs a myth. So maybe that's my personal myth of how I got into scanning. I didn't do it then for a really long time because there were no tools available, but this is just sort of like one type of scanning. It's not so common now that we have other options available because obviously you need to be able to touch the object and it's only works at a certain scale. So it's very limited as a type of scanning. So the other type of scanning is laser-based 3D scanners. That one's super common in architecture. And the way it works is essentially you have a laser that shoots out, you know, a laser beam and then it calculates how long it takes for that laser to hit a surface and then come back. And that's how it gets a depth reading and that's how it can literally scan everything around itself. And that's a lot of computation, but at this point we're able to, you know, basically real-time understand space around us through laser scanning. The big drawback and the reason, you know, I'm not diving into that too deeply is that it's expensive. G-sub actually does have a scanner as part of the historic preservation department and they, and you can definitely use it and we've been using it in my seminar as well. Yeah, I should mention I'm teaching a seminar on the same topic that is happening probably next spring again. And, but the, you know, even my G-sub to constrain is that the Mika style was kind of like the lab manager always has to be there because the tool is very expensive. So it's something that you can definitely do if you have a very specific project and you want to scan something very large and very complex that you can't quite get with photogrammetry. But it takes the barrier to entry is a little bit higher. Then another common type are structured light scanners. So structured light scanners are essentially work by throwing pattern light onto objects and then kind of a little bit similar to the laser scanner kind of understanding how these, the changing pattern on the object starts, understand or calculate how the depth of that object is in relationship to the camera. So it also is a camera based scanner like photogrammetry but works to kind of projecting light onto a thing. We have one in the maker lab. So again, if you want to use it, you can definitely, well, at least once we're all back in school, you know, use it. The drawback here is, well, that you need the device, you need a turning table and you need a specific camera setup. They're not very expensive, but they're very limited in scale. So they're very good if you are scanning a small specific kind of object like this dinosaur or, you know, a toy or a sculpture or a small model. But, you know, they're very limited in terms of size. So here we get to photogrammetry again. That one is, you know, the one we're dealing with the most here and it's essentially a technique that relies on taking photos of an object from different angles. And as you can see from this diagram here, you have sort of these three different angles and let's say this is this red dot or the object that is being photographed in an abstract way. And so you can see how basically the camera, you know, takes the photo and the calculation essentially tries to find out which points are the same points in all the photos and then aligns them in three dimensional space to find XYZ coordinate of that point. So it really is a mathematical translation that goes between the two dimensional and the three dimensional. And that's why I think it's so inherent to architectural. You can also see, you can see the form of drawing or as we saw earlier in the definition is like a form of measuring with light, right? Like a camera sort of projects light onto a surface to create an image. So we're literally measuring with light with that technique. And because cameras are so widely available now, you know, everyone has one in their pocket. It's a very democratic technique in terms of accessibility. And a lot of, there's also a lot of free software to use it or for your very, very affordable software. So we'll talk a little bit about that later as well. And a big advantage also is that it works at all scales. So, you know, for a, it doesn't matter as long as you have a sharp image of something, it doesn't matter what scale that object is. It could be, you know, a tiny, tiny thing on your desk or it could be a whole city. The process works exactly the same. So it's kind of scale agnostic. And that, you know, for architects is very important accessibility and scale. No matter what kind of technique you're using, there's always sort of the same type of basic steps when you're taking a scan. The first one is the scanning itself. So the kind of data input, that's when you are actually creating the information, the, you know, the point cloud of your, your, your collecting information. But it's not necessarily yet a process. So, you know, as we've seen, collecting information happens through shooting out lasers or taking photos or drawing light patterns on an object. So there's, there's always kind of like a data input and basically anything that has these three steps can be described as scanning. So scanning is not defined by a particular method or technique necessarily of data input. It's actually just defined by the fact that some kind of input, some kind of data comes in. And then in the second step that data gets processed. So these data points that come in will be extrapolated to create a shape or kind of three dimensional form. And then also what we'll see in photogrammetry is that this data points will be also used to create color information and texture information. So, you know, that's when you kind of combine sort of image mapping with geometry. So very much how you are building something in Rhino and you would give it a texture. It's not quite the same, but it's a fairly analogous process in terms of it is using a system called measures rather than nerves, which is what Rhino is using. But it's the same idea that there's a 3D object that is then getting textured, you know, through some kind of image map. So then once that is processed, the first step is that they are merging. So usually when you're scanning something, you're not scanning everything at the same time. Usually you're scanning like, you know, either because you don't have access to it all at the same time or because the scans don't all align as they should. So sometimes you would have like five different scans of the same thing. And then when you're merging in the alignment phase, you're bringing them all together into one model. For example, an example that I'll show later is you can scan the exterior of a building and scan the interior separate. And then when you're merging or aligning them, then you can bring them all together. So when you are scanning your prototypes, for example, from last week, you know, maybe you also want to scan certain parts separate on purpose and then align them later. So these are really the three steps that all the different techniques that I just showed having come. All right, so what, you know, now I want to show you some interesting examples. And there's, you know, a lot, a lot of different kind of scanning project out there and I thought a little bit about how to group them in a way that makes sense for us. So kind of create for subgroups or categories that go between, you know, preservation project, sort of commercial projects, art projects and the narrative which is sort of museum and display project. These categories are by no means strict or a lot of the projects are hybrid projects, which is something that's very interesting about scanning. So, you know, if a project is in a particular category, don't take it as like, oh, that's only an art project that's not also preservation. Most of them are kind of crossovers, but, you know, because there were so many, I thought it was helpful to kind of have groupings and kind of think of them as sort of different avenues of thinking about scanning and how they can become useful for you as an architect and, you know, as a practitioner and student. So, and then, you know, again, in my classification of session, I thought a little bit about, you know, what are the different sort of axes or different ways to kind of visualize different practices and this is really just just the people that have included in this presentation so it's like a very comprehensive diagram it also only shows. So, and I'm referring to their particular names I'm not referring to their body of work overall and referring to the specific scanning project that they have made that I'm showing here in the presentation so this is more like a meta analysis of of how different practices and scanning work, and I think one of the main kind of accesses between a sort of preservation and scientific approach, and then another one which is a little bit more visual or interpretive or artistic if you'll, if you will. So, and, and, you know, there's a huge range between these two. Most of them have an aspect of both. And then the other thing is scale. Small parts just go from very small to very, very large. So, that's just another another way to think through that. So I'll be talking about these four different chapters now. And, again, it's not so much about specific order of just just just a framework. So the first one I want to mention is the scan for non coloring my own text here. So this is a very contested monument, the Robert E monument in Richmond, Virginia, which got, you know, you could, I don't know what the right word is I guess separated painted on, you know, written on just, just, it was like a manifestation of the black eyes matter movement on that monument and SMA studio is so special operations executives studio is they're actually G suppressed from representation program and they've done a lot of really interesting scanning projects. Again, the websites of these people are linked to the images so if you want to know more just just just hit that link. But this project to me stands out because it sort of makes a statement about, you know, what is worth preserving and what is worth scanning. So they're essentially saying that this moment of this monument being, you know, contested is something that is worth preserving as a preservation studio and, and to create to go through effort to scan it and create images of it in publish it. Just for background information, basically, this is a Confederate monument that, you know, was basically, I mean, basically the black eye movement, proposed for it to be taken down and that it was already about it like that was approved and at the moment it's still contested so it hasn't been taken down so sort of an ongoing political debate and kind of shows to me how just a simple act of recording something or scanning something can, you know, can be a political act just by saying this is important and this moment of this object in time with the way it's being changed through recent historic events is something that, you know, we're fully preserving in 3D. I think it's kind of, okay. Here, another example. Anybody think for a second what it is, if anybody recommended it, I'll tell you in two seconds. So this is another, another preservation project that was done by Andrew Talon, a historian and also sort of scanning professionals and he, he, he kind of did this with Grant as a one man show and he scanned this entire church and giving it away now. Church in Paris. Right now you should probably have an idea so it is Notre Dame in Paris, and as you know, I think last year or two years ago, Notre Dame burned down and all of a sudden this scan that he made only like a few years prior was on Earth and suddenly everyone was so grateful that this existed because you know, it allowed for, for, well, it's not a reconstruction, at least a very precise recording of what that apartheid church looked like before it burned. You know reconstruction is a bit of a different topic that should be reconstructed or not, but no matter where your position is on that I think the fact that this is the scan that we have very, very precise data on how it looked is very valuable for such an important historic monument. And then here, so this is a project by Syark, so they're really like the main, you know, firm that works in, or kind of like the one of the most prominent firms that does large scale preservation projects around the world. When you go on their website, they really have an impressive range of projects, and they've been doing that work for I think 15 years or 20 years or so. So it's, they're kind of like the establishment in 3D scanning. So they also get hired by, you know, governments to scan, you know, all kinds of historical artifacts around the world. This is in Mexico City, the Metropolitan Cathedral, and also, you know, here this was scanned because there was an earthquake in 2017, and then in 2018 they wanted to scan it just to make sure that they have as much data as possible, at least from the state that it was in, but you see that already on the roofs, and there's been damage done to this, but sometimes that's also what happens, you know, when there's a certain awareness, or awareness kind of emerges, once there's like an accident, once something goes wrong, and then they realize, okay, this is something you have to preserve and make sure that we have continued access to these historic objects. So here's a scan of the interior, so this looks like a photo, and this is something that gets quite interesting. So, you know, when you, you can actually move around in this space. And they also have a very good VR integration. So, you know, when you are, you have a VR headset, you can literally just walk into the spaces in VR, which is very immersive, and very, very impressive. And, oh, I should mention that this was done with a combination of laser scanning and photogrammetry. So a lot of these large scale projects are actually combined techniques, because laser scanning is really, really good at sort of getting general geometry. And photogrammetry is really, really good at getting texture maps and getting all the details of, you know, color and reflection and so on. So, this image is definitely a combination of both. Another, you know, big preservation project that is a little smaller in scale is the British Museum has started to scan their entire collection. And that's interesting because museum preservation was always very focused or archiving that they was very focused on, you know, taking photos and writing descriptions and writing sort of all this meta information about objects, like how heavy is it and so on. I used to work in a museum, so I'm very familiar with the very, very clumsy interfaces that have been set up. And that's because museums will have huge collections and, you know, it takes a long time to archive all this. So, at this point in time, most museums have some kind of on, like, not necessarily online, but some kind of collection system where things are digitized, right, some of them are local. But at least they know where they can kind of quantify what their collection is and have that happen in kind of virtual space. But now that they've finished that it's like the next challenge they have to actually scan our collection. So it's like a never ending project of archiving. I mean, they don't have to and not, there's actually not that many museums doing it yet just because it's like, can imagine it's a big project and big investment, time investment. But the British Museum has done it and is also putting it online and that becomes, you know, we're talking about accessibility in intro this year. So that's when free scanning really becomes also about access where, you know, people who maybe wouldn't be going to the museum because physical barriers or other reasons are able to access these online and really look at them in 3D. And I think now during Corona, maybe this has become more relevant or cutely felt by by people who usually can go right. That's the only way to access museums. There's also an open source version of that where basically recreate is a project that essentially was born out of a kind of terror or sort of fear of losing cultural artifacts. Not just fear, but it's real that, you know, cultural artifacts are lost every day through natural catastrophe through also willful destruction that, you know, terrorist activity to destroy cultural artifacts. So this project took the idea that, well, people actually everybody can take photos right so we can just create a crowdsourced database where people can upload photos of artifacts and then other people who have access to technology can create scans of it. So it would become kind of a global archive of important artifacts. And here's an example of one object that got reconstructed that way. So the lion of Mosul was, you know, a very valuable artifact that was destroyed by ISIS in Iraq war in 2003, I think, and basically there was no no documentation for it except for photos that have been taken before by visitors and very limited archives. And so this group kind of reconstructed and then on the right you see how they put it into a virtual museum so now it's like an online version and that was also a fully printed version of that. And there's also, you know, critique of that approach. So there's this artist called Marci Nala Hari and I'm probably pronouncing it wrong but she's essentially, you know, working on a similar project in terms of like this, in terms of scanning or sort of recreating objects that have been destroyed by ISIS. But she's, she's sort of taking a critical approach to it in terms of, and I included this quote here about how she's going about about that work. So she talks about how she spends a lot of time modeling this object and how she really feels like she's taking care of them and and sort of, you know, have like a very close relationship to these objects. But also feels protective of them as cultural artifacts that have a long history. And so, I just want to read the part of this quote when I say protect I mean that I want to protect them not only from ISIS but from Silicon Valley from Google from all the companies in the West, from all the white men and their colonial colonialist technologies. So it's actually a direct critique of, and there's a really great essay I recommend reading that is linked I think on the second page here, where she talks about, you know, the idea of violent care so on one hand, you know, these big companies like cyber and Google Arts and so on are coming in to protect but they're also doing that on their own terms and on their own lens and often as a way of what she calls digital colonialism so they kind of come in they take the scans and then they take the scans back home to their own place to, you know, to make sure that they're being that they're safe. So, it's really important, I think for us, you know, thinking about scanning and it's important thing to see, to see this side, and to kind of understand that nothing is neutral like, you know, I think we've talked about that in the social media lecture and here it is the scanning scanning even seems a little bit more innocuous it's like, oh, you're just recording right but the actual recording is never neutral you're always making a statement and you're always doing that, you know, a third body or third party that's recording something, something else. And just another quote from the essay when she talks about the word align, and you know, literally, the grammar is scanning is about aligning different data points. Remember the second point was alignment, the word aligning to form in line to fall into line to adjust or form to align it's about becoming one line a straight line so she's basically kind of saying that, you know, there's a certain conformity in terms of the way that the way that this kind of scanning process works and the way that Western Congress are coming in and and making everything align according to their, to their ideas. So sort of like a flattening of history and people like, well, this is all cultural artifacts that belong to all of us. So we need to make them accessible so similar this idea of open source of cultural heritage, you know, I know that Google Earth is putting it out in terms of you can consume the content on the website, but the rights are still in the end with them so she's kind of asking a question, what, what does it mean if all this data is with one private company company and you know how is that really, is that really equitable and open or is that also a form of colonialism in the end. So, with that, actually the next example is, you know, talking about commercialism is Google Earth. So Google Earth is of all these examples that I'm showing definitely the biggest one literally scanning the whole earth. And again, using the grammar tree on the way to do that. So if you have never used Google Earth before, please, my favorite just just after this lecture spent, you know, not need more time you take like a day off on the weekend and just like spend a whole day zooming around and it's so fun. It was my favorite quarantine activity when I couldn't go anywhere was just to zoom around and Google Earth. But again, this, this little technique we're talking about this niche interest, right, it actually literally defining our whole world in terms of like understanding how we how in terms of three dimensionally mapping our world. And obviously, before that, even the two dimensional mapping was also done through the grammar tree. So, you know, just just to kind of understand the scale of which just happened. And here you see, so there's Google Earth VR, which is even more crazy. And here you see sort of like a random castle in VR that is just, you know, I think quite a lot of detail. So, again, this is very, so talking about that scale between preservation and not and, you know, less scientific methods, I think this is an interesting in between because obviously it's a huge archive but it's not necessarily primarily from preservation or scientific minded. So it's purpose in the end, because it's a private company is, you know, financial gain. So it's sort of like a, but then on the way they are archiving and kind of creating all this, all this data, which again, you know, it's problematic because maybe some, some people or countries don't actually want to give that data away, but they're using satellite to access that data, and kind of not really and the whole, the whole goal is to scan everything to scan the whole world and as much detail as possible. I mean, that's Google's project in general, right. So, so, you know, you hear carefully scanning takes a potentially dark turn where because they're not necessarily asking for permission but just assuming that it's okay to scan everything they want. So, again, you know, a contentious and interesting topic in terms of like how far, how far can you go. You know, there's other companies, this is just an example, there's lots of sort of like more commercial companies, more specifically to large scale construction. So these people what they're doing is kind of site surveying. If you ever work on like a really large scale, urban, urban scale project, you might be working with something like that. So they're doing drones and you see the pattern here. So these are drones, all sort of a drone taking a photo and very regular interval. And they're basically scanning the site every few days or every day just to kind of map changes so it seems like a lot of effort but it's the most effective way to actually map changes across a large site over time. So, you know, in the past they would maybe build things like that and it would be hard to kind of know exactly what is happening with such big masses of land and so this is this kind of what they're specializing in also using using for the parameter mostly here actually. Another commercial application is actually in fashion, so this is an old project probably like 1050 years ago from their systems, taking this idea that you know you could scan different body shapes and then adapt specific clothes to that body shape. And it's something that is sort of, I feel like seems like a very viable idea but this hasn't really been fully implemented yet in fashion, maybe now it's grown, it's actually going to happen. You know people still kind of, I guess they're sort of just, people still want to go and try things on and I think there's maybe also a certain kind of hesitation about scanning yourself, right, because like we don't, I don't know, it might be about data protection but as an idea you know it basically would work as like a perfectly customized dress for you. And there's a really young company now working with that similar, those are some images for a customized bra, so the idea that you would like scan yourself and they get like the perfect fit bra. So, and this is only from this last year so just to say that these ideas keep popping up and you know eventually we'll see how they get, how to get actually how popular to get or how scanning is ever going to be that thing that everyone's just doing at home. I think so but you never know, you never know how these, which technologies get adapted and become so easy to use that I won't just accept them. Okay, so some examples from the art world, there's actually been in the last few years a lot of people investigating ideas about scanning and you know topics of preservation and Oliver Lerich is a really interesting German artist who essentially kind of convinced museums that go in there and scan their artifacts and then put them online on his website as open resources. So his project is sort of like on one hand he recreates his own, he creates his own recreations you'll see these, these here and then here's another example sort of like playing with the materiality, you know you can see that that was a marble sculpture that is now kind of deconstructed through different materiality during sort of like a different contemporary aesthetic. But the other part maybe the, you know, if more interesting part is how he, he just put obj online and he essentially I listened to a lecture when he was talking about how he kind of sees the same 3D models and totally random, you know billboards or music videos or people are using these 3D assets on the internet. And because he's making it totally openly available. It ends up in quite unexpected places. So, you know, if you want to scan something and put it out there. There's definitely kind of a community of people who are just downloading assets and we're using it and actually architects do that very much as well right. And I don't know if you have gotten into that yet but there's so much 3D stuff online and you know there's this endless websites with 3D monitors are free or very cheap so it's something that I find quite fascinating especially I mean a lot of it is 3D models, but some of it are also 3D scans and he was really active with scans and he also got into legal trouble doing it because you know museums, I think, I don't know if it was like super clarified that he was going to actually publish those online so that's when you get into the question of copyrights like how, you know, if you scan something and you know, again, similar question to the geoclonalism like who owns that data like is it something you can just use for your own project and to ask permission. Yeah, of course she's all the components. Here are the artists, New York based artists working with scanning. So she works, as you can see with the glitch and the kind of expressive power of the glitch and, you know, when you will create your replica your your your scans of your prototype. You know, you might also get glitches and you might choose to actually use them as a strategic tool to make part of your design. Obviously this is a slippery slope and but I think in her case, you know, you can you can see that the very intentional use of these errors or mistakes is kind of using it as a little expressive potential and those are actually disparate scope of death masks. So I think they were actually possible that people are not wrong and so, you know, memorizing memorizing the face of something through that, through that technique. And she's been doing really interesting projects kind of pushing scanning to the limit so she did recently an event where people were moving and she was scanning them while they're moving against her like almost like trying to produce glitches right it's not it's sort of kind of this artistic interpretation I guess where you're taking an effect to that too very much or like we take it to cake that's meant to do a certain thing and we subverted to create a different kind of effect. And that's something I, you know, encourage everyone to try and be aware of the new scanning stuff. Here's a project like Claire Hentker so also New York based artist actually we're here in the hot spot of three scanning. And she did this absolutely fascinating project where she went into malls, so abandoned malls across America. Sorry, let me correct you shouldn't actually go there she found the videos of these malls on YouTube, and then ran the videos through photogrammetry software and created this very eerie images and videos kind of floating through, through this abandoned mall. And sort of like, you know, very long video takes like a few hours, but definitely, you know, an hour or so and so psychedelic because you can definitely recognize a lot of elements but because these videos that she's using were not meant. They were just people who went, you know, I guess, in there just to kind of like scope them out and look at them. So they were not meant for for photogrammetry so they kind of, you know, obscure and sort of hide a lot of information that usually you would try to capture. But because this space is actually developed it sort of fits with the general mood of the space. And she did the same thing with the movie The Shining. And that's something crazy when you think about basically any movie in history, you could use, you could, you know, run the through photogrammetry software and you would essentially get like a 3D model of that of the scenes in that movie. Obviously, it works really well with The Shining because it keeps, you know, the movies all about one building and so, so there's lots of different scenes happening over and over again in the same spaces but, you know, you can imagine that this model is extremely distorted. But still in some corners and aspects actually quite accurate. So it's sort of like, again, this is very uncanny 3D model talking about this uncanny movie. So it's, you know, a very beautiful, you know, interpretation of using using using the glitches using all the mistakes that happen as a tool of expression. And the final art project is Ariane Villarrojas, an Argentinian artist who, I think at this point, four or five years ago did a summer rooftop installation at the Metropolitan Museum. And to do that, he scanned objects from the collection and he also scanned people. So here you see a base that, you know, is some kind of some part of the Met's collection. And this is an actual person that he scanned. I think this might have been a deceptive student because I was, I was, I was recruiting people to be scanned and I think she, she ended up being scanned. But the point is that, you know, his work sort of brought together things that could never actually physically touch. So, suddenly in this sculpture and then made it into another sculpture that they couldn't touch. That was the irony, I guess, when you came up there, they were guards and people obviously wanted to touch these things because they were, so this was a whole kind of like installation of like six, seven of these tables on the whole rooftop. And people wanted to touch these sculptures and, you know, you are not allowed to, but at least in the physical manifestation of this sculpture, these things could, could be touched. The next chapter of projects are kind of in between are hard to define. I mean, they often, they would also, they could also fall into the, I think the art chapter and the architecture are very overlapping, maybe, maybe could be the same one. I'm not sure. But this one is a project by an architect actually by Sam Jacob, a London based architect and he, he's actually written and thought about a lot about scanning and copying and ideas of production. So there's some interesting essays there to be found there, but this was part of an exhibition that was at the Venice Biennale into the 16 that was put on by the Victorian Albert Museum. And the whole exhibition was dedicated to scanning and replicas, which, you know, obviously for me really fascinating that that this topic that felt always very niche on the center stage, and there are, you know, a series of scans and ways of basically, you know, museum approaches to scanning related to things we've seen, but his project was actually just scan a refugee shelter, and then rebuild it on site or kind of like, you know, have kind of a cast of it. I'm not going to call it like, you know, it's just another, another interesting project that, you know, I think it's a sort of the boundary between documentation, art, it really is, it really is somewhere, somewhere right in between critical theory of design. Here, another example, so it was the landscape area for designs, an exhibition at the Met about Charles James, a fashion designer who created this very volumetric dresses, and they were trying to kind of uncover what was behind the structure of these dresses because, you know, they just have a lot of hidden pockets and ways of being built, that is, really not a parent, really just look at the dress. So, they created this 3D model of the dresses and had this animation thing, kind of uncovering how the dresses work from the inside here, you see like a lot of layering going on, but then they also did a set of x-rays. X-rays, I'm only touching on that here and that's also why I'm including the examples, x-rays are not really scanning adjacent and they're, you know, you could say they're a form of scanning, but not really the main topic here, but I think it's an interesting approach also, you know, towards scanning through something or not just scanning the materials that actually kind of showing the hidden structure and the hidden, the hidden, yeah, the hidden materials that are behind the dress or the hidden infrastructure. So, finally, another sort of project that's hard to face in a, you know, in the most interesting way is E.L. Weizmann's project. So, he is also, you know, an architect but kind of works sort of at the intersection of a few different fields, and this is actually a scan of a former location camp in Belgrade that later got turned into a sort of Roma housing project and the proposal was to make that, to turn that into a museum and he essentially used scanning as an argument to kind of like show the history of the site and basically argue again the museum because it would again sort of, you know, essentially create or sort of the people who then found the home there, they would have to leave, so it would sort of create another form of injustice towards a minority or underserved group. And so it, yeah, I think these are, E.L. Weizmann's work in general with scanning is super interesting and highly political and also very interesting in terms of representation, so here you can see, you know, how he sort of is throwing this, out this hidden structures underneath the main building through heat maps and kind of showing sort of like a mixture between a scanner and a tray and different modes of representation kind of up combined and collapsed into one. All right. I just have to open the door because it's getting really hot. So, she's seeing me over heating my, my, my, my, my little meeting room but with a really warm, all right. So, I know this has been a lot of references and projects but I want to talk briefly about some work that I've been doing at GSAP and some kind of like personal scanning projects that have been working on in the past few years. and then we'll get into the technology, just through a very briefing technology. So I kind of came across scanning, you know, really, I would say by accident, it wasn't really like that I wanted to become a scanning person, but it sort of grew over time as an interest and actually a lot of it got developed also at GISA because we were doing and also working at the Met kind of working with artifacts and sort of thinking about how to represent artifacts, existing artifacts in virtual space. So the kind of that translation between sort of the physical and digital always was incredibly fascinating to me. And so here I'm showing a few seminars that or work from seminars that I've been working on in the past few years. So this was in last spring 2019 with a group of students, we went to the Intrepid, which is an aircraft carrier on Manhattan's west side. And we were allowed to have, were able to have access to the sick bay, which is a really inaccessible space. So it's sort of like, you know, so the building, the ship is, sorry, the ship is a museum, you say, but so most of it is accessible, but then there's basically a few floors that are kind of like too hard to reach because there's this really narrow stairs. And so the museum was interested in sort of thinking about how we could display these spaces that people can't go inside. So we went down there and photographed it and rebuilt them in 3D and created sort of like a web app that allowed people to kind of, you know, in 3D go in and explore those things. And here you see some of the scans that students made and this was, you know, also really hard spaces to scan with very uneven lighting. So the results were really, really quite fascinating. Examples, and the students were to develop apps and a bunch of sort of different sort of prototypes that helped to experience the space. And the fire reviewed actually took place on the ship with, you know, a bunch of stuff and different reviewers coming in and sort of enjoying or sort of enjoying. I mean, it's actually a pretty heavy dark history but sort of like being able to kind of access these spaces to sort of virtual narratives but still being on the ship with that. But then we were all able to actually go into the space. People following? All right, so this was a more recent project. So that happened just this spring. And I mentioned that the school has a laser scanner. So this was actually a laser scanner scan of an abandoned pub in downtown New York. So this was a space that basically I'm part of a gallery collective and we're doing exhibitions in abandoned retail spaces. So this was our site at the time. And so with the students, we went in and scanned that whole space. And we used both laser scanning and photogrammetry on it and create, you know, the whole plan was really to create projects around that and then it was basically, we managed to get that scan and Corona happened. So it couldn't really finish the project. Unfortunately, this is the space, just a photo of the space itself. And here you see some detailed scans of the space, how they were capturing the kind of details of the surfaces of that abandoned pub. It's like really, really looking close here, things. And that seminar kind of pivoted in the end. You know, and again, the flexibility for the program which we helped here because everyone had to be at home. So we ended up working on everyone's scan there interior. And here you see some of these examples where people, you know, chose an aspect of the quarantine and displayed it through just three-dimensional scans. Most people, it was like a living room or bedroom. And we made the scans and then uploaded it to the web but also included animation and sound. So again, the link is on the presentation so you can go check it out and, you know, maybe get an idea of what we were doing because it's sort of these little, they're basically little 3D scenes that allow for narrative. So this was a student project that essentially talked about, you know, the student having to move out of the dorms and running side heights. And then, so he had to kind of pack up everything and move to his new place. And this is sort of all his blogging is kind of just visualized and kind of documented again in three-dimensional way. And, you know, of course I'm dreaming that one day some researchers will find this incredibly useful that we've archived these specific moments and 3D. So we'll see if that, at least for very now, at first I can say it was therapeutic. It kind of helped people to, you know, work through the, it was basically nothing else people could think about so we can change the projects to work with them. And here, a project I've been working on since last December with a friend from Argentina. We, so she's doing her PhD, working on these abandoned flower houses in the Argentinian pompas by the architect Francisco Salamone. He built all these structures around 30 of them throughout the 1930s in a very short amount of time. And they're kind of like, you know, disregarded by architecture history, I would say our people generally are not aware of them. And they're also, I mean, they're quite famous in Argentina actually and people go travel and see them but there's very little documentation on them. So we went down there, she's writing her PhD thesis on the topic of sort of meat production in Argentina and slaughtering and architecture kind of plays sort of part of that in terms of like, you see this sort of symbolic buildings that are kind of proudly pronouncing, you know, that they're matadero, they're slaughterhouses which is sort of, you know, unheard of I would say in most of, most slaughterhouses are kind of trying to advance concealer function or just be unobtrusive and not necessarily announcing what they're doing. So it's kind of a very interesting typology in terms of like a slaughterhouse as a building that is, you know, articulating that architecture. So what we did is, you know, went down there and visited all, most of them are the ones that we could, not all of them are accessible. And I just used, you know, photogrammetry without any special techniques. And I think that's important. So I really just used a good camera and took all these scans. And here you see, so you can also see that some of the information is missing, right? Because I didn't have a drone. I don't really have the information of this building from above. So, you know, of course there's limitations, but I still think that when you go on your next trip at some point in two, two, 21 let's say, and you want to, you know, you see something really fascinating. You can just document it and it's almost like a different way of doing photography. It's like a more, I was a little bit more involved, but it's sort of, you know, if I would have just taken a photo, I would probably not remember this building very clearly, but the fact that I walked around with them and spent a little bit more time and photographed them in detail and then spent time processing, brought them much closer to me as objects. Kind of, you know, leaning back to this idea of you spend time with a model, a 3D model, and you start to kind of have affection for it, or you start to kind of like, you know, not to object and take care of it. Sort of like virtual caretaking. And so, and we're working on a website to publish these projects. So, you know, we'll be publishing the 3D models and sort of text that she has written, so that's an ongoing project at the moment, so those are just proper screenshots. And here you see, we found a plan of the Mathedera and then here, so the kind of reddish lines are the scan of the outer shell of the building and then here you see, so this is just a rhino screenshot, by the way, little behind the curtain trick, so, but sort of using sort of different overlays and here you see the scan of the interior with the tracks on the ceiling of the building, so really getting quite a lot of detail out of these scans. And, you know, side note, it kind of looks like a head of a cow, which was also fantastic when we found out, you know, this slaughterhouse has actually had like this animalistic shape to them in plan, which we didn't really see before. All right, I know that I'm already at an hour, so I'll keep the history super short, I promise, and I know this was a lot of references and I hope that you, you know, found some things really interesting and inspiring. And you can dive deeper when you hit the links. So, you know, to talk about photogrammetry, I mean, as you've seen, it's applied in so many different ways. You really have to talk about the history of perspective, but photogrammetry in the way that we understand it now in terms of, you know, what I talked earlier, where aligning or sort of understanding where three-dimensional point is based on two-dimensional point, is really something that only kind of emerged in the late 18th century. So here you have the German method, a beautiful illustration by the German mathematician Guido Hauk, and he, you know, sort of was the first one to kind of postulate that if an object has been photographed on three plates exposed from different stations, any one of these photographic perspectives may be evolved graphically from the remaining two. So just sort of establishing this relationship that you can essentially put projective geometry on a pretty advanced level. And just, you know, I mean, the main driver, the main sort of like economic or sort of, let's say, the main motivation to develop these techniques became very soon this idea of topographic mapping. So, you have to imagine that before 1900, only 26% of America was topographically mapped. I mean, I mean, there was a flat map, but people didn't really know how high things were and, you know, what the elevation was of the landscape, which is quite crazy for us to think about, right? Like we take it for granted that we know we can measure the land. So that was a really big sort of reason to develop photogrammetry as a technique. And the first phase, when the first started really seriously mapping the land, it's called paint table photogrammetry and just called paint table because there was basically just flat tables that you would take out on the field. You know, people didn't really, that this is like 1850s when that started to be used very seriously. And there was the four commercial air flight in general was really feasible. And so, you know, they had to rely basically on sort of physical measuring on going really like physically surveying the land with these tables out on the side. So, you know, around 1850 was like a crucial time where you could say, photogrammetry, as we know it, really started. And the Frenchman Emile of Siddat was really the first one to use photographs for topographic map computation. So, you know, there's all these people, I feel like there's a lot of different sort of stages to photogrammetry. It's really hard to say, okay, this is when it started, but he at least, you know, has that claim or that title, it's like photo photogrammetry. And you see that one of the earliest things that he measured was actually a building. And here you see some topographic maps as well. And then the German mathematician Maidenbauer, he, well, you know, that's where it gets confusing, but he was then supposed to be the first inventor of actual photogrammetry, even though Siddat had done it, I guess almost, not actually a little bit earlier. So, this was 49 and he was in 58. So, here you see a German cathedral that he measured through these techniques of photogrammetry in a precise way. And, you know, because there were no airplanes, people found different ways to go up into the air. So, one of the first, the earliest ways of essentially, you know, creating topographic maps of two air balloons. So, this guy, he was actually an artist and cartoonist, but then he got really into photography and then ended up sort of being the first person to really take photos from an aerial perspective. And you see how physically involved that was, again, sort of like getting up there. I love this picture of him in this little basket, just getting raised up in the balloon to take photos. You know, kind of closely after towards the end of the 18th century, in the US, James Fairman was sort of advancing photogrammetry and he, this was also based still on the hot air balloon, on taking photos from hot air balloons, but he invented a specific kind of camera that was allowed to take better pictures from up there. So, you know, photogrammetry, as you know it now in terms of large map making really depended on two developments, which is like the development of cameras and development of air flight. And so you can see, you know, throughout that time, how these two things had to come together to really allow for large scale mapping. So around 1900, we kind of entered the time of analog photogrammetry, so that's when, you know, photography became widely available and sort of air flight also increasingly became available. And also, there was, you know, beginning of the 20th century, essentially, first world war and second world war it became more and more important to map territories, not least also for colonial purposes. So this is actually a German auto cartograph. So these devices became more and more complicated and sophisticated in terms of like mapping mechanisms, literally machines. So this is already 1971, fairly, I mean, not that long ago, essentially. Here you see this pretty intense machine that our air cartograph, you know, helping to scan the Hoover Dam in preparation to build, to build again. And in the U.S. again, so, you know, I think what's important to know is that filmmaking wasn't invented by like one person at some time, but it was really like a slow development that kind of was an international collaboration, not collaboration, I think it was more like competition, but you know, basically different countries sort of like made progress on that at different times and kind of enabled what we have today. So in the U.S. Sherman Fairchild was sort of the first, I guess, photogrammetry entrepreneur. He created this custom camera and was also the first person to create this sort of like 3D composite of New York City, you know, really like mapping the town. So after 1960, roughly, we enter the stage of analytical photogrammetry and that's when we really got one large scale. So here you have Blonde Brown, which is kind of like a pioneer of that time, of that era. And he, again, you notice that almost each of these inventors actually invented a new camera. So you see how, you know, photogrammetry innovation is almost always used, it's kind of like goes hand in hand with the innovation of cameras and it's sort of like specific techniques of how to, you know, augment statistically techniques and basically innovate on the camera itself and then incorporate better photography for photogrammetry. And in that time, we started to go up into space and really map the world through satellites. So someday it was possible to really create super large scale mapping. So, you know, going, start off in the plane table on the ground, physically like measuring things, then went up in hot air balloon, then in an airplane and now we're up in space. And then the last, you know, phase, let's say, which we're in now is for the current phase, I guess it's digital photogrammetry and that's what we're using in class. So it's really using the computing power of computers to help us enable these, to make this calculation. So you'll never have to actually calculate how photogrammetry really works yourself. You know, you just, you record the data, you bring it in and the picture, I sent you around before you. So bear with me for about 10 more minutes in terms of, you know, thinking about or kind of understanding the basic principles of how photogrammetry works for you. So I mentioned before, sort of these three steps that every scanning process has to go through in photogrammetry. Specifically, this is how these three steps work. So you have, you know, the first step to collecting data part is when you're taking photos quite simply. And there's some instructions on how to do that. But there's generally two big options. The first one is you're using your own camera, simplest one. If you want higher resolution details, you know, using a professional camera is definitely better. The second step is then to process these photos and to create mesh models out of these photos. So this is, remember the kind of alignment phase where everything comes together. So for this, there's two softwares that I recommend. There's lots of different software out there, but the main one that we're going to be using is this Reality Capture. And it's really, you know, I guess the state of the art software right now, it has a kind of paper input model. So you're, you can use it and practice on it for free. And then you only pay for exports. 3DF Sapphire is also a really good software, kind of similar, similar to Reality Capture in many ways. So, you know, it's just a bit of a matter of preference, but you can also try that. And I think it's free up to 50 photos. You can actually process it for free in there. And then there's a ton of different apps on your phone. I've tried a lot of them. They're okay, you know, they're not, I mean, if you really want to just test something really quick and you want to play with it, go ahead definitely. And also there's some icons and different apps. But, you know, if it's something you want to do, you want to export messages, you want to use it for an architectural project in some way, either as a site survey or as a, you know, part of your design and some capacity. I really recommend going through either Reality Capture or 3DF Sapphire. Finally, you know, then once you have the mesh, there's like the third step, which is editing meshes. So here you basically have to kind of be very careful about mesh density and, you know, how heavy your files are. If you want to really print your mesh, then it can be quite dense because, you know, you probably want quite a lot of detail in it, but not too much because then the file will crash. If you're using it for uploading it to the web, you want it to be super, super light and work with texture maps to kind of create detail. And so on. There's a lot of new ones on there. But the point is there's basically a whole different way of software you can be using in that last step. Mesh Mixer is a really good one. It helps you to kind of process meshes. It, you know, has kind of like a sculpting tool, right? You can make corrections and so on. 3D Max is also very good. You know, it's a classic mesh modeler. So it allows you to edit versus delete stuff and so on. Blender is free and also very good software. And then Rhino is actually probably the least ideal one. But, you know, it often ends up being the last step because in my workflow Rhino is at the end because I use Rhino for a lot of other things. So if I combine a mesh model in the end, it ends up in Rhino at the end, but it's actually not really the best software for editing meshes. I'll just say that in a general way and we can talk later about the details of why. Here, just one more time. You know, this idea of like aligning different points. Just something to remember while you're actually scanning while you're doing it. Because, so here we have the three holy rules of scanning, right? When you're doing, when you start taking your photos, what do you have to think about? The first number one rule is you have to have lots and lots of overlap. So, you know, because if you don't have overlap between the images, so if you take an image from this angle and one from the other angle, it just won't, the software will not be able to align these two images to find the third point. So you have to always make sure there's lots of overlap and the recommendation for overlap is around 60%. That's kind of like when you're shooting a panorama, you know, you kind of, you want to go along an axis and you want to sort of move slowly. So it's the same way with photogrammetry, but you just take like a photo every step of the way. The second rule is, you know, take good pictures. I guess that one's a little obvious, but if you have really blurry pictures, photogrammetry won't work because it won't be able to align various points. So you want to really be, you know, take that extra time and make sure your picture is sharp. Honestly, it's a bit less of a problem with phones because phones at this point, you know, are very good at focusing. If you're working with like an analog camera or even a digital camera that's like a proper camera, it can actually be a little bit harder. I mean, the final result will be better and sharper, but you have to kind of play around to make sure you have a sharp picture. And the third rule is you want to be working with still objects. So, you know, make sure that your object is secured. It's not going to move in the wind or slight, you know, if you're scanning a person, it's quite tricky. You know, they have to be absolutely still otherwise, again, the images won't be able to align into a three-dimensional model. So this one sounds simple, but actually sometimes harder to achieve than you think. You have to definitely make sure that your object is not moving. All right. So let's say, you know, all these rules, how do you go about it? So essentially, let's say you have, you know, for most of you, this is the technique you'll be using when you have a photo tripod with some kind of smaller object that you can walk around. You're using something called convergent axis capture. It means mentally you kind of draw a central point of your object, kind of like a midpoint, and then you just walk around it in an even radius and you take photos of regular interval. And it depends a bit on the size of the object, but for most of you, the distance will be one step away or two steps away because it's quite small. And you can do that. Ideally, you do that two or three times at different heights. So you kind of start off at a very low height and then you go, you know, look at it slightly higher. You just want to make sure that when you're doing a circle, you kind of catch it from different angles. If you're scanning a room or kind of like a very long, the total object, then you'll be using the parallel axis capture. So in that case, you wouldn't just be walking in a circle, but you kind of walk in a line and you just keep taking these photos. And then, you know, when you go around the curve, you want to still make sure that you have enough overlap. So you never want to have like a sharp change between taking a photo from one side and then all of a sudden then moving over and taking it from the other. So actually this is not ideal. You kind of want to like keep taking the photo all around. If you want this to be one model here. So this is a slide from special operations, operations executives, SRA studio. And this is how they're planning out and they're scanning something, which is really, I think, you know, I guess for a first scan, not really needed because you just do three circles, but when you're scanning something a little bit more complex, then, you know, you want to be kind of thinking about how you're going to approach that object. So here they were scanning this really tall columns and they needed a lift to move them up and down. So they calculate, okay, we're going to go, you know, four times up from each side and we're going to kind of take photos as we go up. And, you know, for them, because they're doing it as a business, they also need that to kind of ask to be time. But even for you, if you do a more complex scanning project, just making a sketch of how you're going to approach it is definitely a good idea. All right. And I'll end with this image, this beautiful image now. It's kind of like a purposefully ugly, but just when you're doing your home setup, this is just an example of something you could do, right? The most typical error that I see people doing with photogrammetry is that they use a wide background or a neutral background because we're used to it when we think of object photography, we always think that, oh, like in a studio portrait, right? You want to have like something neutral in the background. When you're doing photogrammetry, you want to have the opposite. You want to have like a magazine on the ground or something super patterned, like a rug or something that has, you know, color and texture and letters, patterns, because these things are the ones that help your, the software to align these images towards each other. And then the other thing to notice about this, the light is sort of diffused. There's no direct sharp shadows. It was a cloudy day. I did it on the inside, but it's a cloudy day. So, you know, pretty even lighting. And then the object is actually really small on the whole picture. So, I'm leaving a lot of space around the object just to make sure that, you know, I'm really, um, that the images are mine. If I would just do a close-up, I tried a version of this where it just went quite close and it didn't align. So, these things that are around actually help the software to align it. So, taking, you know, making sure that your object only takes up maybe a third or less of your image is actually a good idea. Again, very contrary to people, people always go close. You actually want to be further away because it's going to, it's going to help with registration. Registration is the process of aligning. And then the other thing, these funny props I have here, I'm showing that because I know most of you will be scanning at home, right? So, the set of my look ridiculous, like you were just using the spices I had at home to lift up the object. So, I can later just cut it out more easily. And, you know, all that stuff around, this was like a mushroom brick that I was growing. All that stuff around is irrelevant for the final product because you'll be cutting it out of the three scenes. So, it doesn't need to be pretty. It's really just there to kind of help align your model. And that's it for the lecture part. And I'm sorry, I went a little bit long. Do you guys want to turn on your video so I can see you from any other questions? So, everyone now has the ability to unmute yourself. And of course, you can turn on your video as because suggested. You know, it's a little hard to have a conversation feeling in isolation. But because, do you mind resharing your slides because a lot of people joined after you had already shared them. So that might be just something like for the posterity of the folks still in the room. Oh, yeah. The only seat if they're already locked in. Okay. I just shared them again with everybody so you can access them and have access to the links as well. Yeah. If you have any thoughts or questions, you can enter them into the chat or just during the conversation now. I'm sure there must be something. Yeah. Yeah. Yeah. So anything you liked or thought was interesting. You can also just post it in the chat if you don't want to talk. And it was a long lecture. Oh yeah. Yeah. Go ahead. Yeah. Yeah. So hi. The latest show earlier that are expensive when you turn construction. Do they only take measurements that don't take imagery? It's like the distances. Which one? Sorry. The ones that people using construction that you said they were very expensive. So you need to have the manager with you or something like that. The ones with a tripod. The ones with tripod. I'm blanking with sliders. I'll find it. Like number four. Oh, at the very beginning. Yeah. The laser through the scanners. Oh, yes. Yes. Okay. Yeah. Yeah. Yeah. They're not, I mean, they're taking measurements, but they're taking measurements in 3D. Close the door. My speaking. I'm taking measurements. The green point. So the results are actually very similar to. Photogram tree in terms of how they look like. So you can use it as a site survey and scan. Like a whole large site. And then kind of bring it into, into a rabbit, for example. Yeah. But it's a, it's not, I mean, yeah, it's all taking measurements. Right. But it's taking measurements in this case. It's essentially like a device is sort of on the tripod. And it rotates. And it takes around eight minutes per rotation. And then you move it over a few meters or two feet. And then it does the same process again. So for that image that I showed on page, you know, of the, of the pub that we scan to the students page 45. That was taken using a laser scanner. And what you see is sort of, you know, a very dense point cloud that was the result of that scan. Michael, did you have a question? I saw your handle. Yeah. I mean, it's a very practical question as an. Interest students, but in terms of like getting a picture of our object. And kind of propping it up. Is there, do you have any, any advice for that and like, could there be problems if it's kind of the way it touches the ground and that kind of thing? Yeah. I know that a lot of you have, you know, some kind of body armatures. So I would say if you have a mannequin, that would be ideal, but you can also create something. Some of my students have like just stuff, something in there to kind of, you know, like foam or, you know, something soft to kind of keep the shape. Or you could also ask somebody to model it for you. But then, you know, as I mentioned earlier, they have to be very still. Yeah. Okay. Sounds good. Thank you. But I would err on the side of, you know, I think putting a person in, you know, you know, you know, you know, you know, you know, you know, I think putting a person in, it's a little tricky because you're always going to see the, it depends a bit on the project, but I would say in most cases, it's probably better to keep it abstract because you want to probably use it in a slightly more abstract way in your next step. Yeah. We have a question in the chat, which is any good method to edit, simplify the output mesh? Yeah. So essentially the best way is to actually simplify it already early when you're doing the scan because specifically in reality, captured is actually a simplify option. And then the reason to do it early is because if you do it before creating the texture, then the texture will be optimized towards the kind of low resolution mesh and it still will look really good. So if you have a high resolution mesh with a high resolution texture you exported, then, you know, when you down some down sample the mesh, then the texture might not look as good later. It's just, yeah. And then the other options, if you already have a high resolution mesh exported and you haven't, you know, there's no way for you to access the original file. Mesh Mixer is really probably the best software to reduce file size or to reduce mesh output mesh size. Yeah, go ahead. I've seen some of them, they look kind of flat. Not on this slide, but like before, how do you make sure that your model doesn't look flat, like the walls on the flat and objects in it? Is that because of the shadows, bad lighting or? Oh, how to make sure the actual output, the 3D model doesn't look flat? No, let's see. I scan a room and then there's a light switch or a painting. They usually blend in flat within the wall. How do you make it look like that? It's all about lighting, really. Like if you have good lighting in a room, then you know, it should really pick up everything. If you have strong shadows, if you have an area that's completely white or completely black or just one color, then it can be hard for the camera to again align stuff. So for example, if you have a very, if you're trying to scan a very white room, you have a gallery space that you want to scan. What you could do is you could add colorful dots on the walls just to help align the image and then cut them out later. So that's actually a technique that people do to kind of, you know, deal with spaces that are not naturally have, that don't actually have a lot of texture. The other thing is, so actually laser scans also, before you start laser scanning, you have to put this sort of printouts of a certain pattern onto the walls and that helps the laser scan to register and kind of spatially understand where these different points are. So, you know, it depends a little bit. It's very specific to each space, but in general there's some hacks to make sure, even if you don't have ideal conditions. I mean, people have scanned, you know, dark caves and over, like, it's sort of, I think there's a big, big range of what you can scan, but it gets more and more nuanced as you get more into it in terms of what the specific technique for each space is. Which is also fun because each thing you scan is going to be slightly different, you know. I feel like every time I scan something, I usually, even now, unless it's something very simple, I probably need, like, you know, one or two attempts to figure it out. Thank you. Kevin, you look like you have a question. Oh, sorry, yeah, there's one in the chat, but I can go now. Or just, I guess, just reflect. Do you have any, and that's another practical question, but do you have any recommendations for scanning items that are not particularly solid? Like, my machine is like a bunch of spindly, wiry things. There's a lot of, like, open space between objects, and every time I've tried so far, it, like, kind of comes through, but not super successful. I don't know if it's just my lighting, or I'm not taking enough pictures or what the problem is. Yeah. Yeah, I mean, yeah, it's, it's, that's definitely tricky. There is certain kind of objects that are simply better and easier to scan than others. I mean, there's a reason why the typical scan you see is sort of like a marble sculpture, because it has, like, a solid surface, not too much reflection, and lots of texture on it. So if you have, and I remember your project, you know, yeah, it's, it's, it's a tricky one to scan. And I, I think in your case, what you could do is sort of try and then also play with artifacts, but I think it's because you mostly have planes and sticks. There's also some projects where I'm like, okay, maybe scanning is not the right technique. You know, you could also just, just, it's just, if you, if you have very rigid geometries, like lots of squares and lines, maybe it's, it's, there's a different measurement technique that might be better. That said, you, there's still a, a scan, quite, quite a lot of, there's still a scan, quite tricky things. And it's the same rules as for everything else. So if you have, you know, if you have like lots of patterns in the background, even like a skinny thing or skinny or very thin surface can come out quite nicely. So some of the scans that I've done in the fight arsenal were like thin paper, thin surfaces that came out and they worked out. But I think because the surroundings were extremely textured. So yeah, I would, I would try, you know, it's also quite a big, big object. So try to move away from it, make sure the whole object is in the frame. And, you know, probably outside would be the best way to do it and, and pick a space, maybe throw a carpet underneath or something like that. Okay. Thank you. Something with a lot of contrast to the objects so that the camera can kind of understand, you know, where your object starts and where it ends. So you can just follow it up. Is there any good method to turn the scan object? The scan mesh to editable mesh, like quad mesh and rhino. Oh yeah. Yeah. So in a mud box, there is a good way. And it's called the re, it's called retopologize tool. So you turn, you know, to triangular mesh into a quad mesh. For those who are not familiar with triangular meshes are, you know, generally what comes out of the scanning process. But quad meshes are the ones that are really good for editing in 3D max and so on. The one thing about the retopology tool is it doesn't, for the texture map won't match anymore. So if you have a clean model of them, it's being, you know, editable in max or Z brush, but it's not, yeah, you'll have to kind of redo the texture or remap the texture. Z brush though, actually can deal with triangles really well. So, you know, in most cases, actually the triangles can probably, you can work around it with triangles. But if you definitely need to go up, that's the best tool I know. Cool. Curious, you know, what do you guys think of sort of these questions of scanning of, like it's preservation tool or, you know, in terms of data privacy, I thought, I'm curious if anybody has thought on this. I can also continue discussion later in class. I think it's been a long lecture tool. Yeah. Yeah. All right. Let's do that. Cool. All right. Thank you then. See you guys.