Bathymetric Airborne LiDAR technology is used to map the depth of water bodies. It uses a green light sensor which is able to penetrate the water surface and reach the bottom part of the interesting water areas. However, water conditions affect the capability of the green laser penetration. Factors such as the water clarity, the water turbidity (waves) and the vegetation are some of the crucial restrictions for green light to penetrate the water; particularly in shallow inland water areas. This research examined the capability of green LiDAR data to improve the bathymetric surveys in case of muddy and shallow inland Dutch water bodies. The potential of green LiDAR increases as the monitoring of water depths is getting easier, faster and more efficiently in terms of cost than manual GPS measurements. The main challenges of this thesis are concentrated both on the existence of various sparse and dense parts in the point-cloud and on the limitations of the data in terms of quality due to the not ideal water conditions. Specifically, this thesis presents a workflow with required procedures that aim to process a raw green LiDAR point clouds of water bodies and then classify them into three classes: water surface, underwater and bottom points. Pulse and Neighbourhood based algorithms were implemented in order to perform a classification process with high level of automation. Point characteristics such as intensity, number of returns, return number were analysed per pulse. Voxelization was used as a spatial method to divide the 3D space into water columns (3D Voxels). The spatial distribution of the water points into the water columns was examined based on different factors such as elevation, density, intensity. By comparing and partially combining those methods the detection process was improved to deal with shallow and muddy water bodies. A classification confidence value was calculated and stored for each potential bottom point. The resulting output is a classified green LiDAR point cloud based on the confidence values. Using elevation, density and confidence values, raster DTMs with multiple bands were created for each water body. To sum up, this thesis proposed an efficient workflow to process and automatically classify green LiDAR water-body data using both voxel and pulse based methods.

During the MSc Geomatics program at the Delft University of Technology, the students execute a synthesis project. The project aims to investigate a real-world problem and to bring students and teachers/supervisors in cooperation with a company or public agency (e.g. municipalities). The students are challenged to use their existing knowledge in geomatics and to gain further experience in handling of geo-information as to come in touch with the involved stakeholders. The duration of the project is ten weeks and takes place at the end of the first year. The novelty of this project is to establish an automated method to assess buildings in
Amsterdam on their suitability for catering services, based on the compliance of their chimneys to minimum height restrictions.

Asphalt Gardens are a landscape intervention alongside the E17 Highway that connects Belgium and France.
The project looks at the idea of highway landscape as a pastoral landscape. It deals with what is artificial and natural, with the idea of perceiving something through a window frame, through speed. It deals with the specific environment of the Eurometropoils and by extension the northern European Landscape. Appreciating the as found condition as a given situation of the motorway landscape, Asphalt Gardens provokes the ideas of beauty. They don’t acquire borrowed beauty but they celebrate the rough and artificial highway landscape.
The manner of our regard to discarded artifacts, such us the ordinary highway defines the way we look landscapes and how we can create gardens. The highway landscape has a particular aesthetic language and beauty. In the same context, a garden next to a highway can be beautiful if it refers to the highway.
The project focuses on the highway landscape as a particular post-industrial territory which deserves attention because of its dominance and use.
The world landscape gradually changed in meaning through the last two centuries. First it meant the picture of a view, an artist’s interpretation of a scenery. Informal landscape tradition, such as the 18th century English gardens designed from Humphrey Repton, was influenced by the pastoral landscape. The gardeners, with a similar way as the painters of pastoral and picturesque landscapes, decided what to include or omit in their design. They created stylized, picturesque landscapes, leaving out from the composition the muddy roads.
In this logic, the garden consists of a series of pictorial compositions. In each of these pictures we find the basic principles of harmony, unity and contrast. In the landscape paintings of Jacob van Ruisdel and Van Goyen, the northern European landscape is depicting as an as found condition and that makes it pastoral. In many of the paintings the idea of harmony between the man-made and the natural is introduced with the ruin. The artificial is taken over from the natural and the ruin harmonizes the two contradictory principles.
Aspalt Gardens recontextualize existing artifacts and reflects the reality in a way that provokes relations between objects and materials that are taken for granted. They suggest a new reading and observation of the ordinary landscape.