scholarly journals 3D SURVEYING AND 3D RECONSTRUCTION OF ARCHITECTURE OF THE ROYAL PARK OF TIRANA

2019 ◽  
Vol XLII-4/W18 ◽  
pp. 241-246
Author(s):  
L. Corniello
Keyword(s):  
3D Reconstruction ◽  
Geometric Model ◽  
Computer Support ◽  
Digital Model ◽  
Basic Knowledge ◽  
Photographic Image ◽  
Portable Computer ◽  
Architectural Elements ◽  
Vegetable Gardens ◽  
The Church

Abstract. The research proposes the study of the Royal Park of Tirana in Albania, with particular reference both to the vegetation system, such as tree-lined avenues, ornamental gardens and vegetable gardens, and to the architectural elements such as the Villa, the Church, the gardener's house, the generator house and greenhouses. The few iconographic documents consist of the plans of the Grand Park of Tirana in 1957 and 1980, where some large buildings can be identified. The bibliography is relegated to the few citations found in the volumes illustrating the works of the two architects G. Bosio and G. Bertè. For the activities of knowledge of the Royal Park and of the architectural elements, in addition to the classical techniques of direct and indirect survey, we took into account the Ryobi laser instrumentation applied on portable computer support both tablets and smartphone. This digital system allows an immediate view of the relevant data on the photographic image taken by the support, transforming it into a dynamic datum. In the first phase, the relevant activity envisaged a basic knowledge extended to architectural organisms and green systems with a primitive geometric model; subsequently, measurements of architectural details, structures and the digital model were made. Appropriate photographic documentation was produced in addition to bibliographic, archival, and iconographic surveys.

scholarly journals DIGITAL MODEL OFWALLS OF PADUA LOWRELIEF

2017 ◽  
Vol XLII-2/W8 ◽  
pp. 95-98
Author(s):  
F. Fissore ◽  
A. Guarnieri ◽  
A. Vettore
Keyword(s):  
3D Reconstruction ◽  
Cultural Heritage ◽  
Digital Model ◽  
The University ◽  
Santa Maria ◽  
The Church

Photogrammetry has been widely used in the recent years in a number of applications, e.g. cultural heritage, surveying buildings and infrastructures. Despite nowadays its use is quite common, most of the used photogrammetric softwares are commercial. This paper aims at comparing the use of a free Matlab tool that is being developed at the University of Padova mostly for educational purposes with that of a commercial (and widely used) software (Agisoft PhotoScan). Despite the above mentioned free Matlab tool is designed to work for airborne photogrammetric, in this work it is used in a slightly different case: the 3D reconstruction of a low relief of the walls of Padova, which is on the fac¸ade of the church Santa Maria del Giglio, Venice, Italy.

scholarly journals “‘But the Fountain Sprang Up and the Bird Sang Down’: Heidegger’s Gathering of the Fourfold and the Seven-Sacraments Font at Salle, Norfolk.”

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 464
Author(s):  
Marie Clausén
Keyword(s):  
Cultural Heritage ◽  
Art History ◽  
Architectural Elements ◽  
15Th Century ◽  
The Earth ◽  
Medieval Church ◽  
The Church ◽  
As If

My paper analyses the 15th-century seven-sacraments font at the medieval church of St Peter and St Paul at Salle in Norfolk (England). The church guides and gazetteers that describe the font, and the church in which it is situated, owe both their style and content to Art History, focusing as they do on their material and aesthetic dimensions. The guides also tend towards isolating the various elements of the font, and these in turn from the rest of the architectural elements, fittings and furniture of the church, as if they could be meaningfully experienced or interpreted as discrete entities, in isolation from one another. While none of the font descriptions can be faulted for being inaccurate, they can, as a result of these tendencies, be held insufficient, and not quite to the purpose. My analysis of the font, by means of Heidegger’s concept of Dwelling, does not separate the font either from the rest of the church, nor from other fonts, but acknowledges that it comes to be, and be seen as, what it is only when considered as standing in ‘myriad referential relations’ to other things, as well as to ourselves. This perspective has enabled me to draw out what it is about the font at Salle that can be experienced as not merely beautiful or interesting, but also as meaningful to those—believers and non-believers alike—who encounter it. By reconsidering the proper mode of perceiving and engaging with the font, we may spare it from being commodified, from becoming a unit in the standing reserve of cultural heritage, and in so doing, we, too, may be momentarily freed from our false identities as units of production and agents of consumption. The medieval fonts and churches of Norfolk are, I argue, not valuable as a result of their putative antiquarian qualities, but invaluable in their extending to us a possibility of dwelling—as mortals—on the earth—under the sky—before the divinities.

scholarly journals Depiction of the Church of the Holy Sepulchre on a Jerusalem icon from Ružica Church: An example of visual culture in the context of religious practice

Nasledje ◽  
2020 ◽  
pp. 191-207
Author(s):  
Marko Katić
Keyword(s):  
Visual Culture ◽  
Religious Practice ◽  
Architectural Elements ◽  
Early Origin ◽  
The One ◽  
The Church

Among but few icons brought back home by hajjis from their pilgrimage to Jerusalem (hence the name jerusalems) preserved in Belgrade, the one that stands out for its peculiarity and relatively early origin is the 1819 icon kept in Ružica Church in Kalemegdan. The most important element of the icon is the depiction of the Church of the Holy Sepulchre in Jerusalem. This paper presents and analyses numerous peculiarities of this depiction, before all by comparing its iconography and style with the usual kind of the Jerusalem pilgrimage icons of the same age. Th icon painter's method is additionally analysed through the theoretical prism of palimpsest and gloss, recently developed in art-historical studies. It has been concluded that the depiction is basically similar to that on other icons dating from after the 1808 fire in the Church of the Holy Sepulchre, but bearing an array of specificities that could be ascribed to the reinterpretation of architectural elements of the Jerusalem Church which the icon painter depicts to underline its holiness. The analysis points to a local Palestinian master as the author of the icon.

scholarly journals SURVEY AND MODELLING FOR THE BIM OF BASILICA OF SAN MARCO IN VENICE

2017 ◽  
Vol XLII-2/W3 ◽  
pp. 303-310 ◽  
Author(s):  
L. Fregonese ◽  
L. Taffurelli ◽  
A. Adami ◽  
S. Chiarini ◽  
S. Cremonesi ◽  
...  
Keyword(s):  
High Resolution ◽  
Laser Scanning ◽  
Geometric Model ◽  
Data Organization ◽  
The Public ◽  
Mesh Model ◽  
Alternative Systems ◽  
Work Units ◽  
The Church ◽  
Mesh Models

The Basilica of San Marco is a singular case in the field of Cultural heritage, as it constitutes a construction site always active for the maintenance and preservation of the basilica itself. The continuous intervention of conservation, due to the particular environmental conditions of Venice and the opening to the public, together with the complexity of the building itself, imposes the need to identify an optimized management system. For this reason, in 2013 the Procurator of St. Marco Basilica commissioned the construction of a 3D model of the Basilica to be used for the creation of a BIM. The model must meet the required precision of the scale of 1:50, and should also include, in addition to the geometric description, a description of the mosaic and marble surfaces of the basilica through high resolution orthophoto which are essential for the restoration of the mosaics. <br><br> The complexity of the church and the large and continuous flow of public led to work in non-optimal conditions especially for the acquisition stage. The basilica has certain peculiarities that led to some important choices, for example the use of photogrammetry instead of laser scanning technique. The same technique was preferred also by the need to realize, in addition to the geometric model, high-resolution orthophotos of marbles and mosaic surfaces. <br><br> The modelling of the basilica has highlighted a number of problems related to the building features. The basilica, indeed, is the result of the juxtaposition of elements (capitals, columns) with different origin, which therefore cannot be standardized in special libraries. Moreover, especially in the extensive mosaic areas, there are not edges that characterize the architecture, but only beveled surfaces. This has resulted in a change also in the modeling paradigm with the need to identify alternative systems even for the construction of simple elements. Therefore, we decided to model using NURBS since it is the method that allows greater adherence to reality and, at the same time, a model with acceptable dimensions in terms of navigation and usability. Only the most sculptural pieces such as capitals and statues have been replaced by mesh models. <br><br> As we were interested in different elaborations, the results of this work are a geometric NURBS model for the subsequent insertion into BIM environment, with the possibility of extracting two-dimensional drawings such as plans and sections, a mesh model with low resolution textures for online navigation and high resolution orthophotos. <br><br> The survey work and modeling has been almost completed for the interior of the basilica whereas only the external remains to be acquired and modeled. For the management of the entire work it was decided to use the data organization system already used by the Politecnico di Milano for the Duomo di Milano. The BIM3DSURVEY system will be essential not only to manage the finished model, but it has been very useful also during the construction phase because it allows us to divide the entire work into more work units. However, this system required some changes to meet the peculiarity of this BIM, in particular the need to append and link the orthophotos to real surfaces, in order to use the model also as a spatial index for the images.

scholarly journals Reconstrucción virtual 3D del coro del Convento de Santa Clara de Toro (Zamora): la recuperación de un ámbito medieval de devoción femenina mediante el registro fotogramétrico y técnicas de renderización

2016 ◽  
Vol 7 (15) ◽  
pp. 123
Author(s):  
Fernando Gutiérrez Baños ◽  
Francisco M. Morillo Rodríguez ◽  
Jesús I. San José Alonso ◽  
Juan José Fernández Martín
Keyword(s):  
3D Reconstruction ◽  
Three Dimensional ◽  
Wall Paintings ◽  
Historical Sources ◽  
Close Inspection ◽  
San Sebastian ◽  
The 1950S ◽  
The Church ◽  
Rendering Techniques

<p>The Convent of Santa Clara in Toro (Zamora) was founded in the mid-13<sup>th</sup> century. After destruction during the Castilian civil struggles of the last years of this century, its fabric was rebuilt and it was inhabited again by the Clarissan nuns, who still occupy it.  Its architecture corresponds for the most part to its early-14<sup>th</sup> century rebuilding, even though it is concealed by works carried out from the 16<sup>th</sup> to the 18<sup>th</sup> centuries, so that it is apparently a Baroque complex.  In the 1950s, in the choir of this Medieval hidden structure, a set of wall paintings of the mid-14thcentury was brought to light (one of the most important set of wall paintings of the early Gothic period ever found in Castile), but they were immediately detached from the walls and sold. It was only after a combination of circumstances that they came back to Toro to be installed in another building, the church of San Sebastián de los Caballeros, transformed into a museum. As a consequence of all these operations, the arrangement and sense of these wall paintings was lost. The virtual three-dimensional (3D) reconstruction, based on a deep analysis and criticism of historical sources and on a close inspection and photogrammetric recording of the original room once occupied by the wall paintings, enables us to place them back in their original context through the use of rendering techniques, so recovering one of the most exciting spaces of female devotion of the Castilian 14thcentury.</p>

Două tehnici, un singur iconar: Savu Moga

Transilvania ◽  
2021 ◽  
pp. 91-96
Author(s):  
Alexandra Balan
Keyword(s):  
19Th Century ◽  
Good Condition ◽  
Restoration Process ◽  
Architectural Elements ◽  
Long Period ◽  
Single Piece ◽  
The 19Th Century ◽  
The Church ◽  
Artistic Talent ◽  
The Way

This article brings to attention the work of Savu Moga, a famous icon painter who lived and worked in the 19th century in Transylvania. His artistic talent was native and his greatest skills were revealed by his icons painted on glass, but he also painted icons on wood, a less known fact. Brâncoveanu Monastery from Sâmbăta de Sus, Brașov county, owns 10 icons painted on wood, which are in the process of restoration and research. The technique of painting on wood brings to Moga certain difficulties, which he tried to solve. Although the supports and techniques are different and the order of the stages is reversed, the style of work is very much alike. The colours, the way he writes, the vegetal and architectural elements and the faces of the characters are the same. Also the pigments and the binder used are the same for both types of painting. Regarding the conservation and restoration aspects, the icons that have been properly preserved are generally in good condition, which means he achieved his purpose. Those icons that were used in the church for a long period of time are much more degraded. Every single piece is carefully investigated and treated as a patient. After completing the restoration process of these icons we will have an overview on Savu Moga’s work on wood, compared to his work on glass. Untill then, we are sure of the value of his entire artwork.

Cooperation and Collaboration in Vicenza before Palladio: Jacopo Sansovino and the Pedemuro Masters at the High Altar of the Cathedral of Vicenza

1996 ◽  
Vol 55 (2) ◽  
pp. 158-177
Author(s):  
Manuela Morresi ◽  
Dorothy Hay
Keyword(s):  
Andrea Palladio ◽  
Architectural Analysis ◽  
Architectural Elements ◽  
Architectural Language ◽  
Catholic Reform ◽  
The Church

In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1540s. Documents show that Aurelio Dall'Acqua had connections to Venetian intellectual close to the doge, Andrea Gritti and the Franciscan theologian Francesco Zorzi, who, in those same years, wrote the program for the church of S. Francesco della Vigna and was in contact with Jacopo Sansovino. The inventory of the library of Dall'Acqua and an examination of his correspondence reveal his religious interests: that he was close to Catholic reform circles and interested in Erasmus; an expression of those interests should be considered part of the realization of the altar. Architectural analysis of the monument allows us to note in it a series of medieval and Renaissance elements from Florentine sources, direct borrowing from antique sources, and elements from Venetian architecture of the same period. Comparison of these elements with the architectural language that Palladio developed in the 1540s, after his first visit to Rome, excludes an attribution to him. In any case, the date of design is too early for him to have undertaken an autonomous project. Many of the architectural elements on the altar are to be found in the work of Jacopo Sansovino, who was invited to Vicenza in 1538 to furnish an opinion on the roofing of the tribune of the cathedral and the movement of the original altar to the end of the apse. The design for the architectural structure of the altar is attributed here to Sansovino, while the disposition of the semiprecious stones which entirely cover the altar is considered to be the work of the Pedemuro masters. Francesco Zorzi seems to have been the connecting figure between patron and architect, as he was in Sansovino's commission for the main altar and funerary monument of Cardinal Francesco Quiñones in the basilica of S. Croce in Gerusalemme, Rome.

scholarly journals HBIM IN A SEMANTIC 3D GIS DATABASE

2019 ◽  
Vol XLII-2/W11 ◽  
pp. 857-865 ◽  
Author(s):  
F. Matrone ◽  
E. Colucci ◽  
V. De Ruvo ◽  
A. Lingua ◽  
A. Spanò
Keyword(s):  
Cultural Heritage ◽  
3D Model ◽  
Recent Past ◽  
Architectural Heritage ◽  
Risk Zone ◽  
Architectural Elements ◽  
Digital Documentation ◽  
Santa Maria ◽  
The Church

<p><strong>Abstract.</strong> This work describes the different attempts and the consequent results derived from the integration of an HBIM model into an already structured spatial database (DB) and its 3D visualisation in a GIS project.</p><p>This study is connected to the European ResCult (Increasing Resilience of Cultural Heritage) project where a DB for multiscale analyses was defined. To test the methodology proposed, the case study of Santa Maria dei Miracoli church in Venice was chosen since it represents a complex architectural heritage piece in a risk zone, it has been subject to a vast restoration intervention in the recent past but a digital documentation and model concerning it was missing.</p><p>The 3D model of the church was structured in Revit as a HBIM, with the association of different kind of information and data related to the architectural elements by means of ‘shared parameters’ and ‘system families’. This procedure allows to reach an even higher Level of Detail (LOD4), but lead to some issues related to the semantic and software interoperability. To solve these problems the existing DB for the resilience of cultural heritage was extended adding a new entity representing the architectural elements designed in the BIM project.</p><p>The aim of the test is to understand how the data and attributes inserted in the HBIM are converted and handled when dealing with a GIS DB, stepping from the IFC to the CityGML standard, through the FME software.</p>

scholarly journals Pastophorium in the Church of St. Catherine in Handlova in the Context of the Morphology of Gothic Pastophoria of Slovakia

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Zuzana Grúňová
Keyword(s):  
Design Process ◽  
Geometric Analysis ◽  
Geometric Construction ◽  
Gothic Architecture ◽  
Architectural Elements ◽  
The Temple ◽  
The Church

Abstract The project Geometric Analysis of Architectural Elements of Gothic Architecture in Handlová and its surroundings was dedicated to the documentation of stone Gothic elements of sacral buildings. The aim was to make photographs and drawings for the needs of maintenance and restoration of monuments and also to process geometric analyzes of suitable stone elements. Knowledge of the geometric construction, which is the basis of the design process, can help the correct renewal and presentation, possibly with the addition of missing parts or correction of previous inappropriate interventions. The article is focused on one type of element - pastophorium - niche, a box for storing sacral objects and the Eucharist hosts and its forms in the Gothic churches of Slovakia. The various forms of Gothic pastophorias in terms of the shape and context of the supporting wall of the temple and the stone decoration of the niche / box are briefly pointed out. Geometric analysis of one of the studied pastophores - in the church of St. Katarína in Handlová - forms the conclusion of the article.

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