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.”
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. 

Aug
25
2016

Westerhof BV

In recent years, modern machine factories have made a strong shift in professionalizing their measuring solutions. In particular engineering factories made for specialized industries such as automotive, Oil and Gas. The main reason is that these sectors constantly require new machinery to be integrated in existing production lines. Accuracy is always a key element in this engineering process, therefore, machine factories are making a shift from manual measurements to new solutions such as 3D laser measurement.

 

 

Westerhof BV is a versatile and modern machine factory that has been going strong in the Nether-lands for over 50 years. One of Westerhof ’s main tasks is the conceptualisation, creation and imple-mentation of new machinery in existing production lines. A high level of accuracy in the preliminary measurements is vital for the basis of a precise 3D model of the machine. In the past this was the main problem as all Westerhof ’s measurements for their 3D models were done manually.

“If that happens, we have to reengineer the entire machine, causing a large financial cost for both us and the client. Because if this, we looked for a solution that gave us perfect accuracy, to avoid these mistakes,” Thijs Lenferink, commercial technical advisor at Westerhof BV explains.

The engineers at Westerhof found this solution in the FARO Focus 3D X130 laser scanner and the FARO Gage, which were able to provide the accuracy that was required for their clients. “We did some market research and eventually chose the FARO Focus 3D X130 and the FARO® Gage for the creation of 3D models and gauging of existing machinery, due to their accuracy, high quality and user-friendliness,” Lenferink explains.

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Jul
21
2016

Reverse engineering: principles, applications and solutions

What is reverse engineering?

Reverse engineering allows the duplication of an existing product, without having the plans, documents or technical details of the product.

In a classical production procedure, the creator creates a detailed plan, in which the production properties of a product are explained. After that, the product goes into production and is built according to that plan.

Reverse engineering follows a reversed method. First, engineers identify the components of a system, as well as finding out how they all relate to one another in order for the system to work. The object is decomposed to ascertain the inner structure, the function of all parts and the way they operate. The making of a duplicate comprises of discovering the physical dimensions, the functionalities and the material qualities of an object.

After that, the moment has arrived to construct a representation of the system analysis with the aid of a computer. The next final entails the reproduction of the original system with extreme accuracy, following the previously laid out plan.

Why do we need reverse engineering?

This is a classical scenario in which reverse engineering is warranted: A company has a machine, but one of the components has broken down, so it needs to be replaced. However, the manufacturer has ceased production of that machine and all of its parts; they don’t supply spare pieces anymore. The owner of the machine can set up a procedure of reverse engineering of the broken piece, rather than having to buy a new machine.

Reverse engineering allows for shorter delays in product development, because this method can rapidly deliver a replacement for a faulty piece, that can be used in a prototype as equipment or in the production process.

However, reverse engineering has a whole array of uses:

  • To replace an original piece of which the documentation is incomplete or non-existent;
  • To redesign a piece in order to eliminate an error or to enhance some beneficial aspects;
  • To analyse products made by the competition;
  • To support new functions in case the original plans did not allow for that
  • To still make use of older or obsolete technologies that are no longer in production
  • To create plans or documentation of original products when there are no plans to be found, even after these products are already in use;
  • To deliver an essential piece in a short time span, without having to shut down the production process for a long time.

How are objects measured in a reverse engineering procedure?

To recreate an object, you have to ascertain the physical dimensions precisely. If you don’t have extremely accurate object measurements, it is possible that the recreated object won’t work because it is not an exact copy of the original.

It is possible to make these very precise measurements manually, with the help of a marking gauge, a micrometre, or other instruments of that type. In modern reverse engineering however, a tridimensional measuring machine is able to determine the geometrics of an object faster and more accurately than any manual measuring device is capable of.

A tridimensional measuring machine measures on three axels, X, Y and Z, and uses a coordinated system in three dimensions. Every axel has a basis, which determines the position of a point on that axel.

Tridimensional measuring machines use feelers to register a point as soon as the instrument comes in contact with the surface of the object that needs to be measured. Each point is measured individually, until the tridimensional measuring machine has collected enough data to allow the software to determine the length, angles and other geometric information of the object. The machine reads the data that enters through the feelers in function of the instructions that the operator has provided. The XYZ-coordinates of each point are then used to ascertain the size and position. A tridimensional measuring machine can measure the dimensions in two different ways: on the hand through direct contact with the object, on the other hand with the help of a laser scanner. The cloud of gathered points is then converted to recreate the surface of the object. This data print is then sent to a computer programme in order for it to be refined, analysed and expanded.

 

design scanarm 2

 

A solution for the digitalisation of a high resolution Arm for reverse engineering: the Design ScanArm combined with Geomagic software.

In order to answer to the needs of the market while designing a product, FARO has developed the Design ScanArm, a new measuring arm combined with a 3D scanner. This innovation is a digital, portable 3D solution made for 3D modelling in designing and the entire managing process, which lasts for the entire product life span.

The FARO Design ScanArm uses modern blue laser technology with an increased digitalisation speed in order to obtain point clouds with a high resolution and to be able to digitalise existing materials without problems, without having to use sprays and other such materials. The apparatus is very light and easy to move, so it can be placed in a lab or study room with ease. The Design ScanArm has a simplified user interface which allows for an easy use, even for users with limited experience or competence in 3D digitalisation.

Due to the combination of the FARO 3D digitalisation and the possibilities of the modelling software by Geomagic, the Design ScanArm offers a key solution that allows its users to digitalise, recreate and modify existing models or test prototypes quickly and with ease. This solution enables users to quickly transfer digitalised data to computer models, that can still be modified. Once the data is received, you can use the modelling functions in different ways, without having to use any other application.

Conclusion  

Reverse engineering is an important discipline that can contribute immensely to the life span of machines by enabling the proprietor of the machine to manufacture spare parts at will, even when these are not in production anymore. Reverse engineering also allows for new pieces to be added, to add additional functions or to eliminate errors.

The simplest, fastest, and easiest-to-use tool to measure and create products in the context of a recreating procedure, is a light-weight, portable tridimensional measuring machine. This tool allows you to measure objects with or without contact. The combination of these advantages that the FARO Design ScanArm offers, gives operators a fast and efficient solution in the present work environment and gives them a competitive advantage.

Jul
01
2016

3D documentation without CAD

FARO is expanding the possibilities of 3D laser scanning with a range of innovations. There is a clear trend towards making point clouds the focus of documentation applications.

Scanning on-site and immediately having a registered point cloud available on a mobile device – this has been a long-time dream of 3D laser scanning experts. Instead, one hour’s work in the field always meant several hours of office work to turn the scan data into usable data products. FARO Europe GmbH is now offering the possibility of registration in the field. Thanks to the new FARO® Scan Localizer, it is now possible to register scans on-site and in real time and thus generate a point cloud using equipment in the field. This add-on product is integrated into the Laser Scanner Focus3D tripod. It constantly performs 2D scans while also surveying the measuring environment within a horizontal profile covering approximately 180 degrees. It has a measuring range of up to 20 metres. The end result is a type of reference profile, which can be used to register the relevant scans from different locations within a single point cloud. This is all thanks to the cloud-to-cloud registration process, which has been a feature in SCENE for around two years. “It means that there is no longer any need for reference registration marks for overlapping areas in interior spaces,” says Oliver Bürkler, Director of Product Management at FARO. The intention is primarily to boost efficiency for projects with a high number of individual images. “We assume that it will generate significant cost advantages where there are 15 or more scans. For example, the device is absolutely indispensable when measuring interior spaces, where you often take more than a hundred scans,” Bürkler adds. According to the company, the FARO Scan Localizer is available as an add-on to the FARO Laser Scanner Focus3D (2015 model or later) and costs around 15,000 euros.

 

SCENE 1

The FARO Scan Localizer is affixed to the tripod. It carries out a horizontal 180-degree measurement that enables real-time positioning in interior spaces.

 

HDR integration

FARO has launched a number of innovations onto the market to further improve 3D laser scanning. This includes integrating high-dynamic-range (HDR) photography into the FARO Laser Scanner Focus3D. This new option lets you increase the resolution for images with significant differences in brightness. The HDR camera in the Focus3D X 130 HDR and 330 HDR models deliver 170 megapixels and offer a contrast range of up to 4 billion-to-1, which means that the respective bright areas can be optimally rendered for the human eye (i.e. for the screen). Bürkler describes a practical example: “Customers working in dark spaces, e.g. pipeline construction, can decipher even small labels, which are usually very light, in the point cloud”.

Closer to reality

A first glance at the new Version 6 of FARO’s point cloud software SCENE makes it very clear that it represents a new master release. The entire user interface has been redesigned and is now heavily based on typical workflows. Making the software easy and efficient to use was key. The work steps within the workflows are divided into clear, individual steps and are arranged in a logical sequence. All of the individual functions available in the previous version are now listed as processing options for the relevant processing steps in projects. The aim is to help users, especially those without extensive prior experience to get to grips with the system easier and faster. “When we developed the workflow-based tools, we defined typical use cases and automated them completely,” says Bürkler. In the event that manual intervention is needed, the software provides appropriate support and guidance. “This keeps the training required to an absolute minimum, which means that the learning time for new users is extremely short,”  the product manager said.  If anyone prefers the old interface for example, for dealing with complex, engineering-related technical issues they can easily switch back to the previous GUI.

Users will also find new rendering technology in SCENE 6 interesting. It delivers an even better level of visualisation for solid surfaces and eliminates the need for further data processing in visualisation applications.

“Solid surfaces now look completely realistic,” explains Bürkler. Conventional point cloud visuals have been transformed into fully immersive virtual reality environment. For example several new features ensure that the point cloud density for walls is interpolated so that the original, roughly rendered (“holey”) point clouds are automatically converted into closed surfaces. Colours are also homogenised in this way so that solid bodies or textures become significantly more realistic. This means that solid surfaces are not visualised using individual measuring points but rather as realistic, closed objects.

SCENE 2

New rendering features in the latest Version 6 of SCENE come in the form of closed surfaces: measuring points are turned into solid bodies to optimise the visualisation.

Ever more in the cloud

FARO insists that the benefits of this type of hyper-realistic point cloud are not just reserved for experts, thanks to the new version of its web hosting service SCENE WebShare Cloud. Being an online service it delivers significantly better performance, as well as being simpler and more user-friendly. All team members can now access documentation data quickly and easily without needing any special software or hardware. Each file is coded individually using the best encryption method available today (AEC 256), which guarantees the highest levels of IT security. In recent years, many customers have been sceptical about cloud applications for security reasons or have rejected them out of hand due to the massive volumes of data involved and the lack of fluid rendering. Nevertheless FARO confirmed that more and more customers are now using the cloud.

Consequently point clouds can be used for documentation-related tasks that were previously the reserve of CAD software. The advantage given that point clouds map complex local conditions, customers can dive into an existing environment ‘virtually’ for a more direct understanding of conditions on the ground. These features are used for example, by key FARO customers such as carmaker Volvo which documents all of its production facilities around the world using FARO scanners and uses these as the basis for further planning or new buildings. The company aims to have point clouds serve as the basis for all documentation applications leaving CAD for the virtual planning level only. This approach represents a paradigm shift since common practice today is still to translate point clouds into CAD models. A point cloud can now be enhanced with CAD functions to create a comprehensive 3D documentation IT landscape. “This will be the basis for future FARO developments,” predicts Oliver Bürkler.

Jun
16
2016

Focus3D scans the Sinaia Casino to deliver detailed 360° view in Webshare Cloud

The Casino in Sinaia, Romania was built at the initiative of King Carol I of Romania between 1912-1913. The Sinaia Casino was designed by the famous Romanian architect Petre Antonescu. The building is considered a historic monument and serves as an International Conference Centre. A detailed examination of the site’s current condition was required in order to lay down the restoration and preservation project. Therefore the 3D laser scanning method was chosen in order to carry out the survey of the monument. “Our task was to create a complete Building Information Management system in 2D (ground plans) and 3D (point cloud data) as soon as possible, so that planning and construction work will be based on reliable information. To do this, we deployed two expert teams.
One team was on site scanning with a FARO Focus3D laser scanner while the other team was processing the point cloud data” explains CEO International Partner Buro, Dipl. Ing. Marian Radoi.

3DLS_Sinaia_Casino_EN_3

“For complex projects as this the Focus3D offers many advantages. It is a non-invasive method of data collection, appropriate in case of surveying historic buildings. The large amount of data, obtained in a very short time, allows for the analysis of the current state of a monument. The great amount of captured details allows planning preservation and rehabilitation works, as well as monitoring the intervention in time.” says Dipl. Ing. Marian Radoi.

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Apr
27
2016

Pompeii new secrets revealed

A new special of the BBC One show Pompeii: New Secrets Revealed with Mary Beard has helped uncover some myteries in Pompeii. This is one of the most iconic archaeological sites and with the use of the FARO Laser Scanner Focus3D unearthed the human stories behind the casts hidden underground.  The presenter of the show Mary Beard is a passionate TV historian who wanted to find out the truth the bodies underneath the ashes. This ancient city was destroyed by volcanic ash and pumice during the eruption of Mount Vesuvius in AD 79. Researchers were able to examine in detail the remains of bodies to find out more about how these people lived their lives thousands of years ago.

Picture_Pompeii_Video

The precise yet simple laser scanner is especially suited to the outdoors due to its small size and lightweight capabilities. The FARO Focus3D Laser scanner was able to perform the most detailed scan of the archaeological site and was shown on the BBC One show for the world to see. The Focus3D can create a precise, virtual copy of the scanned objects at millimetre accuracies in only minutes by capturing up to 976,000 data points per second. Estelle Lazer from the University of Sydney was able along with her team to help Mary unpick the remains which are preserved in Pompeii.

ScanLABProject Pompeii New Secrets Revealed  on Vimeo.

Mar
04
2016

Leith Harbours whaling station

Ghost town on rough sea

elephant seal

Impressively looking Seal Elephants basking in the sunshine with the crew

The South Georgia Island is located in the Southern Atlantic Ocean. At the begining of the 20th Century, this Island had six whaling stations which made it biggest in the Southern Hemisphere. After the destruction of most of the whaling stations during World War II, the station ceased operating in 1965. The slowly decaying buildings in the area are the last pieces of evidence of the past industrial whaling heritage. However the remoteness of the location and major costs needed to renovate the station means that the entire site has been left to fall down. For this reason, the entire faciliy has been exactly surveyed and documented.

To do so, the Geometria Heritage Management Group was involved in the adrenaline fuelled project involving Elephant seals, asbestos contained ruins and strong snow storms. All six stations have been captured with the help of the FARO Focus3D including storage, piers, barracks and accommodation facilities as well as the surrounding area (the Island cemetery and the former hospital).

 

 

Working conditions were anything but ordinary. Nowadays the South Georgia Island is practically uninhabited and serves only as a research station. A five day ship tour around the Falkland Island was required to bring the team on-site. Due to the abestos contamination of the facilities, the team had to wear protective clothing at all times.

At 8 am the research crew struck off with temperatures at -10° from the base camp, with the “Pharos SG” and used a a small speed boat to head to Leith Harbour. As well as the stormy weather conditions, the Island is highly populated with Seals and Elephant seals making scanning work even more difficult. Nonetheless, Geometria generated from 30 to 80 Scans per day with the Focus3D and disposed of more than 2700 Scans after one and a half months. The FARO Focus3D managed to precisely document outdoor facilities and the inside area of the whaling station.

After data processing, specialitsts converted the raw data into CAD drawings and 3D CAD models. This data is freely available for scientists as well as all interested researchers who have been using this for interesting projects.

 

speed boat

The journey to the whaling station was difficult at times due to the weather conditions

internal condition whaling

Few internal areas were well-preserved

 

asbestos

The high asbestos contamination makes protective clothing an absolute  must-have

Dec
18
2015

New methods in the Big Bat Cave

Engineers trial new surveying methods in Kentucky. Parts of the “Big Bat Cave” are precisely recorded with 3D laser scanners. An extremely demanding project: There is hardly any light underground and it is very confined in places.

The Big Bat Cave is a great attraction for cave explorers and nature-lovers. The history of the area comes to life here; rare crayfish, crickets and bats are at home there. For the “Kentucky Karst Conservancy” , conservation of the landscape and nature is a matter of top priority, and in the engineers of QK4, Louisville, they found highly capable supporters.

The experts are testing new methods of acquiring data when surveying – and one of them is recording using 3D laser scanners. The engineers swapped their traditional surveying tools for a FARO Focus3D X 130 laser scanner whilst systematically and digitally recording the “Big Bat Cave” system in three dimensions. An exciting and groundbreaking experiment, which engineer Ben Shinabery explains step by step.

 

The three dimensional measurement is carried out from various standpoints using precisely defined reference points. The laser scanner takes around 8 minutes for each setting, measuring almost 1 million points per second in a 360-degree radius. This provides the surveyors with point clouds, which are then processed on the computer. FARO SCENE software is ideal in this context for creating three-dimensional models. The surveying team worked through the cave metre by metre, including through some tight spots which were difficult to access.

In this cramped, dark environment the advantages of the FARO Focus3D X 130 laser scanner come into their own: small and light, quick to set up and dismantle, and easily transported in the cave. Non-contact scanning delivers true-to-scale and ultra-precise data. The initial results were impressive. Project manager Ben Shinabery: “Now almost anyone can use the 3D models for scientific analysis: students, scientists and consultants.”

Kentucky is a region well-known for its caves – including the Mammoth Cave National Park, the longest known cave system in the world.  However, its little sister in Breckinridge Kentucky also has its charms, as shown by this project. Now it is to contribute to preserving and protecting it. A first impression of the 13.9-mile cave system recorded to date is provided by the fly-through, which carries you off into the widely ramified system of underground corridors.

 

Dec
09
2015

FARO ‘state-of-the-art’ Scanning

FARO is a renowned supplier of high-quality portable coordinate measuring machines (CMMs) and 3D imaging devices, FARO technology is used throughout the world for high-precision 3D measurement and scanning. Due to it’s ease of use, accuracy and reliability it has become the measurement of choice across a diverse range of sectors including the Architecture, Construction and Crime scene analysis.

Installation with Focus scanner

FARO has now extended application of products to new areas. Tracy Hill who worked at the University of Central Lancashire was able to manipulate the FARO Focus 3D x 130 and the FARO Software from here colleagues to allow the creation of a major installation – Sensorium. Given the fact she has never used it before, the ease of use meant that she could experiment and create the effects of visualisation that she was looking for.

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