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Title
Year
Beyond the narrative: a workflow for 3D restitution of built heritage
2024
The Missing Camera or: How I Learned to Stop Worrying and Love Oblique Projection
2024
Relics of Electronic Hallucinations. Gazing at Early Computational Fluid Dynamics Drawings from Los Alamos Nuclear Research Center
2024
Architectural Analysis, Survey and Documentation of Built Heritage
2024
Rules, A Short History Of What We Live By, A book by Lorraine Daston
2024
Survey and characterisation of the archaeological landscape of Lovo
2024
Stoclet 1911 - Restitution
2024
Stoclet 1911 - Hypothesis
2024
TV Show: 3D Digitization and Built Heritage Preservation
2024
Drawing air: the evolution of the representation of air in architectural drawing from the industrial revolution to the present
2023
Architectural Analysis, Survey and Documentation of Built Heritage
2023
Analysis, Systems & Composition
2023
Code Tracing
2023
Maison du Peuple full scale experience on its original site
2023
From projection to building and vice versa
2023
Emergence of pre-digital algorithmic design
2023
Comparing Randomness
2023
Anthropic Units in Baroque Architecture, the Gallery of the Palazzo Spada and the Roman Palm
2023
Workshop Glyph
2023
Re-presentation as an analytical tool in Baroque Architecture
2022
Crossed Experimentations of Low-Altitude Surveys For The Detection Of Buried Structures
2022
Chamber Music Hall of Horta's Palais des Beaux-Arts: 3D Hypothesis
2022
Formal Analysis and Computer Process - Algorithmic Music II/II
2022
Misreading, once again...
2022
Perspectives on Dwelling : Architectural Anthropologies of Home
2022
Workshop (fig.22)
2022
Towards a multi-scale semantic characterization of the built heritage
2021
De l'incarnation de la protoarchitecture
2021
Formal Analysis and Computer Process - Algorithmic Music I/II
2021
Noise
2021
(Close) Reading Morphosis
2021
Jeu d’échelles / échelles du jeu
2021
Pohlke: One-Click Standard Orthographic and Oblique Projection Cameras
2021
Workshop (fig.)
2021
Perspectiva Virtualis
2021
Architectural Analysis, Survey and Documentation of Built Heritage
2020
Exploitation des numérisations pour l'analyse urbaine en contexte archéologique
2020
Formal Analysis and Computer Process - The Algorists
2020
Urban Planning Representation
2020
Projection built into Sketchpad III: origin of a critical field in computer graphics
2020
Architectural Analysis, Survey and Documentation of Built Heritage
2019
Exploitation de numérisations hétérogènes pour la représentation et l'analyse d'un site archéologique de grande échelle : Pachacamac 1532
2019
Relecture de vocabulaires d’architecture : apport de la complexité des représentations numériques dans la caractérisation de formes architecturales
2019
Victor Horta's Maison du Peuple 3D restitution hypothesis
2019
Architectural Analysis and Graphic Representation - Morphosis in the 1980s
2019
Formal Analysis and Computer Process - Medley II/II
2019
Histoires de Représentation
2019
Victor Horta's Maison du Peuple 3D restitution hypothesis
2019
Building Drawings : Decoding and Recoding the Graphic Projection Algorithm in Architectural Representation
2019
Places Royales Françaises. Réflexion d’une logique d’édification à travers une corrélation entre une analyse sémantique et un signal géométrique
2018

Van Buuren House Orthophotographic Survey

Collaborating institution & subvention: Direction des monuments et sites de la région bruxelloise (actually Urban.brussels)
Budget: 20.000 €

This work constitutes an orthophotographic survey of the dining room, loggia, music salon, cozy corner, hall, office, and workshop of the Van Buuren couple’s house at 41 Avenue Léo Errera in 1180 Brussels. Orthophotography uses photographic support as a tool for surveying and observing architectural elements. With the advancement of digital sensors, a digital single-lens reflex (DSLR) camera can extract a wealth of information about a building, including its materials, geometry, and measurements. In the case of a facade survey, a photograph taken with a 12-million-pixel sensor has the potential to reveal twelve million colorimetric details of the subject and an equal number of two-dimensional spatial coordinates. However, image processing is necessary to remove distortion effects inherent to the internal geometry of cameras. The results obtained from this process are referred to as orthophotography. Image correction involves both three-dimensional and two-dimensional processing. Before a photograph can be properly processed, it is essential to position and align it within the virtual space of the studied scene. This operation, known as camera calibration, determines the metric and spatial values contained in our representation.

Although orthophotographs generally exhibit both visual and metric coherence (with a precision level ranging from 0.5 to 2 centimeters) when compared to elevations and plans, some cannot be regarded with the same dimensional quality. The complex spatial configuration of the Van Buuren Museum and the narrowness of the spaces necessitate the use of a wide-angle lens, which, despite post-processing, compromises the metric accuracy of certain orthophotos. This situation is particularly evident in floor surveys. “Shadow zones” (areas with missing or reconstructed data) result from the presence of “parasitic” elements—such as immovable furniture, paintings, and sculptures—in the orthogonal projective system of the photos. Whenever possible, some of these zones have been reconstructed to maintain graphical consistency throughout the document.

The orthophotographic sections result from a combination of orthophotographic views extracted from specific spaces within the Van Buuren Museum, along with the projection of the building’s overall geometry in cross-section. Each orthophotographic projection plane corresponds to a cross-sectional plane located just in front of the elevation of the object it represents. The complete section is thus an aggregation of local projection planes situated at different depths within the structure.

For clarity within the space, we opted for a volumetric section system along the North-South axis. This allowed us to precisely cut through the center of the ridge axis while representing a maximum number of depth planes. Additionally, this approach highlights the communication between the hall and the music salon. As a result, we obtained a relatively complex global section system that emphasizes how the space is perceived, both geometrically and in relation to other areas. The geometric drawing is derived from a basic survey of the building, suitable for a drawing scale of 2 cm/m.