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Optical triangulation geometry. The angle α is the triangulation angle, M is the magnification factor, q is the image distance, b is the baseline, z is the depth coordinate of point P and z’ is its position on the CCD camera.
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The Minerva of Arezzo is an ancient bronze statue located at the Museo Archeologico in Florence and currently under repair at the Restoration Centre of the Soprintendenza Archeologica of the Tuscany Region. We assembled a complete three-dimensional (3D) digital model of the Minerva before the restoration started. More 3D models will be produced to...
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... • Visualization: The most common way to visualize is to formulate a hypothesis of the shape, properties, and appearance of a certain historical object. Concerning this aspect, digital reconstruction allows the noninvasive application and testing of alterations or restoration (e.g., for destroyed statues) [23][24][25]. • Process investigation: This includes research into historical preparation processes (e.g., planning or construction processes employed by artisans) [26,27]. • Conceptualization: A major question for underlying concepts and intentions, e.g., structuring concepts [28], refers to functions of certain parts of an object (e.g., rooms, figuration, or proportions)[29, 30]. ...
As this chapter shows, digital 3D reconstructions of historic architecture serve many purposes in research and related areas. This comprises answering research questions by creating a 3D model, preserving cultural heritage, communicating knowledge in education, and providing a structure for knowledge organization. The process of creating a 3D reconstruction is often challenging, for example, because of lacking or ambiguous sources. In order to create a 3D reconstruction based on scientific values, guidelines, and standards are needed.
... Three-dimensional (3D) documentation devices and scanners have grown increasingly portable and readily available to the general public over the last twenty years. There has also been an increase in their usage in cultural and heritage (C&H) activities [1][2][3]. The majority of 3D digitisation for C&H purposes has been devoted to preserving historical objects and human-made structures [4]. ...
... Surveying experiments on statues have marked a fundamental step in developing active and passive non-contact surveying techniques for Cultural Heritage. In Italy, several survey campaigns in the early 2000s tested the potential of range-based acquisition tools for the first time (Levoy et al., 2000;Fontana et al., 2002;Guidi et al., 2004). These experiments allowed for defining the 3D acquisition pipeline, preparing for their extensive application in the Cultural Heritage domain Godin et al., 2002). ...
... Over the last two decades, surveying techniques have changed thanks to developments in the instrumental field and implementations of digital data management (Georgopoulos and Stathopoulou, 2017). The vision towards the definition of low-cost surveying methods has appeared since the early 2000s (Rocchini et al., 2002). Over the decades, technological development has made it possible to reduce hardware systems' size by optimizing optical and digital aspects (Bi et al., 2021). ...
The contribution presented is part of a broader study of Cultural Heritage valorisation, defining a workflow for creating full-scale copies of statues using non-contact acquisition tools and 3D printing to enable tactile enjoyment. The research presents an experiment using low-cost active and passive tools to acquire a statuary element in the Ostia Antica Park in Rome. The paper describes a testing process of such instruments, evaluating their performance from a metrological point of view. Furthermore, the experimentation verifies the morphological reliability of different copies of the original, obtained sequentially with different production processes and materials, to validate the production process of statuary copy. The scale of the case study is small and suitable for applying different survey approaches and comparing them towards the definition of a possible working protocol for massive low-cost artefacts 3D acquisition.
... Virtual realities created by modeling archeological objects and structures have been used in supporting archeology and the reconstruction of cultural heritage [5]. At the beginning of this century, however, information technology (IT) could only enable the modeling of structures and archeological objects of cultural heritage in animation form [6,7] Depending on the technology, computers and software have improved almost daily, with the final product's quality determined especially by the software used to produce a 3D model. Based on this development, computer graphic technology enables the modeling of structural groups and even cities in 3D. ...
This study aimed to revitalize ancient cities’ history, culture, and social life, along with their physical environments, through computer-aided, three-dimensional (3D) images. This study will become an instrument for visualization in 3D ancient cities whose historical remains are not intact and are perhaps known only through books, maps, pictures, and inscriptions. Following historical investigations and comparative analyses of similar examples, objects or structures subject to change over centuries, partially damaged, or lost were visualized through the production of models that reflect their original historic design. The images obtained were converted to animations of 3d models with motion, sound, light, and related effects. In addition to animations, this study implemented another technique concerning cities: the Ancient Antioch—the modeled space was installed in a game engine to obtain simultaneous images. Despite certain limitations, the study findings, adequately based on scientific evidence, provide rich visual content for practical use in the three domains of presentation, research, and education. The hope is that this socio-historical, scientific, and esthetic study, established to model, visualize, and animate city life from approximately 1800–2000 years ago, will be instrumental to the further development of its mixed methodologies and provide a new synthetic process for an ongoing feedback loop. Perhaps the most important output of this study was the use of almost all of the images obtained in the Hatay Archaeology Museum. After the final stage of preparation, the presentation of Ancient Antioch is planned to be done in 2023 of March and opened to visitors on special platforms with Unity 3D. An actual excavation area’s data can be constantly modeled and remodeled, thus improving the scientific feasibility, quality, and uniqueness of excavation work and the dissemination of scientific results.
... Digitization of cultural assets for preservation and promotion, which is referred to as e-Heritage (Ikeuchi 2013), is an interesting and promising sub-area of computer vision (CV). This sub-area, which has spread over the last two decades, promotes the advances in data-collection hardware and dataprocessing software in the CV area as well (Levoy et al. 2000;Fontana et al. 2002;Allen et al. 2003;Ikeuchi and Miyazaki 2008;Bok et al. 2011;Gomes et al. 2014). These early projects focused on accurately collecting and recording geometric digital data for preservation of cultural assets. ...
Digitization of cultural assets has become an important sub-area of computer vision (CV). Thus far, the value of digitization has been emphasized in terms of asset preservation and exhibition. The third aspect of digitization value is that the obtained digital data can be used to perform archaeological analysis based on physics and optics theories and simulations. This position paper emphasizes the importance of this third aspect, using our Kyushu decorative tumuli project as an illustrative example. In particular, we focus on the photometric approaches in the third aspect and explain the equipment and methods developed there as well as archaeological findings. This paper, then, proposes to establish this area as “cyber-archaeology” through categorizing and organizing those methodologies.
... Visualization: The most common way to visualize is to formulate a hypothesis of the shape, properties, and appearance of a certain historical object. Concerning this aspect, digital reconstruction allows the non-invasive application and testing of alterations or restoration (e.g., for destroyed statues [266][267][268]). Process investigation: This includes research into historical preparation processes (e.g., planning or construction processes employed by artisans). ...
Digital 3D modelling and visualization technologies have been widely applied to support research in the humanities since the 1980s. Since technological backgrounds, project opportunities, and methodological considerations for application are widely discussed in the literature, one of the next tasks is to validate these techniques within a wider scientific community and establish them in the culture of academic disciplines. This article resulted from a postdoctoral thesis and is intended to provide a comprehensive overview on the use of digital 3D technologies in the humanities with regards to (1) scenarios, user communities, and epistemic challenges; (2) technologies, UX design, and workflows; and (3) framework conditions as legislation, infrastructures, and teaching programs. Although the results are of relevance for 3D modelling in all humanities disciplines, the focus of our studies is on modelling of past architectural and cultural landscape objects via interpretative 3D reconstruction methods.
... When the focus of the restoration is the static behaviour of the statue or its integrity, the 3D model can be converted in a model for structural analysis by Finite Element Analysis (FEA), as conveniently demonstrated in applications on marble statues (e.g. David of Michelangelo [11], the marble of Alba Fucens [12]) and bronze statues (such as Marco Aurelio and Minerva di Arezzo [13,14]). FEA is used also to evaluate stress concentration and to map critical areas for material weakness or static stability. ...
Nowadays, restoration is a multidisciplinary work that gathers knowledge and skills from different areas (technical, artistic, historical, architectural, …). In the field of ancient bronze statues, technical knowledge may also concern with materials behaviour and its preservation, surface quality, non-destructive diagnostics for integrity, a better understanding of the manufacturing technology, and of details, sometimes hidden, in not directly accessible sections of the artefact. This knowledge, got from different domains, can support restorers in their decision-making process. In many cases, they summarise it on pictorial views of the artefacts, or on images derived from the 3D model that is experimentally acquired through reverse engineering, to reference information on the interested areas. The aim of this paper is to explore the advantages related to a CAD-based framework able to gather the technical domains involved in the restoration of historical artifacts. Doing so, CAD functionalities and related benefits may be extended to cultural heritage applications as tools oriented for restoration, according to a life cycle perspective of the restorer’s activities and the artefact preservation and fruition. The proposed CAD-based framework has been implemented to manage the investigation for restoration and conservation of bronze statues. The approach has been applied to the Principe Ellenistico, part of the collection of Palazzo Massimo, one of the sites of Museo Nazionale Romano (in Rome). The obtained results show that the CAD-based framework may speed-up the investigation processes without losing accuracy and restorers’ good practices.
... Para registrar el estado de conservación de una pieza es habitual recurrir a sistemas bidimensionales, como fotografías, fichas técnicas con notas y mapas gráficos. En las últimas décadas, la adquisición de modelos 3D mediante la fotogrametría digital o el escaneo láser, se ha convertido en uno de los métodos estándar para documentar, diagnosticar, conservar, restaurar y difundir el patrimonio cultural [4][5][6][7][8][9]. Al disponer de una malla poligonal, que replica al objeto real en todas sus características físicas, el conservadorrestaurador puede visualizarlo en la pantalla del ordenador con la finalidad de estudiar sus características técnicas, diagnosticar deterioros que a simple vista no son detectables y realizar simulaciones virtuales que ofrezcan soluciones sin que esto suponga una manipulación directa. ...
El objetivo de este trabajo es presentar un nuevo enfoque práctico de la fotogrametría digital en la diagnosis artística y la restauración virtual. El estudio se ha aplicado a un modelo anatómico de cera policromada, datado en el siglo XVIII. En el registro fotográfico, se ha utilizado la combinación de fuentes de iluminación (visible y ultravioleta) para obtener modelos 3D que sirven como herramientas de documentación para a la hora de mapear con exactitud el estado de conservación y de proyectar la restauración virtual. Se describen las etapas del proceso fotogramétrico junto con la estrategia de iluminación y la gestión del color empleados para solventar la problemática del registro virtual en superficies de objetos con acabados muy brillantes. Los resultados obtenidos son prometedores puesto que permiten obtener un modelo 3D con un óptimo registro de la morfología de la escultura sobre el que proyectar virtualmente soluciones dentro del modelo de toma de decisiones.
... The authors proposed various ways for the extraction of surface properties, such as color from the acquired images and examined various 3D models representation techniques. "The Minerva Project" was conducted by [21] in which, 3D modeling was performed on a 1.55-meter tall ancient statue by a laser scanner to visualize the changes that occurred during the restoration process. The "Eternal Egypt Project" by [20] developed a virtual museum and digital guide for various monuments in Egypt by using high quality color imaging and thousands of 2D scan data to create a 3D model. ...
... In acquisition and documentation of heritages, ICT methods such as photographing and manual taping are used. Other heritages such as architecture are preserved using engineering methods such as AutoCAD [3,4]. ...
This chapter introduces heritage as a concept that acts as a bridge between the past and the present and one that brings pride from the past to the present. Heritages are classified based on various criteria, such as tangible versus intangible, natural versus cultural, portable versus immovable, and domain specific, among others. The management of heritages is a multidisciplinary and multisectoral undertaking. Stakeholders ranging from historians to archeologists, governments, scientists, and international organizations are playing an active role in heritage management and preservation. Of these groups, the contribution of scientists is most visible, especially in the development of scientific approaches, computer-based techniques, and information and communications technology (ICT) tools and platforms employed in the management, processing, sharing, conservation, and preservation of heritages, particularly digital heritages (DH).
