From Analog to Digital

In my last post, I talked about how great ideas don’t start with software—they start with thinking. Whether it’s sketching 30 ideas in 30 minutes or exploring digital preservation techniques, the creative process always begins with observation, research, and intent.

Now, my ART 397 - Special Topics in Art and Design students are taking that principle into the realm of 3D scanning and immersive digital experiences. They’re working with Scaniverse, Luma 3D, Kiri Engine, and an additional tool of their choice to experiment with Gaussian Splatting and Photogrammetry—techniques that allow them to capture culturally significant but lesser-known sites, artifacts, and architectural details in the UAE. Today in class, I introduced Abound and its LiDAR capabilities for scanning larger open spaces, demonstrating how different tools handle scale, detail, and accuracy. Throughout this project, students will be scanning culturally meaningful spaces and objects of various sizes, from intricate artifacts to expansive environments. A key part of their learning experience will be to compare and contrast these scanning tools, identifying the strengths and weaknesses of each.

Rather than “recreating” these spaces in a fully modeled 3D environment, students are working within the capabilities of these scanning tools to explore how data-driven 3D scanning and photogrammetry can enhance the way we document and experience cultural heritage. The project isn’t just about technical execution; it’s about understanding the ethics of digitization, the limitations of various scanning techniques, and the creative potential of immersive storytelling.

Just like with sketching, the software isn’t where this work starts. Students begin by researching their subjects, carefully considering light, texture, and spatial constraints before capturing a scan. They’re discovering firsthand that digital tools don’t replace creative thinking—they expand what’s possible when used with intention.