I created the example of the Depot House because my model was so messed up, so I tried both.
Interactive model of: Depot House
Interactive model of: Birch House
The building I modeled is Birch House. I had never examined it closely before this project, and have never really been to Lilac Hill. Using photogrammetry, I generated a three-dimensional model by capturing overlapping images from multiple angles and processing them into a textured mesh. It looks a little messy because the whole house was hard to capture, since it was 3 stories tall. The final model represents not only the building’s overall form, but also surface details and material inconsistencies.
Reflection
Attempting to model a building is fundamentally different from simply viewing it through photographs or maps. Photographs flatten the structure into framed perspectives, while maps abstract it into symbols and footprints. Photogrammetry, by contrast, requires thinking spatially and volumetrically. I had to consider how surfaces connect, how light affects texture capture, and which viewpoints were necessary to reconstruct the building as a coherent object. This process revealed gaps in my understanding of the structure that I would not have noticed as a passive viewer. As I mentioned before, the process was difficult, especially capturing corners, and a 3-story building.
The process of photogrammetry made me look closer and pay attention to detail. While capturing images, I became aware of subtle features such as changes in brick coloration, weathering patterns from snow, and architectural additions that suggest different phases of construction than those of other Lilac houses. The need for completeness pushed me to look more carefully and intentionally than I ever would have otherwise.
Engaging with the built environment in this way also made me more curious about the stories buildings can tell, especially when people live in them to make memories. Modeling transformed the structure from a familiar backdrop into an object shaped by design choices, maintenance decisions, and historical context. I began to wonder why certain materials were used, what renovations had occurred during the Lilac Hill era, and how the building’s form reflected Carleton’s needs.
Moving from passive observer to active modeler changed how I think about communicating campus history and lived experience to broader publics. Viewers can move through space, notice details on their own, and form personal connections to the site. This approach feels especially powerful for cultural heritage work, where accessibility and engagement matter as much as accuracy.
Wow Tasha, your 3D model is really amazing. I also enjoyed reading your reflection, I like how you touch on personal memories with a building. I know in all of the houses that I have lived in I would love to have a 3D replica of what they looked like when I lived there. I also agree that this technology is very important in documenting and preserving culture and history.