Jul
07
2017

Sacred Scanning Interiors

Toward the end of last summer, after he had finished his scans of Baroque churches in Rome and Turin and was back in his Meyerson Hall office, Andrew Saunders began sending massive batches of data to the cloud. He had scanned the interiors of each sumptuous church from multiple vantages, using a top-of-the-line LiDAR (Light Detection And Ranging) scanner. At the high-resolution setting he used, each scan comprised about 15 million points, with less than a centimeter separating each point. The trick was to get all the scans to mesh together, without overlaps or gaps.
“We’d send 200 million points to the cloud—up to 90 gigabytes—and two or three days later, we’d get back an email” from Autodesk, a California-based software firm, recalls Saunders, an associate professor of architecture. “One time it has a smiley face and says, ‘Congratulations! Your mesh worked. You can download it.’ Other times, after two days you get a frown face that says, ‘Sorry, it didn’t work.’ It’s really kind of a blind process.”
But once they meshed, he says: “All of a sudden you’re seeing these churches as nobody’s ever seen them before.”
 
Space may seem infinite, ubiquitous, even timeless.But confine it to the interior of a soaring, wildly complex Baroque
structure—say, Guarini’s Church of San Lorenzo in Turin—and it becomes, in the right hands, with the right technology, something else altogether.
“It’s essentially an argument for space as an object,” says the 42-year-old Saunders, who speaks openly and quickly, with a certain professional dryness. That argument is at the heart of his Baroque Topologies project, which he unveiled at Charles Addams Hall last winter, and which he is now writing up in book form. (Publication details are still being worked out.)
Even the term space, as a component of architecture, is relatively new, he points out. “Frank Lloyd Wright in the ’20s was the first one to really use it. It’s kind of a contemporary concept, and I think it’s continuing to change.”
For those inclined to regard space as an object as gaseous academic theory, consider this: you can, with the right technology, print out the objectified space on a 3D printer. (On a reduced scale, of course, which is a good thing for any building housing that printer.) It’s the equivalent of filling each church to the top with Jell-O, shrinking it down to a tiny fraction of its original size, and removing it. Except that Saunders’ translucent photopolymer resin molds have far more detail and articulation, right down to the non-space that had been occupied by altar cherubs and high-flying angels.

On the computer screen, these digital renderings are protean, morphing at the click of a mouse from solid 3D printouts to

ghostly X-rays to a sort of internal death mask. They are also strange and toothsome eye candy.
The images “force us to see complex buildings with fresh eyes,” says Joseph Connors, a professor of art history and architecture at Harvard who specializes in the Italian Renaissance and Baroque. “Their beauty and their strangeness shock us into new recognitions of buildings we thought were familiar. They reify space, making it into a sculpted substance in which the contained takes on life, even when the enclosing container is peeled away.
The buildings always had a strange beauty, but now they have shock value too,” he adds. “It is as though the familiar bust of Homer on our desk were suddenly replaced by the brain of Homer.” At times, the freshness borders on hallucination. One rendering brings to mind an ornate Japanese robot. Another suggests a rococo decanter. A third, an exquisitely decorated fire hydrant. “It’s something that leaves us curious, excited, and perplexed at the same time,” says Guido Zuliani, an architect who teaches at the Chanin School of Architecture at Cooper Union. “Because it’s all new, and because of the beauty of these things, it may be deceiving, but there is an intellectual chain—in terms of the Baroque, in terms of architectural analysis, and in terms of a different model of understanding an architectural object.”
Unlike Renaissance or Modernist architecture, the Baroque is “so completely complex,” says Saunders. “It has so much articulation. It’s always about blurring thresholds between painting, sculpture, architecture, the city.” In a recent talk, he described the space of Baroque interiors as a “maelstrom of pressure and forces with a paradoxical desire of purely mathematical speculation and religious mysticism bound in a taut envelope.”
Connors paints an eloquent picture of what we perceive when we enter, for example, Bernini’s Sant’ Andrea al Quirinale and gaze upwards: “the dome we see is a fiction of superimposed structures: ribs inside coffers that diminish perspectivally to
expand the surface that covers us.” Saunders’ models, he explains, not only show such vaults “with the clarity of a high-resolution photograph, but they also show the space the dome contains. We have the illusion that we can run our hands over space and feel its contours and inflections.” For Saunders, those “deep, withdrawn, interior spaces are really amazing to study because they’re so cut off from the exterior.”
“They’re just their own sort of worlds,” he adds. “Any kind of light, even natural light, is usually indirect or very far or bouncing back.
You never get a direct view out of them—they’re just kind of deep chasms that you enter into.”
Before traveling to Italy last summer, Saunders flew to Florida for a training session on the FARO Laser Scanner Focus 3D X 130, which can scan at nearly a million points per second and has a range of 130 meters.
“I found that it’s being used mostly in criminology and surveying,” he says. “In architecture and historic preservation, it’s used to look at a very specific piece, not an entire building.”
Had he been forced to buy the scanner, it would have wiped out the entire $50,000 University Research Fund grant he had procured to cover his expenses in Italy. Fortunately, FARO agreed to lend him one for a month, gratis.
Autodesk also allowed him to use, among other things, its ReCap (for Reality Capture) and ReMake software. Without their ability to generate high-resolution meshes, he says, he never would have been able to make the renderings.
“Autodesk has been a huge, huge help,” he adds. “Right now this is a very big realm, not just for Baroque historical analysis—which it is but even for the industry: engineering, architecture. Because they’re trying to figure out how to work with this large amount of data within their typical tools for making construction documents or representation. The stuff that we’re doing wasn’t even possible to do
weeks ago. We’re working with Autodesk and changing the algorithms for how they’re processing all of this stuff.”
Autodesk was thinking mainly of industrial designers and engineers when it started its cloud computing service, he explains. “They’re scanning a lot of infrastructure, oil platforms, things with a huge number of pipes and services, and they want to make sure that what- ever new thing they’re putting in doesn’t collide with anything. So they scan them and make them into meshes, and use them for collision detection. Then all of a sudden 18 Baroque churches start rolling through. And they’re like, What is this stuff? They got really interested.”
Tatjana Dzambazova, Autodesk’s senior product manager and “technology whisperer,” confirms that when she and her colleagues “started making the tech, we were thinking of architects, engineers, contractors.” But, she adds, “disruptors like Andrew show us that when smart, curious, caring people are given new technological tools, they think of ways they can push the boundaries of their profession, which so often go beyond what we, the makers of that same tech, ever had in mind.”
During his time in Rome,  Saunders focused mainly on the churches of Borromini, Bernini, Cortona, and Rinaldi. Then he headed north to Turin, where Guarini represented a “natural progression from Borromini, about 50 to 100 years later,” he explains. The progression “basically charts an evolution of the Baroque central plan in High Baroque from 1600 to 1700 in Rome, and then 1700 to 1750 in Turin.”
One doesn’t just wander into those venerable edifices and start scanning, though. Permission requires supplicating local and national layers of state and church bureaucracy. “That was one of the most challenging aspects,” he admits. “It started slowly, but then I started to make really good contacts and was able to access quite a few.” By the time he left Rome, he had been able to scan most of its important Baroque churches, apart from those in security-crazed Vatican City. One morning, at the Church of San Giovanni dei Fiorentini in Rome, he made his way into a tiny underground crypt—the Falconiere Crypt—designed by Borromini.
“Not many people know about it,” he says. “You have to go into this two-foot passageway to get down there. So I went down into it, and I scanned it, and I came back out.”
Tried to, anyway. By then a “full-on mass” was under way.
“I just couldn’t come out with my scanner in the middle of mass,” he says. “There was no way to escape. So I spent the entire mass underground in this crypt. It was very small, and kind of creepy.”
Back in the old days of scanning —say, two or three years ago—“people had to use physical targets,” Saunders explains. “You would have to plant spheres around the site, or targets that you would pin up on walls. When you came back to register the scans, or composite them together so that they overlapped, you would have to find the spheres yourself and kind of stitch the pieces back together. But now the software and algorithms have gotten so advanced that they can find patterns and automatically register
and scan and put everything together.”
Even so, “in the case of someone like Bernini, where there’s so much figuration and columns within columns, you could scan for days and still miss parts,” he acknowledges. “So one of the things my research assistant [Ariel Cooke-
Zamora GAr’19] has been doing is patching and cleaning up all these areas.”
In Cooke-Zamora’s view, the Baroque Topologies project has transformed laser scanning “from a surveying tool to a
representational one,” with serious benefits for architecture students.
“I’m very lucky to have been one of the first people to see these churches in this way,” he says. “Orbiting around the point cloud grants the viewer perspectives that have never been seen—not even by the architect himself.”
Connors compares some of Saunders’ digital renderings to certain “astounding drawings” by Borromini, which “give us
the impression that we are seeing through structures as in an X-ray.” This same quality, he adds, “is evident when we see, in Saunders’ models, [Borromini’s] buildings as though they had turned to glass and we could look through them as we fly above them. They are images that grab us by the shoulders and shake us into new perceptions of Baroque architecture.”
When he taught a graduate seminar on Baroque architecture this past spring, Saunders and his high-tech renderings were able to address a longstanding problem for students of the genre. The architects left no blueprints behind, and had often improvised as they went along. As a result, he says, any plans they did draw up usually “have little to do with what actually gets built.” True, there are plenty of photographs to study, but those two-dimensional representations seldom capture the full three-dimensional realities.
“Oftentimes I found that an architectural drawing of, say, Bernini’s Sant’ Andrea al Quirinale did not match the existing form of the church,” says Cooke-Zamora. And until now, “a student doing a formal analysis of these works would have had to model the space using existing—often scarce or inaccurate—reference images.”
“We went from students finding four or five photographs and squinting at them, trying to figure out what the three-dimensionality is, to printing fragments by someone like Vittone—not having to visualize; just 3D-printing it, like they’re printing pieces of this church to analyze,” says Saunders. “It’s kind of mind-blowing.”
The scans make for a “night-and-day difference,” he adds. “Within two weeks, the students really know the difference between Cortona, Rinaldi, Borromini.”
“One thing I saw in some of the work of Andy’s seminar was the possibility to deconstruct the object differently, to understand differently the layers and strata of this kind of activation of space,” says Guido Zuliani. “The work raises the possibility of taking certain moldings or decorations and analyzing them separately from the rest of the building with incredible precision, which will elimi-
nate some of the ambiguities or guessing that is normally done.
“It is a little bit early to understand the range of possibilities,” he adds, “but the range is really big.”
For Saunders, teaching the only course in PennDesign’s Master of Architecture sequence that covers architectural history before 1850—and doing it with laser scans and 3D printouts—is a rewarding kind of time warp.
“I enjoy that,” he says simply. “It’s very Baroque.”
Jun
23
2017

3D Scanner Company of the Year

We are delighted to inform you that FARO has won the award for the 3D scanner company of the year !

“Given the standard of our fellow nominees competing for the prestigious 3D scanner company of the year award, we were delighted with our success,” enthused Dave Southam, Regional Manager Europe North at FARO Technologies. “As FARO scanners are particularly suited to the demands of the 3D printing industry our sales in this exciting global sector continue to grow at a phenomenal rate.

 

Read More.

Jun
07
2017

FARO Tracer M Laser Projector for Factory Metrology

FARO has recently launched the Tracer M Laser Projector. This new solution allows users to reduce the expensive delays associated with the alignment and assembly of large components, help improve process precision, and negate the need for physical templates and hard tooling.

The Tracer M uses Advanced Trajectory Control (ATC) to deliver fast projection. ATC provides superior dynamic accuracy and a rapid refresh rate which minimizes flicker. Photogrammetric targets are used to enable the best fit alignment of the projected image onto the surface or object, thereby allowing the projected image to be consistent with the CAD model.

For larger assemblies and for use in space-constrained areas, multiple Tracer M projectors can be controlled from a single workstation to provide large-scale virtual templates in one coordinate system. The risk of human error and costly scrap during assembly is significantly reduced, in addition, manufacturers are able to avoid the time and expense associated with using large, heavy templates.

 

Read More.

Feb
23
2017

Baroque Topologies

FARO Technologies are thrilled to have aided Andrew Saunders, Associate Professor from the University of Pennsylvania to accomplish his mission of collecting a digital archive of Baroque art and architecture.  Saunders, who works in the Department of Architecture travelled to Italy for six weeks in order to scan and archive some of the most prominent Italian Baroque architecture. Following the University of Pennsylvania’s commitment to ‘advancing the public good–both locally and globally–through art, design, planning, and preservation,’ the purpose of this project was to discover a superior method to digitally explore highly complex baroque architecture.

By using a FARO Focus3D X 130 laser scanner, data was captured showing the prospering evolution from the early and high baroque in Rome extending to the late baroque in the Piedmont Region in Northern Italy. The archive includes work from Francesco Borromini, Bernardo Vittone, Gian Lorenzo Bernini, Pietro da Cortona Guarino Guarini, and Carlo Rainaldi. Precise 3D models were produced of the interior spaces of various churches which can now be viewed in full colour.

Taking into account that there were many challenges during this project, Andrew Saunders pointed out that the project would not have been possible without the contributions it received from its co-workers including FARO, Autodesk and the Italian contacts that made it possible to gain access to the scans.

FARO made a significant contribution to this project by providing a Focus3D X 130 laser scanner. This ultra-portable device allows users Topologies, FARO, University of Pennsylvania, baroque art, FAto record complex structures delivering realistic and true-to-detail scan results. The high resolution scanner has a range from 0.6m up to 30m and a distance accuracy of up to ±2mm. It also has a one million points per second scanning rate enabling fast, straightforward and accurate measurements of objects and buildings. FARO also offered software and training to those who had the responsibility of operating the laser scanner. The purpose of these scans was to create a comprehensive digital archive of the work. High resolution scans using the FARO Focus3D X 130 allowed verification, calibration and discovery of Baroque topologies.

Saunders stated, “The ability to capture, record and simulate increasingly larger sets of data, coupled with remote access to cloud computing and progressively more affordable additive fabrication technology, provides new opportunities and methods for understanding and assessing complexity and representation in architecture.”

The results from this project are extraordinary in many ways. The data that has been collected will now create digital access to some of the most prominent churches in the world, in a way that has never been available before. Furthermore, the captured scan data will allow experts to carry out reverse engineering of the algorithms behind the truly astounding baroque architecture.

However, the project is still not yet completed. It is intended that the archive will be used for in depth analysis and comparisons between the Italian churches. Moreover, The University of Pennsylvania School of Design will now work with Autodesk in order to make the archive available to the public as well as other students and scholars.

To access interactive 360 degrees views of the baroque architecture please click here. 

Mar
02
2015

ScanLAB Projects – THINK: Transparent

In the summer of 2014 ScanLAB Projects worked with director Giles Revell, post production house, The Mill and advertising agency AMV BBDO to create Transparent a short educational campaign video to warn against the dangers of rural roads. The work collects a series of rural locations to build up a Virtual Simulation film set, in which the fateful story of a Road Accident Reconstruction unfolds. ScanLAB Projects developed the initial aesthetic concept and approach and were responsible for on location 3D capture and data processing. They oversaw the final production, animation and rendering by The Mill, London.

ScanLab Projects - THINK - Transparent

More fatalities from motor accidents happen on rural roads than on the motorway, in fact, 60% of all road fatalities in Great Britain happen on rural roads. This work is part of a campaign for the Department for Transport’s THINK! road safety campaign which warns drivers of the dangers on country roads and encourages people to slow down by braking before the bend, not on it. Using LIDAR scanning technology the work makes an entire rural landscapes totally transparent. These scans were then animated in post-production to show a car speeding along a country road along which we can see through trees, buildings, earth and people. Thanks to the LIDAR technology, the viewer can see the danger through the bends; the driver, however, can’t. As a result, the speeding car careers into an oncoming tractor in a fatal crash. The end titles suggest that, if a driver could see the danger through the bend, they would slow down. Brake before the bend, not on it!

Each location was visited and a plan for on location scanning developed by the team at ScanLAB Projects, in consultation with the directors and the 3D graphics team set to work on the project. Using the FARO Focus X330 Laser Scanner a complex series of locations where captured, from heavily forested landscapes to wide open fields and a series of road features including railway bridges, farm entrances and tight corners. The interior of a country pub and the entirety of a working dairy farm also feature in the landscape created. In addition a series of vehicles, actors and extras were also captured using the x330.

Click here to read the full ScanLAB Case Study and check out the Video here!

Feb
10
2015

FARO expands through acquisition of ARAS 360 Technologies Inc.

FARO Technologies, Inc. , the world’s most trusted source for 3D measurement, imaging, and realization technology, announces the acquisition of ARAS 360 Technologies Inc., a global leader in the development of accident and crime reconstruction, simulation and animation software.

Founded in 2010 and headquartered in Kamloops, British Columbia, ARAS produces a full suite of accident and crime reconstruction software tools that offer advanced graphics, advanced analytical tools, and the ability to work with large point cloud data sets from 3D laser scanners. The company’s newest product, Reality, is a 64-bit crash and crime software solution that was launched in November 2014. Reality provides customers with an intuitive and user-friendly interface enabling them to quickly generate precision diagrams with stunning details and graphic realism.

FARO Technologies Inc

“The acquisition of ARAS 360 will help FARO create a complementary suite of integrated 3D documentation product offerings for our law enforcement customers,” stated Jay Freeland, our President and CEO. “By adding the ARAS products to our portfolio, along with the product offerings of the CAD Zone which we acquired last year, customers can now document and analyze any crime or accident scene with the most intuitive and powerful drawing, simulation and animation tools in the market.”

For more information about FARO’s 3D scanning solutions visit our FARO GB Website!

Jan
28
2015

FARO Laser scanner at the service of historic Italian religious monuments!

The Sessa Aurunca Cathedral is therefore a building of superb beauty dating back almost one thousand years, with an absolutely unique feature: it is “the other original”, an almost exact copy of the church at Montecassino which, as is well known, was destroyed by bombing during World War II and subsequently rebuilt. The two buildings differ only in the number of naves: Montecassino has five, while Sessa Aurunca has three. The Sessa Aurunca Cathedral is one of the infinite “pearls” of Italian artistic heritage. Indeed, it stands out for its beauty and historical significance: despite the changes made over the centuries (Baroque and eighteenth-century additions), the cathedral still bears direct witness to the typical religious architecture of the period, combining structural rigour, Christian symbolism and a number of refined Byzantine-style elements (such as the splendid mosaic floor).

2° PRESENTAZIONE SESSA AURUNCA

Despite its obvious significance, the Sessa Aurunca Cathedral is not well-known among the general public and is overlooked by “traditional” tourist flows. For this reason, the diocese and the municipality of Sessa Aurunca in the Campania region of Italy decided to launch the “Sessa Aurunca 3D Project”, a communications project designed to promote the Cathedral and provide the associated services and products.

The “Sessa Aurunca 3D Project” has several goals and is broken down into seven specific points that will explore new frontiers within the world of communications: the publication of academic and scientific reports and articles; the organisation of conventions, seminars and events; the production of stereoscopic 3D animations and videos, with the creation of a You- Tube channel and dedicated videos; the creation of a “360-degree Virtual Tour” with a database and “multidata” to “explore” the Cathedral using computers and mobile devices; the creation of thematic apps and a website; and the production of a “docu-film” about the project and the technologies used. Regarding this last aspect, Danilo Prosperi observed: “Part of the success of this initiative can be attributed to the FARO Focus3D Laser Scanner, an extremely precise device that we used to scan the Cathedral’s architecture, which provided us with a point cloud or, more precisely, digital data that we were able to use in our various activities.” The data acquisition phase involved 38 scans made inside and outside the church, including the crypt, and took just over half a day. “The quality of the FARO Focus3D Laser Scanner enabled us to acquire extremely high-resolution and high-precision images with very low margins of error, which was fundamental for the scanning of extremely beautiful details, such as the mosaic floor, the ambo, the spiral Paschal candelabrum and the crypt on the lower level.”

2° PRESENTAZIONE SESSA AURUNCA

The data gathered was then processed in SCENE, the FARO software for the management of scanned data, designed specifically for the Focus3D. This software was used to create and edit videos and images for the 3D Virtual Tours of the Cathedral. “SCENE,” Danilo Prosperi specified, “allows us to easily process the scanned data and quickly generate particularly complex high-resolution equirectangular panoramic images”. Danilo Prosperi stressed: “We believe that the FARO Focus3D Laser Scanner is the best technology on the market, not only due to its extreme precision, but also because it is so flexible, fast and easy to use. In fact, it is a compact instrument that is very lightweight and easy to move from one scanning position to another.” He concluded: “The collaboration between FARO and the Master’s in Architecture, Sacred Art and Liturgy at the European University of Rome has only just begun. Given the quality of the results, we plan to use the FARO Focus3D Laser Scanner in the future for other projects aimed at promoting highly important monumental sites of great beauty.”

Jan
12
2015

FARO Freestyle3D Handheld Scanner – Efficiency in your hands

FARO Technologies, Inc., the world’s most trusted source for 3D measurement, imaging, and realization technology, announces the release of the new FARO Freestyle3D Handheld Laser Scanner, an easy, intuitive device for use in Architecture, Engineering and Construction (AEC), Law Enforcement, and other industries.

The FARO Freestyle3D is equipped with a Microsoft Surface™ tablet and offers unprecedented real-time visualization by allowing the user to view point cloud data as it is captured. The Freestyle3D scans to a distance of up to three 3 meters and captures up to 88K points per second with accuracy better than 1.5mm. The patent-pending, self-compensating optical system also allows users to start scanning immediately with no warm up time required.FARO Technologies Inc Freestyle3D

“The Freestyle3D is the latest addition to the FARO 3D laser scanning portfolio and represents another step on our journey to democratize 3D scanning. Following the successful adoption of our FARO Focus 3D Scanners for long-range scanning, we’ve developed a scanner that provides customers with the same intuitive feel and ease-of-use in a handheld device.”

 

The portability of Freestyle3D enables users to maneuver and scan in tight and hard-to-reach areas such as car interiors, under tables and behind objects making it ideal for crime scene data collection or architectural preservation and restoration activities. Memory-scan technology enables Freestyle3D users to pause scanning at any time and then resume data collection where they left off without the use of artificial targets.

 

To find out more about the new FARO Freestyle3D Handheld Scanner then head over to our website or check out some of our YouTube videos.

 

 

 

Nov
11
2014

FARO Technologies launch CAM2® SmartInspect 1.2

We at FARO are proud to announce the release of the our FARO CAM2 SmartInspect 1.2 , the industry’s first full-featured portable software for basic geometric measurements, without CAD, for our FARO Laser tracker and FARO measuring arms.

The release reinforces our FARO’s continued commitment to simplify 3D measurement. CAM2 SmartInspect 1.2 will now interface with FARO’s Laser Trackers, providing a simple and efficient solution for those who require the accuracy and large measurement volume provided by the capabilities of laser trackers, but not the complexity of  CAD-based software.

 

SmartInspect

 

CAM2 SmartInspect 1.2 has been optimized to run on all Microsoft Windows™ based Touch PCs or Touchpads, providing users a new way to interact with inspection data and measurement devices. The addition of touch capability makes the software ideal for fully mobile measurement applications and establishes it as the first portable metrology software for laser trackers and measuring arms on the market.

Additional new features include a Move Device™ function, which streamlines the inspection of large parts, particularly when frequent repositioning is needed. Users can now move their device during the measurement process and measure their part from different positions. By enabling quick identification of correct target correspondence, time requirements to relocate (leapfrog) the arm or tracker is reduced along with the potential for error.

Other innovative advancements are the voice operation and audible feedback functionalities. The voice operation feature enables users to provide instructions using voice commands, allowing for hands-free operation and resulting in both reduced measurement times and improved mobility. The audible feedback feature provides real-time relay of information, alerting the user when a bad measurement has occurred or when the laser tracker beam has been broken.

For more information on CAM2 SmartInspect 1.2, click here!

Nov
05
2014

Vietnam: FARO Laser Scanner Focus3D encounters the ancient emperors!

SI2G S.r.l. (which stands for Sistemi Informativi Intelligenti p er la  Geografia, or “Intelligent information systems for geography”) is a spin-off of Marche Polytechnic University established in 2008 by researchers with many years’ experience in the various disciplines involved in the study of terrain and the environment based on computer science and photogrammetry. The company deals with the acquisition, analysis, processing, archiving and distribution of “environmental data” in digital format, using an integrated systematic multidisciplinary approach. It provides services such as remote scanning of terrain, photogrammetry, topography, cartography and ICT.

Eva Savina Malinverni, Associate Professor of Topography at Marche Polytechnic University, explains how SI2G recently came to invest in a Laser Scanner Focus3D, the innovative laser-scanning tool from FARO that provides extremely precise yet simple 3D scanning

IMG3_US_1311_Uni-Marche

The FARO Laser Scanner Focus3D is actually a very compact device, weighing barely 5 kg and measuring just 24 x 20 x 10 cm. A technician can carry it around wherever and whenever it is needed. What’s more, the WLAN technology makes it possible to start, stop, view or even download scans remotely.

The imperial city of Huế, declared a UNESCO World Heritage Site in 1993, is probably the largest and most famous architectural site in all Vietnam. It was from here that the emperors of the Nguyen dynasty ruled from 1802 to 1945. Its design was based on the imperial palace of Beijing and comprises walls, moats, fortified gates, bridges and decorations that make it a truly atmospheric setting of great artistic and historic value. “Scanning it would have been very complex and time-consuming had we used the normal photogrammetry techniques.” The FARO Laser Scanner Focus3D, on the other hand, enabled the SI2G team to complete the work in just a few hours and to obtain truly astounding results with just 17 scans.

fig02

Thanks to the FARO Laser Scanner Focus3D, a highly flexible tool that is very quick and easy to use, the technicians at SI2G S.r.l. were able to scan the magnificent East Gate of the imperial Vietnamese city of Huế, capturing every detail of its form and geometry with the utmost precision, despite the difficult weather and operating conditions.

If you want to find out more about the FARO Laser Scanner Focus3D or any of our other innovative products, then visit our website.

 



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