We chose to use unity and Keijiro Takahashi’s point cloud model renderer plugin for the campus section. With the popularity of 3D scanning technology, point cloud data has become increasingly important in various fields such as industrial design, architecture, and mapping. However, point cloud itself as an unstructured data format has relatively low rendering efficiency when visualized directly. Unity is a popular 3D game engine that provides efficient rendering support for particle systems through its built-in VFX Graph tool.

The campus point cloud data in PLY format is imported into Unity project using the Point Cloud rendering plugin. The plugin automatically extracts vertex position and color information from the point cloud to generate Position Map and Color Map texture assets.

A ParticleSystem node is added as the base particle system in the VFX Graph window. A SetPositionFromMap node is used to read the position of each particle from the Position Map. A ColorOverLifetime node is used to read the color of each particle from the Color Map. The velocity property of particles is disabled to keep the point cloud static. A Turbulence node is added to introduce fine details and a Color node is used to control transparency.

The VFX Graph is attached to the scene to achieve real-time point cloud rendering. Optimization involves balancing sampling rate and details.

In general, the methodology is as follows：

1. Point cloud import

Imported a PLY point cloud file of campus using the Point Cloud Render plugin in Unity.

2. Generate vertex textures

The plugin automatically generated a Position texture storing vertex positions and a Color texture from the imported point cloud data.

3. Create a VFX graph

A ParticleSystem node was created as the base in the VFX Graph window.

4. Set particle positions

A SetPositionFromMap node was added to sample the position of each particle from the Position texture.

5. Set particle colors

A ColorOverLifetime node was used to sample the color of each particle from the Color texture.

6. Disable particle velocity

The Velocity property in the system was disabled to keep the point cloud static.

7. Add details

A Turbulence node was used to adjust the shape and a Color node controlled particle transparency with ALPHA.

8. Render the scene

The VFX graph was added to the scene to see the real-time rendered point cloud effect.

9. Optimization tips

Sampling rate could be optimized to balance detail and performance, and emitter size adjustment was suggested.

1. 3d printed model of the sculpture in Dean’s village

Lidar Scan of the Sculpture: Lidar scanning involves using laser pulses to measure distances and create a detailed 3D representation of an object or environment. In this case, a lidar scan was taken of the sculpture in Dean’s Village. This scan captured the external surface geometry of the sculpture.

Subsampling and Splitting in Cloud Compare: Subsampling refers to reducing the number of points in the point cloud dataset, often done to manage data size or processing requirements. Splitting the point cloud into halves likely involved isolating and manipulating different parts of the sculpture’s geometry. By splitting the point cloud, the interior hollow of the sculpture was exposed, revealing details that may not have been visible from the outside.

Manipulation in Rhino Software: Rhino is a powerful 3D modeling software commonly used for tasks such as CAD (Computer-Aided Design) and 3D modeling. In this step, the subsampled and split point cloud data was manipulated in Rhino to create an illusioned mesh of the sculpture. This process likely involved smoothing, sculpting, and possibly adding or modifying details to enhance the visual appeal or conceptual meaning of the sculpture.

3D Printing: Finally, the manipulated digital model was translated into a physical form through 3D printing. This process involves layer-by-layer deposition of material based on the digital model, resulting in a tangible replica of the digitally manipulated sculpture.

The phenomenon of showing manipulated objects, such as in the case of this sculpture, can evoke a sense of curiosity and wonder for several reasons:

• Blurring Boundaries: By manipulating the digital representation of the sculpture, boundaries between physical reality and digital imagination become blurred. Viewers may be intrigued by the interplay between the original form of the sculpture and the creative reinterpretation facilitated by digital tools.
• Unveiling Hidden Realities: Manipulating the point cloud data to reveal the interior hollow of the sculpture exposes hidden realities that are not immediately apparent from its external appearance. This revelation can spark curiosity about the structure and composition of the sculpture, inviting viewers to explore its hidden depths.
• Engagement with Interpretation: The act of manipulating the digital model involves subjective interpretation and creative expression. Viewers may be curious about the intentions and motivations behind the manipulation, leading to deeper engagement with the artwork and its conceptual underpinnings.

2. Touch reactive point cloud

The concept of a bridge in Dean’s Village spiraling into space upon touch using TouchDesigner presents an intriguing fusion of physical infrastructure and interactive digital art.

Physical Structure: The bridge in Dean’s Village serves as the tangible, real-world foundation for the interactive experience. Its solid, fixed form represents stability, connection, and continuity. This physical structure is familiar and concrete, providing a tangible starting point for the interactive journey.

Spiraling into Space: The transformation of the bridge into a spiraling structure that extends into space introduces a sense of dynamism, movement, and transformation. This spiraling motion symbolizes a departure from the ordinary, a transcendence of physical constraints, and an exploration of new dimensions. It represents a departure from the mundane and an invitation to journey into the unknown.

Interactive Engagement: The use of TouchDesigner to enable the bridge to spiral into space upon touch adds an interactive layer to the experience. TouchDesigner is a powerful visual programming platform that allows for real-time interaction and manipulation of digital content. By incorporating touch input, the concept invites active participation and engagement from the audience, empowering them to shape and influence the unfolding narrative.

Symbolism and Metaphor: The concept of the bridge spiraling into space can be rich with symbolism and metaphor. It can evoke themes of exploration, discovery, and transcendence. The bridge represents a threshold between familiar and unknown realms, while the act of spiraling into space signifies a journey of transformation, expansion, and self-discovery. It prompts contemplation of boundaries, limitations, and the human capacity for exploration and innovation.

Aesthetic and Sensory Experience: Beyond its conceptual depth, the concept also offers a captivating aesthetic and sensory experience. The visual spectacle of the bridge spiraling into space, accompanied by sound, light, and possibly other sensory elements, creates a multisensory journey that captivates the imagination and stimulates the senses. It blurs the boundaries between physical and digital realms, inviting viewers to immerse themselves in a captivating world of imagination and possibility.

3. Human object crumbling into lines

The concept of a human object crumbling into lines with TouchDesigner, projected onto two pieces of black mirrored acrylic sheets placed perpendicular to each other, introduces a fascinating exploration of fragmentation, reflection, and multidimensional imagery. Let’s delve into the concept and its implications:

Human Object Crumbling into Lines: Using TouchDesigner to simulate a human object crumbling into lines offers a powerful metaphor for transformation, dissolution, and disintegration. This visual effect can evoke themes of impermanence, mortality, and the ephemeral nature of existence. The human form, a symbol of identity and corporeality, undergoes a process of deconstruction, breaking down into abstract lines that blur the boundaries between form and formlessness.

Projection onto Mirrored Acrylic Sheets: Projecting the fragmented imagery onto two pieces of black mirrored acrylic sheets positioned perpendicular to each other introduces a mesmerizing interplay of reflection and refraction. The mirrored surfaces create an illusion of depth and complexity, as the fragmented lines are multiplied and reflected in multiple directions. This multidimensional aspect of the installation adds a layer of visual richness and complexity, inviting viewers to explore different perspectives and interpretations.

Perpendicular Placement: Placing the mirrored acrylic sheets perpendicular to each other enhances the immersive and transformative nature of the installation. The intersecting angles create dynamic visual compositions, as the fragmented lines interact and intersect in unexpected ways. The viewer’s perspective becomes an integral part of the experience, as they navigate the shifting reflections and perspectives generated by the mirrored surfaces.

Multidimensional Image: The use of mirrored acrylic sheets to reflect the fragmented imagery results in the creation of a multidimensional image that transcends the physical boundaries of the installation. The viewer is immersed in a spatially expansive and visually immersive environment, where the boundaries between reality and illusion are blurred. This multidimensionality encourages contemplation of the interconnectedness of all things and the fluidity of perception.

Conceptual Depth: Beyond its visual spectacle, the concept of a human object crumbling into lines and reflected on mirrored acrylic sheets opens up a space for deeper contemplation and reflection. It prompts exploration of themes such as identity, transience, and the nature of reality. The juxtaposition of the human form with abstract geometric lines invites viewers to reflect on the relationship between the individual and the universal, the tangible and the intangible.

We chose two colleges, EFI and ECA, for the architectural aspects of the scanned data, the specifications of the interior scans of the two buildings were well suited for digital processing, and I chose different themes for the processing of the data for the two colleges, based on my own understanding of each of the colleges.

The first phase involved processing the point cloud model of the Edinburgh Futures Institute (EFI) building. Nestled within the historic Old Royal Infirmary and serving as a vital component of the University of Edinburgh, EFI embodies a fusion of innovation and forward-looking scholarship. When conceptualizing the design ethos for this pioneering institution, paramount importance was given to its futuristic outlook, encapsulated by the overarching theme of “fantasy and technology”. Thus, the aesthetic chosen for representing EFI’s particles exudes a distinct technological vibe, characterized by vibrant blues and yellows. Every data point takes on the appearance of a fluctuating piece of paper, symbolizing the transient nature of information dissemination and evolution. The color palette extends beyond blues and yellows to encompass an eclectic range including azure, emerald, amethyst, and citrine. Furthermore, the dynamic positioning of each data point infuses the ensemble with an ethereal, ever-shifting quality, evoking a surreal, dreamlike atmosphere.

Next is the ECA Academy, The design methodology employed in shaping the point cloud data for the campus section centered on reimagining familiar landscapes. At its core was the vision for the Edinburgh College of Art (ECA), characterized by the theme of “natural growth”. This approach involved integrating various elements, such as the West Court of the ECA’s main building, the architectural layout of the Sculpture Court, and the spaciousness of the ECA center courtyard. Through harnessing the transformative potential of the point cloud model, each data point was infused with qualities reminiscent of lush greenery, evoking the organic evolution of plants. With careful processing, the point cloud model depicted a dynamic visual representation, mirroring the continuous growth of botanical life. As a result, the ECA’s architecture took on the appearance of a structure reclaimed by nature, surrounded by thriving vegetation.

Main object

Our installation will be installed in the West Court, maximizing the utilization of this space.

Fig 1-rendering of main object

Fig 2-rendering of main object

In the entire space, the most important media of the Main Object are paper and sound. Paper not only gives data a physical entity in the real world but also visualizes the data, allowing the audience to see, touch, and smell it.Therefore, we have ordered six pieces of paper measuring 31cm by 1000cm, and these data will be scrambled, randomly sorted, and assigned different font sizes.

Fig 3- Practical  of data paper

Fig 4- data paper of PDF

Among these data, 20% are significantly larger, while 80% are of a more regular size, thereby greatly enhancing the visibility of the data.This 60-meter-long paper will become the main body of the Main Object, and other data-bearing papers will appear in the space, which can be affixed to walls, appear beneath the object as a map, and so on.

The sound will be divided into Diegetic and Non-diegetic parts, with the Diegetic part comprising the soundscape.These sounds will permeate the entire space, serving as a key to leading people into the hyperobject Edinburgh, as they can create a realistic atmosphere, generating an illusion of being in the city.The sound design of the Non-diegetic part is more crucial than the Diegetic, as it is key to leading people into the world of Data.

Human Object

John Cage played a trick in his work 4’33”, where the audience expects a performance from the main performer during this duration. In reality, the audience itself becomes part of the work, thus we will also play a trick within this human object.This trick consists of two parts: paper and 3D print.We will print a  paper saying “Please listen carefully”, misleading the audience into a mistaken action. In reality, there will only be sounds within the space; the 3D print does not produce sound.

The 3D print part represents me, or rather, a fusion of myself in both static and dynamic states, symbolizing a superimposed state.Together, our group covered me with black plastic bags and aluminum foil, scanning me with a smartphone’s radar.The scanning results were imported into CloudCompare for processing and editing, exported as a new model,then imported into Cinema 4D for further modeling and editing, and finally exported in a 3D printable format and uploaded to ucreate for 3D printing.

Fig 5 static state and dynamic state in Comparecloud

Fig 6- static state and dynamic state in Comparecloud

Fig 7 – Human object in C4D

Fig 8 – 3D print in Prusaslicer of Human object

Small Object

Marcel Duchamp transformed a urinal into ‘her’ work “Fountain”, similarly, a Scottish Blackface can become our work, but unlike a regular Scottish Blackface, it is one wearing a hat.This hat is made through 3D printing, and it also represents its scanned data.After scanning the Scottish Blackface, we processed it to transform it into a hat, presenting both the real Scottish Blackface and the data-Scottish Blackface simultaneously, of course, in various hat sizes.

Fig 9- Data Scottish Blacface in Comparecloud

Fig 10-Data Scottish Blacface in Comparecloud

Fig 11-Data Scottish Blacface Hat in C4D

Fig 12-Data Scottish Blacface Hat in Prusaslicer