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2019
Proceedings of the 23rd International Conference on Cultural Heritage and New Technologies 2018
A Petrified Petrifying Eyesight: A Story for the MEDUSA'S HEADS from Istanbul, Turkey2019 •
The Basilica Cistern, Yerebatan Sarnici in Turkish, is the largest of all the hundreds of ancient cisterns that rise below the city of Istanbul. In the NorthWest corner of the cistern, the bases of two columns reuse the carved blocks with the face of Medusa. The origin of the two heads is unknown; it is possible to say the same for a third (double) head located in the Archaeological Museum of Istanbul. These three/four heads of Medusa are masterpieces from the late Roman art. The research presented here starts from a digital photogrammetric study of this set of Medusa's heads, this allowed to obtain a 3D digital model to study its morphology and shapes, then the model has been collocated inside the 3D virtual reconstruction of the cistern to have an overall view. The assumption formulated here, with the cross referencing obtained during the research phase and digital photogrammetry, lead us to the idea that the heads may come from a Doric temple dedicated to Athena, in this specific case used as a metope, or from the triumphal arch dedicated to Constantine in Constantinople. The aim is therefore to bring back to life, using a process of virtual reconstruction, with contemporary technology, such as virtual reality, an architectural element from the past, through a virtual journey that traces the history of these stone giants, placing them in their hypothetical original context with augmented reality.
Kultur und Informatik: Virtual History and Augmented Present
Ancient remains from the Roman Istanbul: a transmutation from stone to digital2019 •
Fragments, ruined architectures, parts of statues, all these elements have always exercised a strong fascination on humanity, evoking a close or far past and pushing the mind to imagine the piece original aspect and its surroundings, while creating a subtle melancholy which undoubtedly has a strong appeal on many people. At the same time, it is quite common to find the "puzzle" of ancient portions of monuments immersed in their same mystery, where they truly come from: which was their original asset? which series of events have caused such a destruction (and sometimes reconstruction)? Finding some correct answers is something quite difficult, because to read and to interpreter such elements is not easy at all. At the same time these artefacts are often at risk of rapid decay (being broken and damaged or exposed in the natural environment or not located according to their original destination), so they may deserve a proper documentation to preserve at least a (digital) copy. At the same time, their great suggestive potential may be a robust base to create communication about their art, history and context. In the case study proposed here, the Medusa's Heads in Istanbul, Turkey, are the starting point for an investigation and exploration about the original architectures to which these statues were destined. Using digital solutions for survey, interpreting and disseminating the characteristics and a (possible) story about these ancient artworks. The protome of Medusa at the centre of this case study are situated in Istanbul: two of them are quite well known and are inside the Basilica Cistern, while the third one (at all the effects a double head, but with the two heads not separated from the same stone block) is kept in the Istanbul Archaeological Museum. The Basilica Cistern, Yerebatan Sarnici in Turkish (which means "Cistern sinking into the ground"), was built in 535 AD by Justinian. The peculiarity of these heads stands in their position inside the Cistern, used as build materials in the basements of two columns. Meeting these fragments push the visitors to wonder about their real origin, because it is quite evident that in this case the "spolia in se" has become "spolia in re"(accordingly to the concept from Richard Brilliant). They missed the apotropaic symbolic function of the horrid that drives away the horrid, but takes on a pragmatic character, it is clearly an element not made specifically for the cistern but taken and reused. The figure of Medusa is known in the mythological world and is a character of material interest since it has been part of the artistic scenario from its first appearances in the 8th century BC, surviving, thanks to the strength of such a character, to the present days, getting many new shapes and interpretations. The tasks of this research are quite essential: getting a high-quality survey of the heads; using the digital model as the base for virtual analysis and reconstructions; creating virtual environments presenting the artworks as they are and inside the digital version of the reconstruction hypothesis. The survey was done in two separate occasions, in 2014 and 2017, using a high resolution professional camera (Nikon D800e) and processing the set of shots in SfM photogrammetry software. Taking simple direct measurements on the artworks allowed to put in scale the digital models. After a proper treatment, the digital models were used as a base for the study and development of various reconstruction hypothesis. All the results of this phase were uploaded to the Sketchfab.com platform, an excellent solution to publish, share and discover 3D, VR and AR contents. The Sketchfab features were then exploited to create a first virtual visit to the Gorgons, controlling 3D animation and activating the Virtual Reality mode to make the model viewable by Virtual Reality devices. To create a simulation of the "Basilica Cisterna" the choice was for Unreal Engine, a perfect solution for creating a virtual environment for immersive devices, like the Oculus Rift, to access the digital version of the Cisterna and to offer a format that can be reused in any museum context. Inside the simulation, with the use of QR codes, the visitor can access detailed documentation about the place and the Gorgons, even the models loaded on Sketchfab.com are accessible within the Cistern virtual space. The access to multimedia material, like 3D models, rendering in 360 panoramic mode and VR/AR contents, gives to the visitors the opportunity to gain a clear idea about the nature of the protome. In this contribution, the procedures, issues and solutions adopted to move from the reality to its virtualization and integration with reconstruction hypothesis will be presented in detail, with video and links to report the reached results.
Virtual Archaeology Review
Unveiling Damnatio Memoriae. The use of 3D digital technologies for the virtual reconstruction of archaeological finds and artefacts2016 •
2014 •
The project presented here started approximately four years ago and concerns the main temple of Olympia, a UNESCO world heritage site, which is visited by thousands of tourists nearly every day. Although Olympia is familiar to everybody and its monuments have been well-researched for more than a century, there are still many puzzles related to its history and remains. A new interpretation of the east pediment of the temple and the ensuing debate caused the reopening of the issue of the reconstruction. The historical setting of the temple-building was also reconsidered and led to a detailed study and reconstruction of the architecture as well. All these investigations made extensive use of digital technologies and are presented here as a case study for applying virtual reality to old problems of classical archaeology. The digitization of the extant fragments and a three-year project enabled the production of a virtual 3D reconstruction of the east pediment of the classical temple of ...
The submitted case study is about the rupestrian church of Meryem Ana in Göreme (Cappadocia, Turkey), a small church with mural paintings representing valuable heritage at risk due to the poor stability of the rock where it's excavated in. In 2012 a team of researchers from DIDA – Dipartimento di Architettura, Università degli Studi di Firenze carried out a survey of the church that would show the artifact current conservation state and procedures to avoid the permanent loss. The processing of data carried out by laser scanner and photographic survey made it possible to produce conventional drawings and to build a 3D reality based model of the church thanks to reverse modelling, retopology and texturing techniques. This now represents an important database of a no longer accessible cultural heritage and a useful tool for still-images or animation products, but also a helpful means for the development of research projects and restauration interventions for enhancement. A scale model, build from 3D data with SLS technology (Selective Laser Sintering), and an augmented reality application, developed with Unity 3D and Vuforia are the way to achieve the main aims of the project, which is the reconstruction of the church through the integration of 3D print techniques and augmented reality technologies. These applications properly programmed can be used for dissemination both in scientific and entertainment fields.
2013 •
Virtual Archaeology Review
ARCHAEOLOGICAL ANASTYLOSIS OF TWO MACEDONIAN TOMBS IN A 3D VIRTUAL ENVIRONMENTHighlights: Use of contemporary digital methods for the 3D geometric documentation of complex burial structures. Interdisciplinary approach for the implementation of digital techniques for 3D modelling, including 3D terrestrial laser scanning and image-based modelling. Implementation of virtual anastylosis by archaeologists using the 3D models and suitable software. Abstract: Archaeological restoration of monuments is a practice requiring extreme caution and thorough study. Archaeologists and conservation experts are very reluctant to proceed to restoration and indeed to reconstruction actions without detailed consultation and thought. Nowadays, anastylosis executed on the real object is practically prohibited. Contemporary technologies have provided archaeologists and other conservation experts with the tools to embark on virtual restorations or anastyloses, thus testing various alternatives without physical intervention on the monument itself. In this way, the values of the monuments are respected according to international conventions. In this paper, two such examples of virtual archaeological anastyloses of two important Macedonian tombs in northern Greece are presented. The anastyloses were performed on three-dimensional (3D) models which have been produced using modern digital 3D documentation techniques, such as image-based modelling and terrestrial laser scanning. The reader is introduced to the history and importance-as well as the peculiarities-of the Macedonian tombs. In addition, the two tombs are described in detail mainly from an archaeological point of view The process of field data acquisition and processing to produce the 3D models are described. Simple and more or less standard methods were employed in acquiring the raw data. Processing was carried out using commercial software. The resulting 3D models and other documentation products are assessed for their accuracy and completeness. The decisions for the virtual anastylosis are explained in detail and the actual process is also described. The restored monuments are presented and evaluated by the conservation experts. Thus, it is shown how important virtual anastylosis of monuments is to archaeological researchers, as it enables them to conduct in-depth studies, without actually tampering with the monuments themselves. Digital 3D models are contributing to many disciplines, especially in archaeology, as they enable a wider audience to easily access both archaeological and geometric information as well as offering a high degree of interaction possibilities to the user. Resumen: La restauración arqueológica de monumentos es una práctica que requiere extrema precaución y un estudio exhaustivo. Los arqueólogos y expertos en conservación son muy reacios a proceder a la restauración y, de hecho, a las acciones de reconstrucción sin una consulta detallada y reflexión. Hoy en día, la ejecución de anastilosis sobre el objeto real está prácticamente prohibida. Las tecnologías contemporáneas han proporcionado las herramientas a los arqueólogos y otros expertos en conservación para embarcarse en restauraciones virtuales o anastilosis, probando así varias alternativas sin intervención física en el monumento. De esta manera, los valores de los monumentos se respetan de acuerdo a las convenciones internacionales. En este artículo, se presentan dos ejemplos de anastilosis arqueológicas virtuales de dos tumbas macedonias importantes en el norte de Grecia. Las anastilosis se realizaron en los modelos tridimensionales (3D) que se han producido empleando técnicas modernas de documentación digital en 3D, como el modelado basado en imágenes y el escaneo láser terrestre. Se introduce al lector a la historia y la importancia-así como a las peculiaridades-de las tumbas macedonias. Además, las dos tumbas se describen en detalle desde un punto de vista arqueológico principalmente. Se describe el proceso de toma y procesamiento de datos de campo para producir los modelos 3D. Se emplearon métodos simples y más o menos estándar en la toma de datos crudos. El procesamiento se llevó a cabo utilizando software comercial. Los modelos 3D resultantes y otros productos de documentación se evalúan a partir de su precisión e integridad. Se explican en detalle las decisiones de la anastilosis virtual y también se STAMPOULOGLOU et al., 2020 Virtual Archaeology Review, 11(22): In-press, 2020 2 describe el proceso real. Los monumentos restaurados se presentan y evaluan por los expertos en conservación. Por lo tanto, se muestra cuán importante es la anastilosis virtual de los monumentos para la investigación arqueológica, ya que les permite estudiar los monumentos en profundidad, sin alterar realmente los monumentos mismos. Los modelos digitales en 3D están contribuyendo a muchas disciplinas, especialmente en arqueología en tanto que permiten un fácil acceso a la información arqueológica y geométrica a una audiencia mayor, y altas posibilidades de interacción con el usuario. Palabras clave: documentación 3D; modelado basado en imágenes; escaneado láser terrestre; anastilosis virtual
The aim of this paper is to present a real-time interaction system for ancient artifacts digitally restored in a virtual environment. Using commercial hardware and open source software, Augmented Reality versions of archaeological artifacts are experienced on mobile devices both in a real outdoor site as well as an indoor museum. The case study for this project is represented by two artifacts of Syracuse, Italy, a statue and an altar, dated back to Hellenistic time. Virtual replicas of the two artifacts were produced applying different techniques. Later the two projects became part of the same research plan aimed to virtually rebuild the most significant artistic and architectural features of Hellenistic Syracuse. Besides the simple production of 3D models, via laserscanning and 3D modelling, a digital process of visual improvement of the statue was preliminary carried out based on photographic documentation of some archetypes. The commercial framework for mobile devices, ARToolworks, has been used for developing Augmented Reality applications. Using a pattern that is recognized by the device, the virtual model is shown as it is in the real world. The novelty of this work is that graduate students in virtual archaeology and non computer programmers such as museum staff, could benefit of this work and implement such a system.
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