Led by Matthew Shaw and William Trosell, the London-based ScanLAB Projects specializes in large size 3d scanning for objects, buildings and landscapes, with millimeter precision and in full colour.
Their captures, from detailed components to vast cityscapes, are made in collaboration with architects and artists. Check this capture of Zaha Hadid’s latest Evelyin’s Grace Academy, and Regent Park.
Apart from exploring pioneering uses of advanced surveying techniques in design, making and visualization, the guys at ScanLAB Projects are prone to experimentation and speculation.
(Read: Scanning the Mist, and Subverting the LiDAR Landscape, )
The following is their work for their entire Bartlett show. Here’s an excerpt from the descriptive text:
The Bartlett School of Architecture Summer Show is the annual exhibition of all student work produced that academic year. It comprises a collection of over a thousand models, installations, prototypes, drawings, photographs, films, sketches and designs presented across four large exhibition spaces in the Slade School of Art, UCL each summer. The show lasts for just seven days but represents the output of over 450 Bartlett students, thousands of hours of labour and thousands of pounds in materials.
In 2010, 48 hours of colour 3D scanning produced 64 scans of the entire exhibition space using a Faro Photon 120 laser scanner. These have been compiled to form a complete 3D replica of the temporary show which has been distilled into a navigable animation (shown here) and a series of ‘standard’ architectural drawings. This body of work creates a permanent record of the temporary exhibition, not through recording images or video but solely through 3D scanning.
The process of 3D scanning captures full colour millimetre perfect, spatial data of the models, drawings and exhibition spaces and allows them to be revisited long after the show has finished.
A series of high resolution plans, sections and elevations have been extracted from the 3D scanned data set and will be exhibited soon. In these drawings, a three dimensional, sensual and temporary experience, is abstracted into a series of precisely detailed snap shots in time. The work becomes a collage of hours of delicately created lines and forms set within a feature prefect representation of the exhibition space. Sometimes a model or image stands out as identifiable, more often a sketch merges into a model and an exhibition stand creating a blurred hybrid of designs and authors. These drawings represent the closest record to an ‘as built’ drawing set for the entire exhibition and an ‘as was’ representation of the Bartlett’s year.
Radiohead’s House of cards and making of, already blogged on Socks
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