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MarcoCeccarelli· MichelaCigola
GiuseppeRecinto Editors
New Activities
for Cultural
Heritage
Proceedings of the International
Conference HeritageBot 2017
Marco Ceccarelli •Michela Cigola
Giuseppe Recinto
Editors
New Activities
for Cultural Heritage
Proceedings of the International
Conference HeritageBot 2017
123
Editors
Marco Ceccarelli
LARM: Laboratory of Robotics and
Mechatronics, Department of Civil
and Mechanical Engineering
University of Cassino and South Latium
Cassino
Italy
Michela Cigola
DART: Laboratory for Documentation,
Analysis, Survey and Techniques on
Architecture and Territory,
Department of Civil
and Mechanical Engineering
University of Cassino and South Latium
Cassino
Italy
Giuseppe Recinto
Department of Economics and Laws
University of Cassino and South Latium
Cassino
Italy
ISBN 978-3-319-67025-6 ISBN 978-3-319-67026-3 (eBook)
DOI 10.1007/978-3-319-67026-3
Library of Congress Control Number: 2017951434
©Springer International Publishing AG 2017
This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part
of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations,
recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission
or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar
methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are exempt from
the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this
book are believed to be true and accurate at the date of publication. Neither the publisher nor the
authors or the editors give a warranty, express or implied, with respect to the material contained herein or
for any errors or omissions that may have been made. The publisher remains neutral with regard to
jurisdictional claims in published maps and institutional affiliations.
Printed on acid-free paper
This Springer imprint is published by Springer Nature
The registered company is Springer International Publishing AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Contents
On the History of the Theory of Plough .......................... 1
Vera Chinenova
The Plumb Board in the Missing Panel: A New Key for
Understanding the Renaissance Symbolism in the Gubbio Studiolo ........ 12
Vincenzo Mabrogi and Pier Gabriele Molari
Designing and Prototyping Reconstruction of Musician Automata ..... 22
Yu-Hsun Chen, Marco Ceccarelli, and Hong-Sen Yan
A Comparison Between Ancient Chinese and European Winnowers:
Further Research on the Ancients’Recognition
and Application of the Centrifugal Principle ...................... 33
Huang Xing
A Study on the Early Chinese Steel Rails Heritage of Hanyehping
Company, China ............................................. 43
Yibing Fang, Lifang Lei, and Zhiqiang Luo
Ordinary and not so Ordinary Theaters in Buenos Aires at the
Beginning of 20
th
Century. A Study After Jose Maria Calaza’s
Book Teatros. Su construcción, sus incendios y su seguridad .......... 54
Eduardo César Gentile
Architectures and Fortified Settlement Systems of Ager Nolanus.
The Avella’s Norman Castle.................................... 64
Riccardo Florio, Teresa Della Corte, and Angela Colucci
Knowledge and Classification for the Interactive Dissemination
of Chorizo Houses in Argentina ................................. 79
Fabiana Carbonari and Emanuela Chiavoni
Augmented Reality for Cultural Heritage. An Application
in the Archaeological Area of Tusculum .......................... 87
Saverio D’Auria, Fabrizio De Silla, and Rodolfo Maria Strollo
xi
New Steps of Social Learning by Dynamic Museums................ 95
Alberto Rovetta
Prototype and Testing of HeritageBot Platform for Service
in Cultural Heritage .......................................... 103
Marco Ceccarelli, Daniele Cafolla, Matteo Russo, and Giuseppe Carbone
The HeritageBot Project. Putting Robotics into Survey .............. 113
Michela Cigola, Arturo Gallozzi, Luca James Senatore,
and Roberto Di Maccio
Photogrammetry and Multispectral Imaging for Conservation
Documentation –Tools for Heritage Specialists .................... 122
Andres Uueni, Fabrizio Ivan Apollonio, and Hilkka Hiiop
A Rotating Info-stele for Cultural Heritage Sites ................... 131
Stephan Buerger, Dimitra Katsota, Eugenios Fainekos,
and Thomas Chondros
A Searching Robot for Cultural Heritage Tasks.................... 140
Fernando Gomez-Bravo, Giuseppe Carbone, and Pablo Villadoniga
Quality or Quantity: The Role of Representation
in Archaeological Architecture .................................. 150
Carlo Bianchini, Michael Hess, Carlo Inglese, and Alfonso Ippolito
Digital Technologies for the Documentation, Analysis,
and Dissemination of the Etruscan ‘Stele di Vicchio’................ 158
Barbara Aterini, Alessandro Nocentini, and Gregory P. Warden
Reloading Le Corbusier’s Architectures with New Technologies
for Advanced Visualization of Cultural Heritage ................... 166
Alberto Sdegno, Roberto Ranon, Pedro Manuel Cabezos Bernal,
Silvia Masserano, and Paola Cochelli
Sedile Dominova in Sorrento: Survey and Analysis
of a Complex Architecture ..................................... 174
Raffaele Catuogno, Francesca Porfiri, and Gaia Lisa Tacchi
Web Spherical Panorama for Cultural Heritage 3D Modeling ........ 182
Leonardo Paris, Michele Calvano, and Carla Nardinocchi
Colorimetric Study on Optical Data from 3D Laser Scanner
Prototype for Cultural Heritage Applications ...................... 190
Sofia Ceccarelli, Massimiliano Guarneri, Roberta Fantoni,
Lucina Giacopini, Alessandro Danielis, Mario Ferri De Collibus,
Massimiliano Ciaffi, Giorgio Fornetti, and Massimo Francucci
xii Contents
MUS.AQ: A Digital Museum of L’Aquila for the Smart City
INCIPICT Project............................................ 200
Stefano Brusaporci, Mario Centofanti, and Pamela Maiezza
The Valorization of Cultural Heritage Technology Transfer
Through Entrepreneurial Discovery ............................. 209
Francesco Ferrante
A Framework for a Smart Cultural City ......................... 217
Marco Gaiani, Berta Martini, and Fabrizio Ivan Apollonio
How to Design Citizen-Science Activities: A Framework
for Implementing Public Engagement Strategies
in a Research Project ......................................... 228
Nello Augusto Colella and Francesco Bolici
Heritage by Dynamic Museums Project with New Artificial
Intelligence Suggestions ....................................... 239
Alberto Rovetta, Edoardo Rovida, and Giulio Zafferri
Author Index ................................................ 247
Contents xiii
Reloading Le Corbusier’s Architectures
with New Technologies for Advanced
Visualization of Cultural Heritage
Alberto Sdegno
1(✉)
, Roberto Ranon
2
, Pedro Manuel Cabezos Bernal
3
,
Silvia Masserano
1
, and Paola Cochelli
1
1University of Trieste, Trieste, Italy
sdegno@units.it, {silvia.masserano,paola.cochelli}@phd.units.it
2University of Udine, Udine, Italy
roberto.ranon@uniud.it
3Universidad Politécnica de Valencia, Valencia, Spain
pcabezos@ega.ups.es
Abstract. The aim of the research was to analyse some architectures designed
by Le Corbusier and to visualize them with advanced technologies in order to
explain better the singularity of their geometry and form. In particular we studied
the Esprit Nouveau Pavilion and the Cabanon in Cap Martin. Both cases were
developed with different systems of communication. The first one – the Esprit
Nouveau Pavilion – is based on a protocol of dynamic real-time navigation,
similar to the interaction we have using video games; for the second one we have
used a static anamorphic anaglyph, which can be seen with the well-known
glasses having two different red-blue lens, for the stereoscopic visualization [1].
All of them have requested different softwares and procedures which are
described into the paper. The aim is to define some possible uses of these tech‐
nologies to be applied for exhibitions and culture dissemination of architectural
heritage.
Keywords: Le corbusier · Esprit nouveau · Cabanon · Interactive navigation ·
Advanced visualization
1 Introduction
In occasion of the 50
th
anniversary of Le Corbusier’s death – 1965–2015 – the University
of Trieste decided to organize an event dedicated to the master. The event was charac‐
terized by an exhibition called “Le Corbusier reloaded” and by a lectio magistralis by
José Oubrerie, the last collaborator of the studio of the architect. In particular the exhi‐
bition presented the most important architectures by him developed with new technol‐
ogies, as a final result of a long period of study. In that case there were interactive systems
of exploration, video animations, augmented reality models to introduce the visitors
virtually inside, rapid prototyping scale models, stereoscopic visualizations and some
other things.
© Springer International Publishing AG 2017
M. Ceccarelli et al. (eds.), New Activities for Cultural Heritage,
DOI 10.1007/978-3-319-67026-3_18
The works we presented in this paper are further evolutions of what we show inside
that exhibition to improve better this technology.
The aim of the whole research was to analyze Le Corbusier’s works, with a faithful
description derived directly from his drawings, trying to clarify some aspects of them
thanks to the peculiarity of advanced communication, that, in some cases can amplify
the imaginative potentiality of them.
As we know, this architect had a great visionary skill. Although he succeeded in real‐
izing a lot of important buildings, the overwhelming majority of them remains unbuilt. In
this case the Esprit Nouveau was destroyed after the 1925 Exhibition and, although it was
rebuilt in Bologna, it is possible to visit the interior spaces of the recent reconstruction
only in some periods of the year after having booked, while you can access to the exte‐
rior. Instead, for the Cabanon, if you would like to experience it, there are some difficul‐
ties due to the particular position on the peninsula of Cap-Martin. In fact the small house
– his “castle ten square meters big” as Le Corbusier likes to call it – is completely hidden
by the thick vegetation that surrounds it and the visit is allowed only for groups and with
a booking done some months before [2].
2 Virtual Exploration of the Esprit Nouveau Pavilion
The aim of this research was the creation of an application to navigate in real-time within
the Esprit Nouveau Pavilion, designed in 1925 by the architect Le Corbusier in collab‐
oration with Pierre Jeanneret, on the occasion of the International Decorative Arts in
Paris (Figs. 1a, b) [2].
Fig. 1. a, b The plan of the Esprit Nouveau Pavilion and a photograph during the International
Exhibition of Decorative Arts in Paris, 1925 [3, 4].
Reloading Le Corbusier’s Architectures with New Technologies 167
The application was developed by the laboratory HCI Lab at the University of Udine
for the exhibition “Le Corbusier Reloaded”, organized in Gorizia by the Five Years
Degree Course in Architecture at the University of Trieste, for the fiftieth anniversary
of the death of the master.
We started from a three-dimensional model that has been integrated with some
missing parts – such as the internal staircase – which were clearly visible in the original
drawings and the historical building photos.
The model has been simplified and modified using 3D CAD and modelling software.
For the development of the application, however, the rendering engine we used was
Unreal Engine 4.
The application is divided into two main parts: one devoted to provide information
and the other one for the navigation within the building.
The information section highlights basic notes about the history of the building and
the architectural building distribution (Fig. 2).
The Esprit Nouveau Pavilion was built during the International Exhibition of Deco‐
rative Arts in Paris in 1925, under the direction of Le Corbusier. At the end of the
exhibition it was destroyed. Only in 1977 the municipality of Bologna, in Italy, decided
to approve the project of rebuilding it, after the proposal of Giuliano Gresleri and José
Oubrerie (the strict collaborator of Le Corbusier), in front of the Bologna fair in the
occasion of the French participation to the International Building Exhibition (SAIE),
using innovative construction techniques which reproduce faithfully the original idea.
The building has two main areas: the living area and the exhibition grounds [5].
The living area is the prototype of one of the residential cells that Le Corbusier
designed for the city of three million inhabitants.
The exhibition spaces, or the Diorama, hosted some images of urbanization studies,
especially two perspectives of 100 square meters each, representing the City of Three
Million Inhabitants (1922) and the Plan “Voisin” in Paris (1925).
The visit in real-time of the Esprit Nouveau pavilion begins outside the building.
The user can move around it or enter from the two accesses that are present there: the
main entrance (which is indicated by a sign) and a secondary one that, through an
external staircase, leading directly to the second floor.
Inside the building the user has the possibility to move on the ground floor of the
housing area, on the roof garden, can climb to the top floor with the metal staircase, or
linger in the exhibition area to observe the two dioramas such as the visitors of the 1925’s
pavilion in Paris did (Fig. 3).
Fig. 2. Initial screenshot about the history of the building and the architectural distribution.
168 A. Sdegno et al.
Fig. 3. External view of the digital pavilion, living room, dioramas.
To make the visit as realistic as possible, we carefully designed materials, trying to
reproduce faithfully the original ones by deducting them from the historical images of
the building or from those of the Bologna’s one, in particular: the concrete of the exterior
of the pavilion, the tile flooring, the windows and the external logo that characterizes
the building (Fig. 4).
Fig. 4. Main façade of the pavilion with the ‘EN’ logo, interior staircase, main window.
Particular attention has been paid to the choice and distribution of vegetation, to
render the park around the building similar to reality. We have recreated a wind effect
to give dynamicity to the scene.
At the end, we added a soundtrack that accompanies the visit: outside, one can feel
the sounds of nature, and in background one can hear the music played inside, that is,
the “Suite für Klavier” op. 25 for piano by the composer Arnold Schönberg, who was a
contemporary of Le Corbusier and, as we know, was so innovative of the music scene.
The music has been composed between 1921 and 1923 and performed for the first time
in 1924. This track is used with the permission of the Belmont Music Publisher of Los
Angeles.
The application was built for different types of devices: Windows, MacOS, iOS,
Android, and WebGL in order to give wide dissemination.
3 Three-Dimensional Visualization of the Cabanon
Designed in 1951 in less than an hour on a table in the restaurant Étoile de Mer of his
friend Robert Rebutato as a gift to offer to his wife Yvonne on the occasion of her
birthday, the Cabanon summarizes the archetype of the dwelling within which lead a
life marked by simplicity.
Preconceived in Ajaccio in 1952, and assembled near the Étoile de Mer on a narrow
terraces leading down to the bay of Roquebrune-Cap-Martin, this small summer home
evokes the physical consistency of its external covering the appearance of a mountain
Reloading Le Corbusier’s Architectures with New Technologies 169
chalet, and in ‘austerity’ of its furnishings the essentiality of the cabin of a boat or a
sleeper (Fig. 5).
Fig. 5. Plan and sections of the three-dimensional model of the Cabanon (elab. S. Masserano).
The rules of the Modulor determine the geometric configuration of the micro spaces
set up in the shed and of the elements that constitute the relative furniture. Inside an area
of little more than 18 square meters its interior accommodates a living space in which
are placing a corridor and a minimum bath, and within a square compartment of
3.66 × 3.66 m, there are two beds, a wardrobe, a library, a sink and a table. In this small
shelter, between the attic and the space reserved for daily life, there is also a useful utility
room for luggage while it is excluded the kitchen, due to the fact that the architect used
170 A. Sdegno et al.
the one of his friend, owner of the cited restaurant, which access was through an open
door in the corridor.
How happens on the boats, the furniture occupies the corners of the cabin of which,
however, it is an integral part, detailing the different uses of the dwelling. For this reason
the digital reconstruction of the Cabanon, having to include the furniture in drawing up
its volumes, was performed in full scale 1:1, setting that allowed to examine in its three-
dimensionality the essentiality of a project dominated by the economy of space. In addi‐
tion, the numerical model faithfully reproduces the dimensions of each of them, making
the plastic value even more evident.
But the main purpose of modeling the Cabanon has been the development of an
advanced visualization system that would allow to grasp the three-dimensional model
in its real volumetric configuration. Therefore, we decided to opt for the stereoscopic
representation that allows, with a double conical projection, to have a truly 3D visuali‐
zation.
Then, we used an algorithm for the generation of a double perspective, to be seen
with an optical viewer. In particular, we decided to opt for the anaglyphic representation,
which allows an immediate result of the model in three dimensions, and above all oper‐
ates with low-cost technology, easily to employ in the demonstrative use (Fig. 6) [6].
Fig. 6. Anamorphic anagliph of the Cabanon (elab. P.-M. Cabezos Bernal).
The further element of characterization has been the adoption of an anamorphic
principle in the final image generation, so that the vision of the same could have a dual
purpose: on one hand, in fact, the image can be observed from the front, so that the
observer may seem to be in front of a pseudo isometric representation of the scene. On
the other hand, however, the anamorphic deformation allows you to view the object as
if it were resting on a surface - literally as if it were a real object - if looked with an
inclination of 45° in respect to the image itself. In this way it is possible to simulate a
model as if it really were sitting in front of it, even if in small scale. This type of anagly‐
phic anamorphic representation can be very useful when applied to architectural cases,
Reloading Le Corbusier’s Architectures with New Technologies 171
since it allows a display suited to this type of element, which, as we know, is based on
the fact that every building always is placed on a floor surface [7, 8].
4Conclusions
The outcomes of the research have allowed to define some procedures for communicate
cultural heritage with new technologies. In some cases – such as in the real-time explo‐
ration of the Esprit Nouveau pavilion - system conflicts about the difficulties of represent
dynamically a complex and well textured building, were resolved using a different
approach to the problem, based on a new structure of the information.
The research based on the stereoscopic anaglyph of the Cabanon opens new possi‐
bilities of exploration in the field of Virtual Reality, adopting the criterion of deforming
anamorhically an object – specially an architectural one – instead of the traditional 3D
visualization, which is already being developed.
Finally both cases gave a further help on the definition of some protocols for the
possible use of new technologies to comprehend better the peculiarity of architecture,
finalized to the communication of cultural heritage.
Acknowledgments. The research was funded by the National Research Fund Prin 2010-11, titled
“Architectural Perspectives: digital preservation, content access and analytics” (national director
Riccardo Migliari, Sapienza University of Rome, local coordinator for University of Udine,
Roberto Ranon) and by the F.R.A. 2013 fund of the University of Trieste (coordinator Alberto
Sdegno) titled “Augmented architecture”. It was developed among three universities: the
Department of Engineering and Architecture of the University of Trieste (Alberto Sdegno) for the
general coordination of the different aspects of the experiments; the Human-Computer Interaction
Lab (http://hcilab.uniud.it/) of the Department of Mathematics, Computer Science, and Physics
of the University of Udine (Roberto Ranon); the Departmnet of Expresión Gráfica Arquitectónica
of the Universidad Politécnica de Valencia (Pedro-Manuel Cabezos Bernal), with the
collaboration of PhD students Silvia Masserano and Paola Cochelli. In detail chapter 1 and 4 are
by A. Sdegno, chapter 2 by R. Ranon and P. Cochelli, chapter 3 by P.-M. Cabezos Bernal and S.
Masserano.
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