Digital Monument Reconstruction in Architectural Studies: Synthesis of Research on the Previously Unknown Form of the Palace in Łobzów (Cracow) from the Period of the Rule of John III Sobieski

The former palace in Łobzów, which currently houses the Faculty of Architecture of the Cracow University of Technology, has an exceedingly rich architectural history. Since the Middle Ages, it has gone through a series of changes that have significantly altered its form each time. Thanks to modern digital reconstruction technology, it was possible to recreate all of its architectural phases in the form of 3D models on the basis of archaeological studies and the analysis of historical materials. The models were then used to reconstruct the most probable appearance of the building during the period when the Polish king John III Sobieski lived there. Determining the most probable state of the palace’s preservation during King Sobieski’s rule, which had not been investigated thus far, was possible only because of the combining of traditional research methods with modern technology.

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Comparative Analysis of Digital Models of Objects of Cultural Heritage Obtained by the “3D SLS” and “SfM” Methods

Applied Sciences ◽

10.3390/app11125321 ◽

2021 ◽

Vol 11 (12) ◽

pp. 5321

Author(s):

Marcin Barszcz ◽

Jerzy Montusiewicz ◽

Magdalena Paśnikowska-Łukaszuk ◽

Anna Sałamacha

Keyword(s):

Cultural Heritage ◽

Low Cost ◽

Three Dimensional ◽

3D Models ◽

Silk Road ◽

Digital Models ◽

Global Pandemic ◽

University Of Technology ◽

Three Dimensional Models ◽

3D Digitisation

In the era of the global pandemic caused by the COVID-19 virus, 3D digitisation of selected museum artefacts is becoming more and more frequent practice, but the vast majority is performed by specialised teams. The paper presents the results of comparative studies of 3D digital models of the same museum artefacts from the Silk Road area generated by two completely different technologies: Structure from Motion (SfM)—a method belonging to the so-called low-cost technologies—and by Structured-light 3D Scanning (3D SLS). Moreover, procedural differences in data acquisition and their processing to generate three-dimensional models are presented. Models built using a point cloud were created from data collected in the Afrasiyab museum in Samarkand (Uzbekistan) during “The 1st Scientific Expedition of the Lublin University of Technology to Central Asia” in 2017. Photos for creating 3D models in SfM technology were taken during a virtual expedition carried out under the “3D Digital Silk Road” program in 2021. The obtained results show that the quality of the 3D models generated with SfM differs from the models from the technology (3D SLS), but they may be placed in the galleries of the vitrual museum. The obtained models from SfM do not have information about their size, which means that they are not fully suitable for archiving purposes of cultural heritage, unlike the models from SLS.

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Virtual tourism on the example of the defunct Koscelisko medieval church in the North-Western Slovakia

European Journal of Geography ◽

10.48088/ejg.p.hro.11.3.96.107 ◽

2020 ◽

Vol 11 (3) ◽

pp. 96-107

Author(s):

Pavel HRONČEK ◽

◽

Karol WEIS ◽

Vladimír ČECH

Keyword(s):

Middle Ages ◽

Web Application ◽

Interdisciplinary Approach ◽

Field Research ◽

3D Models ◽

Primary Objective ◽

Historical Buildings ◽

High Quality ◽

The North ◽

Medieval Church

The primary objective of this paper is to present opportunities for creating virtual 3D models of defunct historical buildings, reconstructed on the basis of archival and field research, and the effective promotion and visualisation of such models through a thematic web application. The secondary objective is to increase the tourism potential and attractiveness of the various historical sites and the studied region. The comprehensive methodical processing of documents and the creation of 3D models of objects and other digital visualisation requires not only high-quality programmers and graphic artists, but especially scientists who create historically-relevant descriptive texts, real schemes, and historically acceptable models that can be computer-processed, visualised, and used as an effective tool for the development of tourism. Research and follow-up activities require an interdisciplinary approach, i.e. the cooperation of experts from various disciplines. The research processed in this study points out that even simple, now widely available modern means of communication, such as websites, can be effectively used for the promotion and publicity of this type of attraction. High-quality 3D models and visualisations of buildings and specific destinations, or cultural and technical monuments, can thus become available to tourists also outside museums. This paper introduces the opportunities of digital presentation of preserved, partially defunct and, especially, completely defunct historical buildings and sites that are often almost unknown to tourists. In many cases, only their shells or foundations remain. In terms of cultural heritage conservation and monument protection, these sites are often among the most important religious buildings from various historical periods. This study focuses on the Middle Ages and locations in Slovakia (former Hungary), and presents a methodology that is generally applicable for the research and visualisation of any similar cultural sites, and thus opening up their potential to tourists.

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Reliving history: the digital reconstruction of the convent of Santa Maria delle Grazie in Milan

Virtual Archaeology Review ◽

10.4995/var.2020.13706 ◽

2020 ◽

Vol 11 (23) ◽

pp. 106

Author(s):

Damiano Aiello ◽

Cecilia Bolognesi

Keyword(s):

Cultural Heritage ◽

New Technologies ◽

Methodological Approach ◽

3D Models ◽

Documentary Sources ◽

Digital Reconstruction ◽

Virtual Reconstruction ◽

Combining Data ◽

The City ◽

Santa Maria

Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15th century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18th-19th centuries inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses.Highlights:<ul><li>The study focused on the virtual reconstruction of the convent of Santa Maria delle Grazie, one of the most emblematicGothic-Renaissance buildings in the city of Milan.</li><li>By combining data from documentary sources, architectural treatises, period photos and digital survey, the mainbuilding phases of the convent, from the 15th century to date, were digitally reconstructed.</li><li>The 3D models are enriched with information about the accuracy of the digital reconstruction, creating 3D databasesthat can be easily consulted and updated.</li></ul>

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BIM Open Source Software (OSS) for the documentation of cultural heritage

Virtual Archaeology Review ◽

10.4995/var.2016.5864 ◽

2016 ◽

Vol 7 (15) ◽

pp. 28 ◽

Cited By ~ 8

Author(s):

Sotiris Logothetis ◽

Efstratios Stylianidis

Keyword(s):

Cultural Heritage ◽

Open Source ◽

Software Industry ◽

3D Models ◽

Design Data ◽

Industry Foundation Classes ◽

Digital Reconstruction ◽

Building Information ◽

Recent Developments ◽

Digital Documentation

The Building Information Modelling (BIM) software enables the users to communicate and design, understand appearance, performance and cost in the spatial and urban design process. Another important use of the BIM technology is the documentation and 3D reconstruction of cultural heritage monuments. The appropriate BIM software equips the users with tools to easily capture and analyse concepts and maintain the coordination of design data through documentation and 3D modelling. Many developments come up in the BIM field and software industry for design, construction-reconstruction, restoration and management of the cultural heritage 3D models, using BIM tools; mainly commercial as well as free or open source. Nevertheless, recently the growing popularity of open source has altered the landscape in software industry, as they attract many users.This paper presents a review of some recent research on the topic. We review the recent developments focusing on the OSS that can be used at various stages of BIM process in the digital documentation of cultural heritage. The results show that there is more preference in the commercial software due to the fact that the OSS is not yet complete and covers all stages of the BIM process. However, lately we have the Edificius in architectural BIM design and “BIM Vision” as Industry Foundation Classes (IFC) model viewer that try to attract as many users as possible. These tools are free and they could well be used for the digital reconstruction of cultural heritage.

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Retraced memories - virtual reconstruction of an architectural landmark

Virtual Archaeology Review ◽

10.4995/var.2021.15302 ◽

2021 ◽

Vol 12 (25) ◽

pp. 124

Author(s):

Simone Fallica ◽

Raissa Garozzo ◽

Cettina Santagati

Keyword(s):

Three Dimensional ◽

3D Models ◽

Mount Etna ◽

Ethical Principles ◽

Digital Reconstruction ◽

Virtual Reconstruction ◽

Starting Point ◽

Archival Documents ◽

The Church ◽

Digital Survey

This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six altars, which are one of the most remarkable examples of Mannerist art in eastern Sicily. This research aimed to three-dimensional (3D) reconstruct both the altars and the portal, ideally reviving their original 17th century configuration. This goal was achieved through an in-depth archival research (documents dating back to the years between 1300 and 1666 were consulted), an analysis of Classic and Renaissance treatises, and two integrated digital survey campaigns (laser scans and photogrammetry). The outcome is represented by the 3D models of the seven artifacts, which include surviving parts reconstructed as photogrammetric meshes, several fragments were placed in their likely early location through a virtual anastylosis, and NURBS (Non Uniform Rational Basis-Splines) surfaces (recreating the no longer existing elements). The latter were 3D modelled based on the treatises (which provided information on the correct proportioning) or in analogy with other coeval similar artifacts. Overall, the digital reconstruction was based on the ethical principles of transparency of the intervention, recognition of non-original additions and distinction between evidence and hypothesis, according to the London Charter and the Seville Principles. The experimentation provides a valid support for possible interventions in the real world and is the starting point to develop a digital archive of the site, which would make the different accuracy levels the reconstruction explicit.Highlights:<ul><li>3D virtual reconstruction is effective to visualize and bring back to life ruined architectural artefacts.</li><li>Information about the artefacts original appearance was harvested through digital survey campaigns, archival documents, and comparisons with iconographic sources and coeval buildings.</li><li>The 3D reconstruction follows ethical principles of transparency and combines photogrammetric meshes (partly relocated through a virtual anastylosis) and NURBS surfaces.</li></ul>

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Analysis of Leonardo Da Vinci’s Architectures through Parametric Modeling: A Method for the Digital Reconstruction of the Centrally Planned Churches Depicted in Ms. B

10.20944/preprints202009.0288.v1 ◽

2020 ◽

Author(s):

Beatrice Vaienti ◽

Fabrizio Ivan Apollonio ◽

Marco Gaiani

Keyword(s):

3D Models ◽

Visual Programming ◽

Parametric Modeling ◽

Leonardo Da Vinci ◽

Perspective View ◽

Reconstruction Process ◽

Plan View ◽

Classification Code ◽

Digital Reconstruction ◽

Visual Programming Language

Among many other themes, Leonardo da Vinci’s Manuscript B contains several drawings of centrally planned churches, some of which are represented using a plan view paired with a bird’s-eye view. The use of a bird’s-eye instead of an elevation represents an innovative depiction technique, which allows to combine the immediacy of the perspective view with the measurability of the façades, and therefore to describe the three-dimensionality of the buildings. To understand the reasons behind the use of this original technique, the edifices’ shape and classify them we decided to use 3D digital reconstruction techniques, for their ability to avoid misunderstandings in the reconstruction process and in the results. This article describes the method to create the digital models of sixteen churches. A Visual programming language (VPL) script was used as 3D base for modelling the churches achieved from a classification code expressing the aggregative rules of the churches. Then, the geometric process for the construction of the plan and its relationship with the elevation measures was studied for each church. Finally, this information was used for the completion of the 3D models, distinguishing more output variants each time there was an inconsistency between plan and perspective view, a variability of one architectural element or an uncertainty.

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Reconstructing Vindonissa as a living document – A case-study of digital reconstruction for output to pre-rendered and real-time applications

Studies in Digital Heritage ◽

10.14434/sdh.v1i2.23280 ◽

2017 ◽

Vol 1 (2) ◽

pp. 396-408

Author(s):

Jonas Christen

Keyword(s):

Real Time ◽

Time Use ◽

3D Models ◽

Digital Reconstruction ◽

Current State ◽

Starting Point ◽

Reconstructive Process ◽

The Alps ◽

State Of Research

The legion camp “Vindonissa” in Switzerland is considered one of the most important roman sites north of the alps. Research there has been going on for over a century and reconstructive drawings have always been a way to showcase scientific findings of the site, the earliest of them dating back as far as 1909.In 2015, it was decided to produce a new series of illustrations. The whole camp and its surrounding settlements had to be constructed as hand-generated 3D models, allowing for quick changes during the reconstructive process and flexibility in future adaptations. Topographical data, archaeological plans as well as building profiles provided by experts were the basis for the model.The main focus was on a general impression of the camp and not on individual buildings but some landmarks as the newly postulated circus were crafted with a higher level of detail as they are the topic of scientific discourse and it helps the discussion if they have a certain fidelity. The circus also serves as a good example for the value of the imaging process in research: Only after trying to fit it into the topography it was noted that it would overlap with a street that was previously thought to run through this area. In the discussion between archaeologists and illustrators a new path for the street was chosen that fits into the landscape and is scientifically acceptable.The new series of illustrations was originally published in the annual report of the archaeological society Vindonissa. The resulting model represents the current state of research but mainly serves as a starting point for future discussion: All buildings are constructed so that they can easily be adapted for real-time use and a Virtual Reality application is the logical next step for its use.

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The Leiden-Turin Archaeological Expedition to Saqqara: Preliminary Results of the 2019 Fieldwork Season.

Rivista del Museo Egizio ◽

10.29353/rime.2020.3214 ◽

2018 ◽

Vol 4 ◽

Author(s):

Paolo Del Vesco ◽

Christian Greco ◽

Daniel Soliman ◽

Nico Staring ◽

Lara Weiss ◽

...

Keyword(s):

3D Models ◽

Surface Model ◽

Underground Structures ◽

Content Type ◽

The Public ◽

The North ◽

Digital Reconstruction ◽

Excavation Work ◽

Area North ◽

Small Finds

In the 2019 season, the joint Leiden-Turin Expedition to Saqqara continued work in the area north of the tomb of Maya with the aim of lowering the terrain above the new tomb discovered during the 2018 season (V82.1) and to prepare the area for further exploration in 2020. Many layers of deposit situated immediately to the north of the new tomb were removed and – although they mostly originated from previous excavations in the 1980s and 1990s – systematically investigated. Several dumps of organic material such as linen and wood as well as numerous small finds and relief fragments were identified and recorded. In addition, existing storage facilities on site were renovated and upgraded. In this process, part of the underground structures of the tombs of Horemheb and Meryneith were surveyed by the 3D Survey Group (Politecnico di Milano). Thanks to the cooperation with the same Milanese team, a new documentation method was tested during the ongoing excavation work. Within a 3D-model the different stages of excavation were recorded, allowing the digital reconstruction of the stratigraphy of the whole area and the documentation of all finds in their original contexts. A Digital Surface Model of the entire concession area was also produced, and 3D-models of some of the previously excavated monumental tombs were created. Lastly, since heavy rainfalls had damaged many of the earlier excavated monumental tombs open to the public, they were consolidated and where necessary rebuilt. ملخص في موسم 2019، واصلت البعثة ليدن-تورينو المشتركة عملها في سقارة في المنطقة شمال قبر مايا، بهدف إزالة الأتربة التي تراكمت فوق القبر الجديد الذي اكتُشِف خلال موسم 2018 (V82.1) وإعداد المنطقة لموسم التنقيب لعام 2020. تمت إزالة العديد من طبقات الأتربة التي تغطي المنطقة الشمالية من القبر الجديد، بالرغم من أن هذه الرواسب تراكمت في الغالب بموجب الحفريات السابقة في الثمانينيات والتسعينيات، فقد تمت دراستها بشكل منهجي. قامت البعثة بالتنقيب وبتسجيل العديد من المواد العضوية مثل الكتان والخشب و غيرها من الشظايا واكتشافات أخرى صغيرة. كما أنه تم الكشف وتسجيل مرافق التخزين الموجودة في الموقع. من خلال هذه العملية، قام فريق الباحثين من الفرع التقني لجامعة ميلانو بمسح جزء من الهياكل تحت الأرض لمقابر حورمحب و مرينيث باستخدام الماسح ثلاثي الأبعاد. بفضل تعاون هذا الفريق، تم أثناء أعمال التنقيب اختبار طريقة جديدة في التوثيق. استناداً على النموذج ثلاثي الأبعاد، تم تسجيل مراحل التنقيب المختلفة مما سمح بإعادة البناء الرقمي للمنطقة بأكملها وتوثيق جميع الاكتشافات في أماكنها الأصلية. تم تنفيذ نموذج رقمي لكامل سطح المنطقة بالإضافة إلى إنشاء نماذج ثلاثية الأبعاد لبعض المقابر الأثرية التي نُقّب عنها سابقاً. وأخيراً، بما أن الأمطار الغزيرة ألحقت الضرر بالعديد من المقابر الأثرية المكتشفة سابقاً والمفتوحة لزيارة الجمهور، فقد تم تدعيمها وإعادة بناء الأقسام الضرورية.

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3D survey for the archaeological study and virtual reconstruction of the “Sanctuary of Isis” in the ancient Lilybaeum (Italy)

Virtual Archaeology Review ◽

10.4995/var.2020.11928 ◽

2020 ◽

Vol 11 (22) ◽

pp. 1 ◽

Cited By ~ 4

Author(s):

Leonarda Fazio ◽

Mauro Lo Brutto

Keyword(s):

Three Dimensional ◽

Archaeological Site ◽

3D Models ◽

Archaeological Remains ◽

Archaeological Heritage ◽

Digital Reconstruction ◽

3D Environment ◽

3D Data ◽

Open Questions ◽

Virtual Reconstruction

In recent years, the use of three-dimensional (3D) models in cultural and archaeological heritage for documentation and dissemination purposes has increased. New geomatics technologies have significantly reduced the time spent on fieldwork surveys and data processing. The archaeological remains can be documented and reconstructed in a digital 3D environment thanks to the new 3D survey technologies. Furthermore, the products generated by modern surveying technologies can be reconstructed in a virtual environment on effective archaeological bases and hypotheses coming from a detailed 3D data analysis. However, the choice of technologies that should be used to get the best results for different archaeological remains and how to use 3D models to improve knowledge and dissemination to a wider audience are open questions.This paper deals with the use of terrestrial laser scanners and photogrammetric surveys for the virtual reconstruction of an archaeological site. In particular, the work describes the study for the 3D documentation and virtual reconstruction of the “Sanctuary of Isis” in Lilybaeum, the ancient city of Marsala (southern Italy). The "Sanctuary of Isis" is the only Roman sacred building known in this archaeological area. Based on the survey data, it has been possible to recreate the original volumes of the ancient building and rebuild the two best-preserved floors –a geometric mosaic and an opus spicatum– for a first digital reconstruction of the archaeological complex in a 3D environment.

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Gothic Antiquity

10.1093/oso/9780198845669.001.0001 ◽

2019 ◽

Cited By ~ 5

Author(s):

Dale Townshend

Keyword(s):

Eighteenth Century ◽

Middle Ages ◽

Architectural History ◽

Gothic Literature ◽

Gothic Architecture ◽

Gothic Revival ◽

Long Eighteenth Century ◽

Historical Accounts ◽

The Relationship ◽

Selection Of

This book seeks to provide the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction, poetry, drama) in the late eighteenth and early nineteenth centuries. Although the literature/architecture relation is a topic that has long preoccupied scholars of the literary Gothic, there remains no monograph-length study of the intriguing interactions between these two aesthetic forms. Equally, Gothic literature has received only cursory treatment in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. Addressing this gap in scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of texts. In turn, it shows how these architectural debates responded to, and were shaped by, what we have since come to identify as the literary Gothic mode. In both its ‘survivalist’ and ‘revivalist’ forms, the architecture of the Middle Ages in the long eighteenth century was much more than a matter of style. Incarnating the memory of a vanished ‘Gothic’ age in the enlightened present, Gothic architecture, whether ruined or complete, prompted imaginative reconstructions of the nation’s past—a notable ‘visionary’ turn in which Gothic writers, architects, and antiquaries enthusiastically participated. Through initiating a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, the book argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to one another.

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