Strictly speaking, scanners are survey tools—devices for reading or converting information. They are becoming the dominant means of seeing, documenting, and visualizing buildings, and still architects are resistant to engage them on aesthetic terms. But the 3D scanner is the ultimate architectural instrument, bearing clear resemblance to all of our existing modes of representation like projective geometry, perspective, photography, and so on.
This series of experiments explores the potentially productive connections (or misalignments) between scanning and photography by using a Kinect to survey a series of found architectural photographs. These images of Princeton interiors are fairly faithful to the traditional rules of architectural photography, but their raked perspectives produce something different and fragmented when they are translated into scans.
Like a camera, the Kinect has a view frustum which only allows the device to see what’s in its line of sight but, unlike a camera, the Kinect perceives depth. By controlling the vectors between the virtual location of the Kinect and the XYZ coordinates produced by the scan, I can begin to adjust and manipulate spaces according to the logic of the “money shot” perspective.