scholarly journals Documentación 3D de pinturas rupestres con Photomodeler Scanner: los motivos esquemáticos de la Cueva del Barranc del Migdia (Xàbia, Alicante)

2012 ◽  
Vol 3 (6) ◽  
pp. 64 ◽  
Author(s):  
Daniel Tejerina Antón ◽  
Joaquín Bolufer i Marqués ◽  
Marco Aurelio Esquembre Bebia ◽  
José Ramón Ortega Pérez
Keyword(s):  
Cultural Heritage ◽  
Rock Art ◽  
3D Models ◽  
Wall Painting ◽  
Digital Photogrammetry ◽  
3D Printers ◽  
3D Documentation ◽  
Art Style

<p>During the recent campaign of excavation at the Cova del Barranc del Migdia (Javea, Alicante)we have carried out the 3D documentation of the wall painting motifs, which corresponds to the schematic rock art style. To produce the 3D models, we have used Photomodeler Scanner, a commercial digital photogrammetry software with increased use in the cultural heritage sector. The results have been exported to a format compatible with 3D printers, creating a 1/1 scale replica of the original panel. In this paper we describe the typical workflow in a project with Photomodeler Scanner and the results obtained from the x-3 panel.</p>

scholarly journals FROM ARCHIVE DOCUMENTATION TO ONLINE 3D MODEL VISUALIZATION OF NO LONGER EXISTING STRUCTURES: THE TURIN 1911 PROJECT

2020 ◽  
Vol XLIII-B2-2020 ◽  
pp. 837-844
Author(s):  
D. Einaudi ◽  
A. Spreafico ◽  
F. Chiabrando ◽  
C. Della Coletta
Keyword(s):  
Cultural Heritage ◽  
3D Model ◽  
3D Models ◽  
World's Fair ◽  
Existing Structures ◽  
Present Generation ◽  
Technical Issues ◽  
Digital Documentation ◽  
3D Documentation ◽  
Model Visualization

Abstract. Rebuilding the past of cultural heritage through digitization, archiving and visualization by means of digital technology is becoming an emerging issue to ensure the transmission of physical and digital documentation to future generations as evidence of culture, but also to enable present generation to enlarge, facilitate and cross relate data and information in new ways. In this global effort, the digital 3D documentation of no longer existing cultural heritage can be essential for the understanding of past events and nowadays, various digital techniques and tools are developing for multiple purposes.In the present research the entire workflow, starting from archive documentation collection and digitization to the 3D models metrically controlled creation and online sharing, is considered. The technical issues to obtain a detail 3D model are examined stressing limits and potentiality of 3D reconstruction of disappeared heritage and its visualization exploiting three complexes belonging to 1911 Turin World’s Fair.

scholarly journals Data fusion in Cultural Heritage – A Review

2015 ◽  
Vol XL-5/W7 ◽  
pp. 359-363 ◽  
Author(s):  
M. M. Ramos ◽  
F. Remondino
Keyword(s):  
Data Fusion ◽  
Cultural Heritage ◽  
3D Models ◽  
Cultural Knowledge ◽  
Current Conservation ◽  
Research Issues ◽  
Fusion Concept ◽  
Management Policies ◽  
3D Documentation ◽  
Ancient States

Geometric documentation is one of the most important task of the Cultural Heritage (CH) conservation and management policies. 3D documentation, prior to any conservation and restoration works, is considered a basic pre-requisite for preserving, understanding, communicating and valorizing CH sites and objects (London Charter, 2009; Sevilla Principles, 2011). <br><br> 3D models have become the usual way of digitally preserving, communicating, explaining and disseminat ing cultural knowledge, as they have the capability of reproducing ancient states and behaviors. Using photo-realistic and accurate 3D models, the current conservation state can be shown and preserve for future generations. But despite the large request of 3D models in the CH field, there is no 3D documentation method which can properly satisfy all the areas with their requirements, therefore a fusion methodology (of data and sensors) is normally required and performed. The paper analyzes the fusion concept and levels as well as some merging approaches so far presented in the research community. While the paper will be necessarily incomplete due to space limitations, it will hopefully give an understanding on the actual methods of data fusion and clarify some open research issues.

scholarly journals Documentación 3D de abrigos rupestres a partir de láser escáner y de procesos fotogramétricos automatizados

2015 ◽  
Vol 4 (8) ◽  
pp. 64 ◽  
Author(s):  
Miriam Cabrelles López ◽  
José Luis Lerma García
Keyword(s):  
Cultural Heritage ◽  
Iberian Peninsula ◽  
Mediterranean Basin ◽  
Rock Art ◽  
3D Models ◽  
World Heritage Site ◽  
Visualization Analysis ◽  
Heritage Site ◽  
Photorealistic Models ◽  
The Mediterranean Basin

<p>Metric and graphic documentation of archaeological cultural heritage requires effective solutions for archiving, visualization, analysis, management, and monitoring of different monuments and sites. This paper presents the geomatic workflow undertaken on a singular rock art site, Coves de la Saltadora. The cave is part of the Rock Art of the Mediterranean Basin on the Iberian Peninsula declared World Heritage Site by UNESCO in1998. The different steps are reviewed, starting from the data acquisition until the final delivery of part of the metric outputs such as 3D models, photorealistic models, orthophoto mosaics in two levels, general and detail.</p>

scholarly journals HIGH-QUALITY 3D MODELS AND THEIR USE IN A CULTURAL HERITAGE CONSERVATION PROJECT

2017 ◽  
Vol XLII-2/W5 ◽  
pp. 687-693 ◽  
Author(s):  
G. Tucci ◽  
V. Bonora ◽  
A. Conti ◽  
L. Fiorini
Keyword(s):  
Cultural Heritage ◽  
Laser Scanning ◽  
Three Dimensional ◽  
3D Models ◽  
Heritage Conservation ◽  
Work Support ◽  
Cultural Heritage Conservation ◽  
3D Data ◽  
Restoration Work ◽  
3D Documentation

Cultural heritage digitization and 3D modelling processes are mainly based on laser scanning and digital photogrammetry techniques to produce complete, detailed and photorealistic three-dimensional surveys: geometric as well as chromatic aspects, in turn testimony of materials, work techniques, state of preservation, etc., are documented using digitization processes.<br><br> The paper explores the topic of 3D documentation for conservation purposes; it analyses how geomatics contributes in different steps of a restoration process and it presents an overview of different uses of 3D models for the conservation and enhancement of the cultural heritage. The paper reports on the project to digitize the earthenware frieze of the Ospedale del Ceppo in Pistoia (Italy) for 3D documentation, restoration work support, and digital and physical reconstruction and integration purposes. The intent to design an exhibition area suggests new ways to take advantage of 3D data originally acquired for documentation and scientific purposes.

scholarly journals Documentación 3D y visualización multimedia de la Cova del Parpalló (Gandia)

2010 ◽  
Vol 1 (2) ◽  
pp. 123 ◽  
Author(s):  
José Luis Lerma García ◽  
Miriam Cabrelles López ◽  
Santiago Navarro Tarín ◽  
Sergio Galcerá Ustero
Keyword(s):  
Cultural Heritage ◽  
Laser Scanning ◽  
Three Dimensional ◽  
3D Models ◽  
The Other ◽  
Its Analysis ◽  
3D Documentation ◽  
The One ◽  
The Right ◽  
Cultural Heritage Objects

<p>The three-dimensional (3D) documentation by means of laser scanning and photogrammetry eases exhaustive recording, the right lecture of cultural heritage objects and its analysis in order to, on the one hand, adopt appropriate decisions and interventions, on the other hand, move forward the generation of virtual animated replicas of great value and smooth multimedia dissemination. The present paper tackles the different stages of graphic documentation and visualization undertaken in the Parpalló Cave (Cova del Parpalló), Gandia, Valencia. Besides traditional surveying documentation that is based on planimetric and altimetric maps, this paper presents the plotting and animated visualization of the Palaeolithic set not only making use of lights and shadows but also from photorealistic textured 3D models.</p>

3D Models in Cultural Heritage

2017 ◽  
Vol 1 (1) ◽  
pp. 1-9 ◽  
Author(s):  
Eros Agosto ◽  
Leandro Bornaz
Keyword(s):  
Cultural Heritage ◽  
Laser Scanning ◽  
Digital Technologies ◽  
3D Models ◽  
Digital Photogrammetry ◽  
Wide Range ◽  
3D Digitization ◽  
Basic Input ◽  
The Way ◽  
Heritage Recording

Metric surveys are a key component in Cultural Heritage. Metric surveys are in fact a basic input for a wide range of activities, from documentation to study, from restoration to valorization, that rely on the current condition of the monument. In recent years, laser scanning and, more recently, digital photogrammetry offered new perspectives, widening the perspectives of 3D Cultural Heritage recording. Digital technologies provide new ways to collaborate, record excavations, and restore artifacts, and in such a way they are transforming the way Cultural Heritage practitioners (researchers, archaeologists, curators) work. This paper attempts to review the methods for 3D digitization that are today available and discuss the possible use of 3D models beyond the pure extraction of reliable and accurate measures.

scholarly journals 3D DOCUMENTATION OF CULTURAL HERITAGE: THE CASE STUDY OF BANTEAY SREI TEMPLE IN ANGKOR, SIEM REAP

2020 ◽  
Vol XLIII-B2-2020 ◽  
pp. 919-923
Author(s):  
L. Zhang ◽  
F. Wang ◽  
X. Cheng ◽  
C. Li ◽  
H. Lin ◽  
...  
Keyword(s):  
Cultural Heritage ◽  
Laser Scanning ◽  
3D Model ◽  
Digital Camera ◽  
3D Models ◽  
Laser Scanners ◽  
Aerial Vehicle ◽  
3D Documentation ◽  
Difficult Challenge

Abstract. 3D documentation and visualization of cultural heritage has a great significance in preserving the memories and history, and supports cultural tourism. It is of great importance to study the 3D reconstruction of cultural relics and historic sites. Preservation, visualization of valuable cultural heritage has always been a difficult challenge. With the developments of photogrammetry, terrestrial laser scanning, 3D models were able to obtained quickly and accurately. In this paper we present the survey and 3D modelling of an ancient temple, Banteay Srei, situated in Angkor, which has long been admired as a “Precious Gem” of Khmer Art for its miniature size of structures and exceptional refinement of the sculptures. The survey was performed with FARO Focus3D 330 and FARO Focus3D 120 terrestrial laser scanners, a micro unmanned aerial vehicle (UAV) (DJI Phantom 4 Pro) and a digital camera (Nikon D90). Once the acquired scans were properly merged, a 3D model was generated from the global point cloud, and plans, sections and elevations were extracted from it for restoration purposes. A short multimedia video was also created for the “Digital Banteay Srei”. In the paper we will discuss all the steps and challenges addressed to provide the 3D model of Banteay Srei Temple.

scholarly journals AN OPTIMISED WORKFLOW FOR THE INTERACTIVE EXPERIENCE WITH CULTURAL HERITAGE THROUGH REALITY-BASED 3D MODELS: CASES STUDY IN ARCHAEOLOGICAL AND URBAN COMPLEXES

2019 ◽  
Vol XLII-2/W11 ◽  
pp. 427-434 ◽  
Author(s):  
L. Cipriani ◽  
S. Bertacchi ◽  
G. Bertacchi
Keyword(s):  
Cultural Heritage ◽  
3D Models ◽  
First Case ◽  
Digital Contents ◽  
Game Engines ◽  
Pros And Cons ◽  
3D Documentation ◽  
Interactive Experience ◽  
Urban Sites

<p><strong>Abstract.</strong> The paper compares two workflows for the achievement of 3D models aimed at in-depth studies on the geometric features of Cultural Heritage artefacts and their dissemination. The purpose is the outlining of pros and cons of different techniques coming from entertainment and video games industry, starting from highly reliable 3D documentation of cultural assets, i.e. architectural/archaeological/urban sites. Two different possible applications are described: (i) procedural modelling used for understanding and visualising reconstruction hypotheses of the vaulted pavilions at Hadrian’s Villa, Tivoli, Rome; (ii) optimisation of 3D high-detailed models, as input files, turned into visual reliable and highly portable assets for game-engines. The first case study is focussed on creating a flexible model for evalueting reconstruction hypotheses and supplying restorers with useful hints for shape completion of ruined pavilions. The second case study makes available detailed digital contents for storytelling historical and cultural events in an attractive way, as in the case of the urban explorative model of Chiuro, a small town in northern Italy.</p>

scholarly journals Structured-light 3D scanning of exhibited historical clothing—a first-ever methodical trial and its results

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Jerzy Montusiewicz ◽  
Marek Miłosz ◽  
Jacek Kęsik ◽  
Kamil Żyła
Keyword(s):  
Cultural Heritage ◽  
Information Technologies ◽  
Structured Light ◽  
Three Dimensional ◽  
3D Models ◽  
3D Scanning ◽  
Dimensional Representation ◽  
3D Scanner ◽  
Three Dimensional Representation ◽  
3D Scanners

AbstractHistorical costumes are part of cultural heritage. Unlike architectural monuments, they are very fragile, which exacerbates the problems of their protection and popularisation. A big help in this can be the digitisation of their appearance, preferably using modern techniques of three-dimensional representation (3D). The article presents the results of the search for examples and methodologies of implementing 3D scanning of exhibited historical clothes as well as the attendant problems. From a review of scientific literature it turns out that so far practically no one in the world has made any methodical attempts at scanning historical clothes using structured-light 3D scanners (SLS) and developing an appropriate methodology. The vast majority of methods for creating 3D models of clothes used photogrammetry and 3D modelling software. Therefore, an innovative approach was proposed to the problem of creating 3D models of exhibited historical clothes through their digitalisation by means of a 3D scanner using structural light technology. A proposal for the methodology of this process and concrete examples of its implementation and results are presented. The problems related to the scanning of 3D historical clothes are also described, as well as a proposal how to solve them or minimise their impact. The implementation of the methodology is presented on the example of scanning elements of the Emir of Bukhara's costume (Uzbekistan) from the end of the nineteenth century, consisting of the gown, turban and shoes. Moreover, the way of using 3D models and information technologies to popularise cultural heritage in the space of digital resources is also discussed.

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

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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