The document discusses methods and technologies for creating digital replicas in cultural heritage. It provides examples from research projects on 3D reconstruction of archaeological sites like the Banditaccia Necropolis in Cerveteri and the Sarmizegetusa archaeological site. The research team uses techniques like photogrammetry, 3D scanning, and virtual reconstruction to create digital replicas for uses like virtual museums, academic research, and games. Validation of models is an ongoing challenge. The document emphasizes the multidisciplinary nature of the work and potential applications of digital replicas.
This document discusses the convergence of digitization and measurement approaches for documenting tangible cultural heritage. It notes that digitization aims to provide qualitative digital representations through mass production, while measurement produces quantitative data using scientific protocols. Both aim to enhance access and preservation. As technologies improve, the boundaries between the two approaches are blurring. The document calls for new tools and infrastructure to support low-cost, standardized digitization and long-term management of complex, interrelated cultural heritage datasets.
This document discusses new technologies for experiencing heritage sites through 3D digitization. It provides examples of virtual museums created from 3D scans of archaeological sites like Ename Abbey in Belgium. Technologies discussed include virtual reconstructions over time, interactive storytelling applications, natural interaction techniques, and digital restoration of artifacts. The goal is to digitally preserve cultural heritage and provide novel ways to explore archaeological sites and better understand the past.
Presentation at the Digital Museum Expo "Beyond 3D Digitisation: Applications of 3D Technology in Cultural Heritage" on 12-13 March 2015 in the Royal Museum of Art and History in Brussels, Belgium
This document provides an overview of augmented reality (AR). It defines AR as enhancing the real world with computer-generated sensory input like sound, graphics or GPS data. The document outlines the history of AR, compares it to virtual reality, describes typical AR system hardware and software components, and gives examples of AR applications in entertainment, industrial uses, and archaeological sites. It also discusses design challenges and next steps to developing an AR system for interacting with archaeological ruins.
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A PowerPoint Presentation For Public Presentation At Yamafune S Doctral Disse...Angela Tyger
This dissertation proposes a methodology for studying shipwrecks that combines traditional archaeological techniques with new digital tools. The methodology involves recording artifacts and site data through manual collection and photography, processing the data through photogrammetry to create 3D models, analyzing the models to reconstruct hull designs and plans, and disseminating findings through publications and exhibits. The goal is to efficiently extract information from shipwreck sites in a non-destructive manner using digital documentation techniques.
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...rijksmuseum
In a few thousand years, 99% of the physical material of our cultural heritage we try to preserve today will be lost. An inconvenient fact for all stakeholders involved in the preservation of the actual objects which testify to the richness of our past; most will end up as undefinable dust. Destruction is omnipresent: earthquakes, tsunamis, fires, volcanos, time, hostile environments, flashlights, war, neglect, vandalism, collateral damage, and deliberate violations. Concerning the last, whether it is the destruction of heritage sites to make place for the Olympics in Beijing, the dynamiting of the Buddha’s of Bamiyan statues, the burning of the Timbuktu manuscripts or the demolishing of mausoleums of holy men in Syria and Iraq, people always seem to come up with justifying reasons. Our modern cities are built on the foundations of destructive progress. Strategies to overcome this must be formulated. The seven wonders of the world of which only the Giza Pyramids survived, have taken a central position in our understanding of great architectural accomplishments which were lost, to be remembered only thanks to ancient writings. Today the odds are more favorable. Over the last 150 years, architects, engineers, illustrators and archaeologists produced technical drawings of many heritage sites and artefacts. Digitalization projects and efforts are ongoing everywhere and imaging techniques allow reconstructions unthinkable up until recent times. But what to do with them? What is their accuracy? Do we have complete datasets linked with metadata? What is to be considered as a complete dataset? What has not been registered? Templates, protocols and standards should be developed to ensure their sustainability. When all of that is settled, if the original is lost, what gets preserved digitally, and what does not?
This document discusses the convergence of digitization and measurement approaches for documenting tangible cultural heritage. It notes that digitization aims to provide qualitative digital representations through mass production, while measurement produces quantitative data using scientific protocols. Both aim to enhance access and preservation. As technologies improve, the boundaries between the two approaches are blurring. The document calls for new tools and infrastructure to support low-cost, standardized digitization and long-term management of complex, interrelated cultural heritage datasets.
This document discusses new technologies for experiencing heritage sites through 3D digitization. It provides examples of virtual museums created from 3D scans of archaeological sites like Ename Abbey in Belgium. Technologies discussed include virtual reconstructions over time, interactive storytelling applications, natural interaction techniques, and digital restoration of artifacts. The goal is to digitally preserve cultural heritage and provide novel ways to explore archaeological sites and better understand the past.
Presentation at the Digital Museum Expo "Beyond 3D Digitisation: Applications of 3D Technology in Cultural Heritage" on 12-13 March 2015 in the Royal Museum of Art and History in Brussels, Belgium
This document provides an overview of augmented reality (AR). It defines AR as enhancing the real world with computer-generated sensory input like sound, graphics or GPS data. The document outlines the history of AR, compares it to virtual reality, describes typical AR system hardware and software components, and gives examples of AR applications in entertainment, industrial uses, and archaeological sites. It also discusses design challenges and next steps to developing an AR system for interacting with archaeological ruins.
OpenStreetMap Response to Haiti earthquake Shoaib Burq
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Presentation to Digital Humanities class at Pratt Institute on the history of computing in the field of archaeology and current digital humanities projects.
A PowerPoint Presentation For Public Presentation At Yamafune S Doctral Disse...Angela Tyger
This dissertation proposes a methodology for studying shipwrecks that combines traditional archaeological techniques with new digital tools. The methodology involves recording artifacts and site data through manual collection and photography, processing the data through photogrammetry to create 3D models, analyzing the models to reconstruct hull designs and plans, and disseminating findings through publications and exhibits. The goal is to efficiently extract information from shipwreck sites in a non-destructive manner using digital documentation techniques.
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...rijksmuseum
In a few thousand years, 99% of the physical material of our cultural heritage we try to preserve today will be lost. An inconvenient fact for all stakeholders involved in the preservation of the actual objects which testify to the richness of our past; most will end up as undefinable dust. Destruction is omnipresent: earthquakes, tsunamis, fires, volcanos, time, hostile environments, flashlights, war, neglect, vandalism, collateral damage, and deliberate violations. Concerning the last, whether it is the destruction of heritage sites to make place for the Olympics in Beijing, the dynamiting of the Buddha’s of Bamiyan statues, the burning of the Timbuktu manuscripts or the demolishing of mausoleums of holy men in Syria and Iraq, people always seem to come up with justifying reasons. Our modern cities are built on the foundations of destructive progress. Strategies to overcome this must be formulated. The seven wonders of the world of which only the Giza Pyramids survived, have taken a central position in our understanding of great architectural accomplishments which were lost, to be remembered only thanks to ancient writings. Today the odds are more favorable. Over the last 150 years, architects, engineers, illustrators and archaeologists produced technical drawings of many heritage sites and artefacts. Digitalization projects and efforts are ongoing everywhere and imaging techniques allow reconstructions unthinkable up until recent times. But what to do with them? What is their accuracy? Do we have complete datasets linked with metadata? What is to be considered as a complete dataset? What has not been registered? Templates, protocols and standards should be developed to ensure their sustainability. When all of that is settled, if the original is lost, what gets preserved digitally, and what does not?
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This document discusses documenting a complex modern heritage building in Brazil called Theatre Guaira Cultural Centre using multi-image close range photogrammetry and 3D laser scanned point clouds. It describes how the two technologies were used together to efficiently document the building in a limited time frame while artistic activities were ongoing. Laser scanning was well-suited to capture large, complex areas like the stage, while close range photogrammetry captured important small details like cracks that were not visible in the point clouds. The combination of technologies allowed for a precise documentation of the building to inform its restoration.
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"Botafumeiro and Portico de la Gloria" virtual; Enhancement of the Cultural H...Tom Pert
The document describes interactive virtual applications developed to enhance cultural heritage sites in Santiago de Compostela, Spain. It summarizes an application that simulates the swinging motion of the Botafumeiro censer in the cathedral, as well as an application using augmented reality to visualize and learn about the instruments depicted on the Portico de la Gloria sculpture. Both applications aim to educate visitors about the cultural significance of these landmarks and were well received by many users.
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Methods and technologies for the creation of a Digital replica in Cultural Heritage
1. Digital Heritage Bucharest - 11.9th.2018
Methods and technologies for the creation of
a Digital Replica in Cultural Heritage:
examples drawn from research projects
Emanuel Demetrescu, Daniele Ferdani,
Enzo d'Annibale, Bruno Fanini
2. Studies in Cultural Heritage
(Archaeology, History,
Anthropology etc.)
Industry of
Digital libraries
Virtual Museums
Games
content validation
3D as a research tool
academic dissemination
Papers
books
research projects
3. Research team, VH LAB (CNR-ITABC)
• Enzo d’Annibale
• Emanuel Demetrescu
• Bruno Fanini
• Daniele Ferdani
• Alfonsina Pagano
• Augusto Palombini
• Eva Pietroni
• Sofia Pescarin
• Engineer and visual designer
• Classic Archaeologist and 3D modeller
• Computer scientist 3D realtime/CGI
• Medieval Archaeologist and 3D modeller
• UX designer specialist
• Prehistoric Archaeologist and GIS expert
• Art Historian and 3D expert
• Archaeologist Roman Topography
need for a multidisciplinary approach
4. An ambiguous term: 3D reconstruction
•3D reconstruction for
experts in cultural heritage
(archaeologists, architects,
historians etc..)
•3D reconstruction for experts in
geomatics and 3D survey
CG as an aesthetic endeavour ?
5. what is a Digital Replica
it is NOT a digital copy of the real object
it is a visual substitute that make it possible to “experiment” the real object
7. Gesture-based Gaming
Admotum / AiRome
Fanini, B., d'Annibale, E.,
Demetrescu, E., Ferdani, D., &
Pagano, A. (2015, September).
Engaging and shared gesture-
based interaction for museums
the case study of K2R
international expo in Rome. In
Digital Heritage, 2015 (Vol. 1,
pp. 263-270). IEEE
8. Digital Replica
ICOMOS and UNESCO, have revised the definition of Cultural Heritage to include in
this definition not only the elements of historical-artistic relevance and the
testimonies of civilisation but also the environment that surrounds and hosts them.
10. extensive survey at the Necropolis of Banditaccia 2013-2016
Campo della Fiera (interni ed esterni)
Onde Marine (esterni)
Onde Marine (scavo)
Grandi Tumuli (esterni)
Tomba dei capitelli (esterni)
Tomba della cornice(interni ed esterni)
Via dei monti della Tolfa (esterni)
200 m
13. Cerveteri Onde Marine
Tavola 5
vista isometrica de
scala 1:2000
10 m10
10
3D model of the excavation 2016
1500 mq
7 interiors of tomb explored
7 main epochs, from the end of VII to our days
15. Survey, digital restoration and reconstruction of the Great Temple of Sarmisegetusa
Survey 3D
Study
Digital restoration
Virtual Reconstruction
publishing
Ph.D. research - running publishing
16. Investigation on the
archaeological site
3D digital replica
Scientific documentation 3D VM DL Game
“derived" documentation (blueprints, sections)
GIS
Onde Marine Touch/Admotum
Methodologyoftheresearch
aerial and terrestrial photogrammetry,
GPS and laser scanner
21. ITABC-02-S1000
S-1000 costruzione ITABC-CLOUDCAM
Ottocottero, A2, weight 11630 gr.
SPR ITABC-02-GRP32 - Graupner MC-20
GIMBAL tele-controllata universale
CANON 6D 35mm
Doppia trasmissione video a terra
ITABC-01-PHM
take off weight <1300 gr
SPR ITABC-01-GRP16 - Graupner MX-20
Phantom II con GoPro Hero 3
Aerial Photogrammetry
22. Point Cloud Mesh Texture
04Terrestrialphotogr.-ProcessingData Photoscan Project Workflow data
23. 3DsegmentationMeshediting
● 3D models segmentation (∼100 poly per block)
● Mesh optimization (poly decimation, capping
holes)
● Texture building (1 text 2048x2048 px per 5 m²)
● 3 Level of Details (LOD) for RT appl.
implementation: Lod1: 3K; Lod2: 1,5 K; Lod3: 0,5 K
Texturebuilding
04Terrestrialphot.-3DModelOptimization
24. Digital Libraries and Virtual Museums
Solid semantic tools like CIDOC CRM
Lot of literature and projects
3D survey (of extant objects)
Shared metadata schema (i.e. CARARE)
25. Recording the stratigraphy through the matrix of Harris
Tavola 5
vista isometric
scala 1:2000
10 m10
10
Tavola 5
vista isometrica dell'area di scavo
scala 1:2000
10 m10
10
Time
26. US 01 US 04 US 14US -22
2D representation of the Matrix using GraphML
The representation of stratigraphy in the 3D model
27. 3D/2D representation of the Matrix using GraphML
The representation of stratigraphy in Blender 3D EM tools
on git hub !
28. The representation of stratigraphy in Blender 3D
yED - Matrix of Harris Blender - proxy /
representation models
38. High-dynamic-range imaging (HDR) is a technique used in
imaging and photography to reproduce a greater dynamic
range of luminosity
06HDRIsampling-Onffieldacquisition
Mirrored Sphere for HDR
Photographic campaign using multiple exposures
39. Camera Setting
● ISO 200
● Af 5,6
● Te 1/8000 sec → 2 sec
● 2 POV
Mirrored sphere
● 15 cm
06HDRI-Multipleimageexposurecapturing
Equirectangular 360° panoramaPOV 1 POV 2
Multiple image exposure dataset merged to HDR
Transformation of the round fish-eye images to square equirectangular images
41. On-field sample gathering and classification
Creation of a library of the
local flora, sampling the
most prevalent vegetal
species directly on the field:
● Acacia
● Mallus Domestica
● Juglans Regia
● Prunus
● Vitis Vinifera
07Vegetationsampling
42. Organic procedural 3D modeling
Procedural building of the local plants and
placement on their original position in the reality-
based virtual model
3D organic model af a Mallus Domestica
Positioning on the virtual landscape
07Vegetationsampling
43. In recent years only 20% of papers written about the use of 3D technology in
archaeology focus on the 3D reconstruction of lost contexts.
Virtual reconstruction (no more extant objects)
there is a general lack in validation practice inside the community
A recent survey based on 686 publications, reports that only 1% of
contributors propose methods to be used in the validation of models.1
%
20
%
->
44. Filling the gaps with Virtual Stratigraphic Units
we can restore what likelihood
was in the past
49. Cerveteri Onde Marine - reconstruction
Stratigraphic unit (US) or context
USVs Virtual Stratigraphic Unit (structural)
USVn Virtual Stratigraphic Unit (non-structural)
52. Cerveteri Onde Marine - reconstruction
Stratigraphic unit (US) or context
USVs Virtual Stratigraphic Unit (structural)
USVn Virtual Stratigraphic Unit (non-structural)
55. Cerveteri Onde Marine - reconstruction
Stratigraphic unit (US) or context
USVs Virtual Stratigraphic Unit (structural)
USVn Virtual Stratigraphic Unit (non-structural)
58. Digital restoration starts from a physical
element and it is operated on it digital replica
digital anastylosis restores spatial relations
between digital elements
EM
digital anastylosis
59.
60.
61.
62.
63. Touch application for the exploration of the excavation of the
Marine Waves
Onde Marine touch
• The application allows you to explore 8 information points
of the excavation;
• goal of integrating methods and techniques specific to
archaeological documentation
• 3D digital replica -> touch application documentation;
• double language
• fully usable version 1;
• an upgrade is planned when the final location will be
defined (audio, music, additional effects).
64. Touche table - prototype A
Touch table made by CNR-ITABC
(D’Annibale Demetrescu)
made to manage 3D interactive contents
75. We are in the golden hour
technical opportunity: tools to create theoretically
infinite digital worlds (a.k.a. Open Worlds)
Virtual Reconstruction as part of the Archaelogical study to improve quality of virtual museums and games
on the field opportunity: diffusion of tools and users that
are able to make 3D survey campaign in short time
theoretical background ready since ’70 on simulation
in archaeology, virtual and cyber archeology
Digital Replica to express new Cultural Heritage definition
scientific need to include more aspects of the cultural heritage
(environment, light, vegetation, ethnographic aspects etc..)
Scientific hypothesis can be part of a digital world