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Sketch 3 

1) How accurate was your final 3D model? What technical constraints might have caused any missing information? 

My model was a keyboard, and I would say that my 3D model is quite accurate as we can clearly distinguish the different keys and not a few but all of them. However, there is one main missing information: when we look at the back of the keyboard on the 3D model, we can still see the keys whereas in reality, it is plain. This is due to the fact that I didn’t take photos of it, as the keyboard was laying on a table

2) What did you find was most useful or interesting about this tool, and in what kinds of ways do you think you might like to use it in the future? 

I think the tool is quite useful and to prove it, I’d like to point out the advantages of the 3D reconstruction compared to 2D pictures or objects: we can turn our object to see every part, which is a more precise and accurate way to present an object than in 2D. Indeed, we can see it as a whole more than as different parts. This idea is emphasized by the process through which I went through: indeed, I needed at least 75 to 150 2D pictures to get as many angles as possible (and yet I was not likely to have them all) to construct a 3D model whereas when the 3D reconstruction is given I can see the entire object. 

Moreover, I believe it is more immersive than 2D, which is much better for video games for instance, and it may allow a better analysis of an artwork, especially sculptures for instance as we can depict all the details closely (by zooming in) and precisely. 

I might use it in the future instead of photos to reconstruct a scene or a scenery for instance

3)  Think about the many uses of photogrammetry you have encountered so far. Which of these uses did you find most compelling? 

Even if I must say I was impressed to see huge progresses in video games thanks to 3D and photogrammetry, I believe that the most compelling use of this technique is when it serves a cause. I will take the example of Forensic Architecture (sketch 2): they used photogrammetry and 3D to reconstruct destroyed buildings, after the genocide perpetrated by ESIL. The goals were to gather evidences to support the investigation and to restore a cultural heritage. I think that in that case, the technological advances were rightly used to keep a cultural heritage alive and to support a cause in front of justice. It is impressive to see how these techniques are powerful enough to prove a genocide, a crime against humanity, by comparing the landscapes and buildings before and after terrorist attacks.

Clara

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Sketch 2

a)     What is the most important information conveyed in the work?

The main purpose of the work is to denounce the destruction of the Yazidi cultural heritage as a part of the genocide perpetrated by ISIL. In order to support the investigation, Forensic Architecture (FA) aims at creating a media dataset of sites of violence which will be mobilized in support of Yazda’s advocacy efforts and in legal proceedings against members of ISIL. Therefore, FA uses its work for justice (evidence-gathering) and to save culture (preservation and restoration of a cultural heritage): it is a way to create knowledge in worlds of incomplete information.

b)    Which techniques might have been used to make it persuasive, or to make someone believe something? Was it convincing? Explain why or why not

On the website page, FA basically enlightens the historical context and explains the process used to prove the destruction of the cultural heritage. I would say that the manner things are presented is the first technique of persuasion as FA chose deliberately how to present the researches: FA shows them as something that will teach us the truth about what happened, which is quite convincing.

Then, many techniques were used to prove that ISIL destroyed a cultural heritage and that therefore they were at the origin of the genocide. Among them, satellite images taken before and after the terrorist attacks to show the extent of the destruction of religious buildings and other techniques that allow us to re-create what has been destroyed: photogrammetry, 3D reconstruction. They also cite and show official documents from the UN with precise definitions and explaining why it corresponds to the current situation. What is shown thanks to these techniques are not only proofs of the crime but also it witnesses the project of restauration. Thus, in that sense, their work is quite convincing because they show the process thanks to which they want to convey their message.

c)     How do graphic aesthetic elements aid this communication or persuasion in the work you have chosen?

A website was created to support and explain the work with a text, two videos and some picture. Aesthetics refers to a sensory experience. In the work chosen, the senses involved are sight (videos, photographs, maps, 3D animation, …) and hearing (narration). Sight allows us to understand by ourselves the events and hearing to influence our understanding by telling a specific story.

d)    How does the medium itself shape your perception of the message in the work?

The medium has several assets which can influence our perception of the message.

First, the topic is serious and the medium rightly strengthen its gravity by striking the reader’s feelings. It also seems that there is a kind of transparency in the way the medium shows us what happened, which leads us to be more trustful in a sense, more confident in what is presented to us. For instance, satellite images, drones videos are not likely to “lie” about how destructed the buildings are. Also, the “how to” video explains how FA created the first video and there is one part of the post explaining the methodology.

e)    Is the medium chosen by the creator the best way to communicate the message? Why? Which other media formats do you think could work well to communicate the same message?  

I believe the medium chosen is one of the best ways to communicate the message. Indeed, people usually say that they believe only what they can see and there are images working as proof in two videos. Moreover, how we got those images is explained so that we understand the approach.

Other media formats could have worked well and generally, I would say that any format where it is possible tosee but also to read or to hear an explanation are accurate. For example, we can think about an article in a newspaper or magazine or a documentary.

I chose screenshots which show some of the different methods used because as I argued, they were efficient and accurate enough to communicate the creator‘s message.

Clara

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Sketch 1 - Part 2

For this sketch, we decided to edit a photograph of the Sydney Opera House taken during the day.

We first wanted to put more emphasis on the opera itself so we decided to use the ‘Blur tool’ (outil goutte d’eau) of Photoshop all around the building. Blurring out the surroundings meant that the viewer’s eyes were directly attracted to the iconic monument in the centre, thus diminishing any distractions.

We then used the ‘clone stamp tool’ (outil tampon de duplication) which enabled us to duplicate one of the opera’s concrete palms three times. Each time, the opera gained in height but also blurriness as if it was growing infinitely. In a way, this gives a sort of hypnotic aspect to the picture as the viewer’s attention loses itself in the geometrical pattern. The opera then becomes at the same time more mysterious and prestigious.

We also wanted to play with the colours of this photograph. We used both photoshop and the editing options on the Apple photo app to give the photograph a late sunset aspect. On photoshop, we changed the brightness to -17, contrast to 20 and exposure ‘correction gamma’ to 0.61. On apple photos, we changed further the brilliance, exposure, highlights, shadows, brightness, contrast, and black point. This darkened the colors in the photos but also increased contrast, putting further emphasize on the iconic glowy aspect of the opera’s shells. The white balance was then modified to ‘Temperature/tint’ in order to add pink reflects to the photograph, thus creating a natural sunset light effect. These colors modifications showed us how it is in fact possible to change, via editing, the apparent time at which the photo was taken - here shifting from a midday lighting to sunset. Even elements of time can be transformed with image processing.

Besides, we decided to isolate the opera further by removing the passage to the right as well as the boat from the picture. We used the App Procreate to create a screen of the left side of the pathway and then stuck it to the other side. We did the same for the sea, pasting it on top of the boat and on top of the left side where the passage linked the opera to the city. This enabled us to create sea on the right side too and we used a smoothing brush (pinceau aerograph moyen) to blend in the hard lines of the screens pasted by mixing the pixels. This brought more coherence and realism to the picture. That way, the building seems to be standing on its own, in a way reminding of the statue of liberty, also standing proud on its island.

Finally, we cropped the photo to make it more symmetrical, with the opera right in the middle.

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Sketch 1 - Part 1 

For this assignment, we took three images representing Sydney Opera House in Australia. The first image is a ‘competition scheme’, showing sketches of the opera through 3 different angles. It was thus created before the actual construction of the opera and is a depiction of the architect’s initial vision. Secondly, we took a photograph of the opera house taken from an upper angle during the day. It shows how the opera has now become part of Sydney, completing the landscape as we know it today. Finally, the last image is a satellite image of the opera taken from the GSCS website. This gives us a unique view of the opera that we cannot see ourselves. Therefore, while the opera was first a simple plan from a creative architect, it has now become a symbol of the Sydneian landscape and images from different angles highlight the uniqueness of its design, going beyond the human vision.