3D visualisations –including 3D scans and 3D reconstructions–designed as part of larger archaeology, history or cultural heritage projects are commonly shared with the public through online platforms that were not necessarily designed to host heritage representations and often fail to contextualize them. This paper seeks to evaluate whether five online platforms commonly used today to share 3D visualisations of heritage (Google Arts & Culture, CyArk, 3DHOP, Sketchfab and game engines) offer features that facilitate their scientific rigour and community participation, based on guidelines from International Council on Monuments and Sites(ICOMOS)and United Nations Educational, Scientific, and Cultural Organization(UNESCO). The author starts by summarizing recommendations from 32 international guidelines that are relevant to the 3D visualization of heritage, condensing them into nine key criteria: multi-disciplinary teams, objective-driven methodology and tools, careful documentation, type of reconstruction and level of certainty, authenticity, alternative hypotheses, multiple historical periods, respectful use of the heritage, and community engagement. The author proceeds to review the platforms above comparing their features with these nine recommendations and concludes that, while there are currently available features that could help to elevate the scientific rigour of the 3D visualisations and their contextualization to the public, they are not mandatory and are seldom used. The paper finishes with a recommendation for an information package to support3D visualisations of heritage on public online platforms.Highlights:Online platforms for the 3D visualization of heritage fail to disclose what type of reconstruction it is and its level of certainty, struggling to balance community engagement vs scientific rigour of their contents.ICOMOS and UNESCO recommendations regarding heritage are loosely followed on the reviewed platforms, and supporting documentation is often lacking.Scientific rigour on these platforms could be elevated with supporting textual fields to disclose further information about each visualisation.
{"title":"Scientific rigour of online platforms for 3D visualization of heritage","authors":"Nataska Statham","doi":"10.4995/VAR.2019.9715","DOIUrl":"https://doi.org/10.4995/VAR.2019.9715","url":null,"abstract":"3D visualisations –including 3D scans and 3D reconstructions–designed as part of larger archaeology, history or cultural heritage projects are commonly shared with the public through online platforms that were not necessarily designed to host heritage representations and often fail to contextualize them. This paper seeks to evaluate whether five online platforms commonly used today to share 3D visualisations of heritage (Google Arts & Culture, CyArk, 3DHOP, Sketchfab and game engines) offer features that facilitate their scientific rigour and community participation, based on guidelines from International Council on Monuments and Sites(ICOMOS)and United Nations Educational, Scientific, and Cultural Organization(UNESCO). The author starts by summarizing recommendations from 32 international guidelines that are relevant to the 3D visualization of heritage, condensing them into nine key criteria: multi-disciplinary teams, objective-driven methodology and tools, careful documentation, type of reconstruction and level of certainty, authenticity, alternative hypotheses, multiple historical periods, respectful use of the heritage, and community engagement. The author proceeds to review the platforms above comparing their features with these nine recommendations and concludes that, while there are currently available features that could help to elevate the scientific rigour of the 3D visualisations and their contextualization to the public, they are not mandatory and are seldom used. The paper finishes with a recommendation for an information package to support3D visualisations of heritage on public online platforms.Highlights:Online platforms for the 3D visualization of heritage fail to disclose what type of reconstruction it is and its level of certainty, struggling to balance community engagement vs scientific rigour of their contents.ICOMOS and UNESCO recommendations regarding heritage are loosely followed on the reviewed platforms, and supporting documentation is often lacking.Scientific rigour on these platforms could be elevated with supporting textual fields to disclose further information about each visualisation.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":" ","pages":""},"PeriodicalIF":2.3,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45231647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Building Information Modelling (BIM) is a collaborative system used extensively in the design and management of the Architecture, Engineering and Construction (AEC) industries. Current platforms manage the information as data centres (i.e. databases) related to graphical representations located in 3D parametric models. Today, these new technologies are nowadays being incorporated in heritage assets. This paper aims to establish a methodology, based on these efficient platforms, for studying built heritage, including historical and construction aspects by adding the chronology of those interventions made in the historic building. This case study is focused on the Palace of the Children of Don Gome, a historic building located in the city of Andujar, in Jaen (Spain). The interest of this case study lies in the historic innovations and areas added to this palace. Likewise, the collection and manipulation of the graphic information and data related to the interventions have been based on an interoperable 3D graphic model, which allows users to include all the related documentation from different disciplines associated with the conservation and heritage restoration processes. In this paper, the construction process carried out during the last restoration of the building is studied. Specifically, it analyses the last building intervention in 1989, in particular an area of the coffered ceiling slab in the northern nave, located on the first floor. Within this model, all the elements that constitute the roof of the tower, mudwall walls, slabs and coffered ceilings of the northern nave have been studied, using photogrammetry for data acquisition and 3D modelling, and these data are included in a 3D digital model of the building generated using ArchiCAD software. Moreover, the system will be used to improve the management of the information obtained during heritage maintenance, creating a record of the whole building life cycle. As well as the historical documentation and graphical research, and the analysis of the procedures carried out during the last refurbishment of the building, new building construction system proposals have arisen which have been modelled to fulfil the Level Of Development (LOD) 300. Further analysis of these construction solutions used provides knowledge of how large 16th century palaces were built, and the kind of restoration conducted by architects at the end of the 20th century. The results obtained show how current BIM platforms are able to record construction and evolutionary aspects of a building’s history, by identifying all the original elements and classifying them before their demolition. Also, by making a detailed inventory of the whole coffered ceiling in which the position and the temporal order (original – later addition) of the elements are included, it is possible to virtually replace those elements in their original positions, reducing the visual impact of the intervention. On the other hand, multiple errors in pro
{"title":"Construction study of the Palace of the Children of Don Gome (Andújar, Jaén), managed through the HBIM project","authors":"E. D. F. Nieto, J. Moyano, Álvaro García","doi":"10.4995/VAR.2019.10567","DOIUrl":"https://doi.org/10.4995/VAR.2019.10567","url":null,"abstract":"Building Information Modelling (BIM) is a collaborative system used extensively in the design and management of the Architecture, Engineering and Construction (AEC) industries. Current platforms manage the information as data centres (i.e. databases) related to graphical representations located in 3D parametric models. Today, these new technologies are nowadays being incorporated in heritage assets. This paper aims to establish a methodology, based on these efficient platforms, for studying built heritage, including historical and construction aspects by adding the chronology of those interventions made in the historic building. This case study is focused on the Palace of the Children of Don Gome, a historic building located in the city of Andujar, in Jaen (Spain). The interest of this case study lies in the historic innovations and areas added to this palace. Likewise, the collection and manipulation of the graphic information and data related to the interventions have been based on an interoperable 3D graphic model, which allows users to include all the related documentation from different disciplines associated with the conservation and heritage restoration processes. In this paper, the construction process carried out during the last restoration of the building is studied. Specifically, it analyses the last building intervention in 1989, in particular an area of the coffered ceiling slab in the northern nave, located on the first floor. Within this model, all the elements that constitute the roof of the tower, mudwall walls, slabs and coffered ceilings of the northern nave have been studied, using photogrammetry for data acquisition and 3D modelling, and these data are included in a 3D digital model of the building generated using ArchiCAD software. Moreover, the system will be used to improve the management of the information obtained during heritage maintenance, creating a record of the whole building life cycle. As well as the historical documentation and graphical research, and the analysis of the procedures carried out during the last refurbishment of the building, new building construction system proposals have arisen which have been modelled to fulfil the Level Of Development (LOD) 300. Further analysis of these construction solutions used provides knowledge of how large 16th century palaces were built, and the kind of restoration conducted by architects at the end of the 20th century. The results obtained show how current BIM platforms are able to record construction and evolutionary aspects of a building’s history, by identifying all the original elements and classifying them before their demolition. Also, by making a detailed inventory of the whole coffered ceiling in which the position and the temporal order (original – later addition) of the elements are included, it is possible to virtually replace those elements in their original positions, reducing the visual impact of the intervention. On the other hand, multiple errors in pro","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":"10 1","pages":"84-97"},"PeriodicalIF":2.3,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48682038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ali Atar, alcaide de Loja y senor de Zagra, nacio hacia el ano 1393. Fue uno de los principales jefes militares del periodo nazari y llego a emparentar con la Casa Real Granadina al casar a su hija Moraima con el mismo Boabdil, ultimo Rey de Granada. Fallecio en la batalla de Lucena en 1483, donde se le arrebato una de las magnificas espadas jinetas de manufactura andalusi conservada y localizada en los fondos del Museo del Ejercito de Toledo (MUSEJE). Un recurso tan valioso como es el patrimonio cultural ya no se conforma con una conservacion fisica; debe complementarse de una preservacion digital exhaustiva en todas sus formas, siendo basico y necesario para su adecuada salvaguarda. Este articulo se centra en la digitalizacion tridimensional (3D) a partir de la fotogrametria digital y el modelado 3D de esta pieza de armamento historico militar. Apoyandonos en la fotogrametria y en las tecnologias de la informacion y la comunicacion (TIC), vamos a obtener una documentacion geometrica de precision y unos modelos 3D orientados a la investigacion, educacion, difusion y preservacion de un patrimonio tan importante y desconocido como es el patrimonio historico militar. Esta investigacion demuestra la importancia de las tecnicas de documentacion geometrica para la democratizacion de los museos. Contribuye a mejorar los procesos de investigacion, abriendo una nueva linea de estudio, a partir de la cual, podemos reconstruir el pasado a traves de la virtualidad, pudiendo asi marcar y confirmar hipotesis historicas. Estas tecnicas ofrecen la posibilidad de poner en valor piezas relevantes y singulares dentro y fuera de los museos. Lo mas destacado: Se adapta la fotogrametria multi-imagen de objeto cercano al proceso de documentacion de una espada de manufactura andalusi del s. XV. Se describe un flujo de trabajo optimizado para documentar un objeto complejo: espada historico-nazarire cubierta de metales y materiales preciosos. La digitalizacion 3D puede contribuira la democratizacion de los museos gracias a la diseminacion web de su contenido de una manera personalizada.
{"title":"Historical military heritage: 3D digitisation of the Nasri sword attributed to Ali Atar","authors":"Margot Gil-Melitón, J. L. Lerma","doi":"10.4995/VAR.2019.10028","DOIUrl":"https://doi.org/10.4995/VAR.2019.10028","url":null,"abstract":"Ali Atar, alcaide de Loja y senor de Zagra, nacio hacia el ano 1393. Fue uno de los principales jefes militares del periodo nazari y llego a emparentar con la Casa Real Granadina al casar a su hija Moraima con el mismo Boabdil, ultimo Rey de Granada. Fallecio en la batalla de Lucena en 1483, donde se le arrebato una de las magnificas espadas jinetas de manufactura andalusi conservada y localizada en los fondos del Museo del Ejercito de Toledo (MUSEJE). Un recurso tan valioso como es el patrimonio cultural ya no se conforma con una conservacion fisica; debe complementarse de una preservacion digital exhaustiva en todas sus formas, siendo basico y necesario para su adecuada salvaguarda. Este articulo se centra en la digitalizacion tridimensional (3D) a partir de la fotogrametria digital y el modelado 3D de esta pieza de armamento historico militar. Apoyandonos en la fotogrametria y en las tecnologias de la informacion y la comunicacion (TIC), vamos a obtener una documentacion geometrica de precision y unos modelos 3D orientados a la investigacion, educacion, difusion y preservacion de un patrimonio tan importante y desconocido como es el patrimonio historico militar. Esta investigacion demuestra la importancia de las tecnicas de documentacion geometrica para la democratizacion de los museos. Contribuye a mejorar los procesos de investigacion, abriendo una nueva linea de estudio, a partir de la cual, podemos reconstruir el pasado a traves de la virtualidad, pudiendo asi marcar y confirmar hipotesis historicas. Estas tecnicas ofrecen la posibilidad de poner en valor piezas relevantes y singulares dentro y fuera de los museos. Lo mas destacado: Se adapta la fotogrametria multi-imagen de objeto cercano al proceso de documentacion de una espada de manufactura andalusi del s. XV. Se describe un flujo de trabajo optimizado para documentar un objeto complejo: espada historico-nazarire cubierta de metales y materiales preciosos. La digitalizacion 3D puede contribuira la democratizacion de los museos gracias a la diseminacion web de su contenido de una manera personalizada.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":"10 1","pages":"52-69"},"PeriodicalIF":2.3,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46428583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
3D modelling of archaeological and historical structures is the new frontier in the field of conservation science. Similarly, the identification of buried finds, which enhances their multimedia diffusion and restoration, has gained relevance. As such sites often have a high level of structural complexity and complicated territorial geometries, accuracy in the creation of 3D models and the use of sophisticated algorithms for georadar data analysis are crucial. This research is the first step in a larger project aimed at reclaiming the ancient villages located in the Greek area of southern Italy. The present study focuses on the restoration of the village of Africo (RC), a village hit by past flooding. The survey began with a laser scan of the church of St. Nicholas, using both the Faro Focus3D and the Riegl LMS-Z420i laser scanner. At the same time, georadar analyses were carried out in order to pinpoint any buried objects. In the processing phase, our own MATLAB algorithms were used for both laser scanner and georadar datasets and the results compared with those obtained from the scanners’ respective proprietary software. We are working to develop a tourism app in both augmented and virtual reality environments, in order to disseminate and improve access to cultural heritage. The app allows users to see the 3D model and simultaneously access information on the site integrated from a variety of repositories. The aim is to create an immersive visit, in this case, to the church of St. Nicholas.Highlights:Use of different algorithms for registration of terrestrial laser scans and analysis of the data obtained.3D acquisition, processing and restitution methodology from georadar data.Implementation of a tourist app in both virtual and augmented reality by integrating geomatics methodologies.
{"title":"Integration of geomatics methodologies and creation of a cultural heritage app using augmented reality","authors":"V. Barrile, A. Fotia, G. Bilotta, D. De Carlo","doi":"10.4995/VAR.2019.10361","DOIUrl":"https://doi.org/10.4995/VAR.2019.10361","url":null,"abstract":"3D modelling of archaeological and historical structures is the new frontier in the field of conservation science. Similarly, the identification of buried finds, which enhances their multimedia diffusion and restoration, has gained relevance. As such sites often have a high level of structural complexity and complicated territorial geometries, accuracy in the creation of 3D models and the use of sophisticated algorithms for georadar data analysis are crucial. This research is the first step in a larger project aimed at reclaiming the ancient villages located in the Greek area of southern Italy. The present study focuses on the restoration of the village of Africo (RC), a village hit by past flooding. The survey began with a laser scan of the church of St. Nicholas, using both the Faro Focus3D and the Riegl LMS-Z420i laser scanner. At the same time, georadar analyses were carried out in order to pinpoint any buried objects. In the processing phase, our own MATLAB algorithms were used for both laser scanner and georadar datasets and the results compared with those obtained from the scanners’ respective proprietary software. We are working to develop a tourism app in both augmented and virtual reality environments, in order to disseminate and improve access to cultural heritage. The app allows users to see the 3D model and simultaneously access information on the site integrated from a variety of repositories. The aim is to create an immersive visit, in this case, to the church of St. Nicholas.Highlights:Use of different algorithms for registration of terrestrial laser scans and analysis of the data obtained.3D acquisition, processing and restitution methodology from georadar data.Implementation of a tourist app in both virtual and augmented reality by integrating geomatics methodologies.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":" ","pages":""},"PeriodicalIF":2.3,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48389435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The pier of San Cataldo (Lecce, Italy) is located along the Adriatic coast about 10 km east-northeast of the ancient city of Lupiae, (today's Lecce), and is the best-preserved port structure of the Roman Age in Apulia. It was researched between 2004 and 2007 by the Laboratory of Topography and Photogrammetry (LabTAF) of the University of Salento, who produced a detailed analysis of the remain and a survey of the portion still visible on the mainland. At the same time, aerial surveys and the study of historic aerial photos from the 1940s and 50s supported a topographic study of the site. Since 2013, within the activities of the LabTAF, the structure has been the subject of an excavation campaign where a further portion of the pier was discovered in the mainland, and the underwater remains were documented. This contribution aims to emphasise the importance of collecting complete metric and historical-archaeological data for a proper three-dimensional (3D) reconstruction of the structure. On this occasion a photogrammetric survey was conducted and a 3D image-based model created that has become the starting point of the reconstruction hypothesis of the pier and its topographical context. The final model represents a reasonable synthesis of the interpretation of the collected data, and serves as a starting point for tackling the future integration or modification of the structure.Highlights:A key requirement for a better understanding of the Roman pier of San Cataldo (Lecce, Italy) was the creation of a 3D model from an image-based survey.The 3D reconstruction process of the monument was based on a production pipeline anchored to metric data and historical-archaeological information.The final 3D reconstruction proposal shows the original shape of the Roman pier, the ancient surrounding landscape and its related activities.
{"title":"The Roman pier of San Cataldo: from archaeological data to 3D reconstruction","authors":"I. Ferrari, Aurora Quarta","doi":"10.4995/VAR.2019.7957","DOIUrl":"https://doi.org/10.4995/VAR.2019.7957","url":null,"abstract":"The pier of San Cataldo (Lecce, Italy) is located along the Adriatic coast about 10 km east-northeast of the ancient city of Lupiae, (today's Lecce), and is the best-preserved port structure of the Roman Age in Apulia. It was researched between 2004 and 2007 by the Laboratory of Topography and Photogrammetry (LabTAF) of the University of Salento, who produced a detailed analysis of the remain and a survey of the portion still visible on the mainland. At the same time, aerial surveys and the study of historic aerial photos from the 1940s and 50s supported a topographic study of the site. Since 2013, within the activities of the LabTAF, the structure has been the subject of an excavation campaign where a further portion of the pier was discovered in the mainland, and the underwater remains were documented. This contribution aims to emphasise the importance of collecting complete metric and historical-archaeological data for a proper three-dimensional (3D) reconstruction of the structure. On this occasion a photogrammetric survey was conducted and a 3D image-based model created that has become the starting point of the reconstruction hypothesis of the pier and its topographical context. The final model represents a reasonable synthesis of the interpretation of the collected data, and serves as a starting point for tackling the future integration or modification of the structure.Highlights:A key requirement for a better understanding of the Roman pier of San Cataldo (Lecce, Italy) was the creation of a 3D model from an image-based survey.The 3D reconstruction process of the monument was based on a production pipeline anchored to metric data and historical-archaeological information.The final 3D reconstruction proposal shows the original shape of the Roman pier, the ancient surrounding landscape and its related activities.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":"1 1","pages":""},"PeriodicalIF":2.3,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41482279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gabriela Lorenzo, L. López, R. A. Moralejo, Luis M. del Papa
Photogrammetry has recently been incorporated into archaeological research, replacing much more expensive techniques while still generating high resolution results. This technique converts two dimensional (2D) images into three-dimensional (3D) models, allowing for the complex analysis of geometric and spatial information. It has become one of the most used methods for the 3D recording of cultural heritage objects. Among its possible archaeological uses are: digitally documenting an archaeological dig at low cost, aiding the decision-making process (Dellepiane et al., 2013); spatial surveying of archaeological sites; 3D model generation of archaeological objects and digitisation of archaeological collections (Adami et al., 2018; Aparicio Resco et al., 2014; Cots et al., 2018; Iturbe et al., 2018; Moyano, 2017). The objective of this paper is to show the applicability of 3D models based on SfM (Structure from Motion) photogrammetry for archaeofauna analyses. We created 3D models of four camelid (Lama glama) bone elements (skull, radius-ulna, metatarsus and proximal phalange), aiming to demonstrate the advantages of 3D models over 2D osteological guides, which are usually used to perform anatomical and systematic determination of specimens. Photographs were taken with a 16 Megapixel Nikon D5100 DSLR camera mounted on a tripod, with the distance to the object ranging between 1 and 3 m and using a 50mm fixed lens. Each bone element was placed on a 1 m tall stool, with a green, high contrast background. Photographs were shot at regular intervals of 10-15o, moving in a circle. Sets of around 30 pictures were taken from three circumferences at vertical angles of 0o, 45o and 60o. In addition, some detailed and overhead shots were taken from the dorsal and ventral sides of each bone element. Each set of dorsal and ventral photos was imported to Agisoft Photoscan Professional. A workflow (Fig. 4) of alignment, tie point matching, high resolution 3D dense point cloud construction, and creation of a triangular mesh covered with a photographic texture was performed. Finally the dorsal and ventral models were aligned and merged and the 3D model was accurately scaled. In order to determine accuracy of the models, linear measurements were performed and compared to a digital gauge measurement of the physical bones, obtaining a difference of less than 0.5 mm. Furthermore, five archaeological specimens were selected to compare our 3D models with the most commonly used 2D camelid atlas (Pacheco Torres et al., 1986; Sierpe, 2015). In the particular case of archaeofaunal analyses, where anatomical and systematic determination of the specimens is the key, digital photogrammetry has proven to be more effective than traditional 2D documentation methods. This is due to the fact that 2D osteological guides based on drawings or pictures lack the necessary viewing angles to perform an adequate and complete diagnosis of the specimens. Using new technology can deliver better r
摄影测量最近被纳入考古研究，取代了更昂贵的技术，同时仍然产生高分辨率的结果。该技术将二维(2D)图像转换为三维(3D)模型，允许对几何和空间信息进行复杂的分析。它已成为文物三维记录最常用的方法之一。其可能的考古用途包括:以低成本对考古挖掘进行数字化记录，帮助决策过程(Dellepiane等人，2013);考古遗址空间测量;考古对象的三维模型生成和考古藏品的数字化(阿达米等人，2018;Aparicio Resco et al.， 2014;Cots et al.， 2018;Iturbe等人，2018;Moyano, 2017)。本文的目的是展示基于SfM (Structure from Motion)摄影测量的三维模型在古动物分析中的适用性。我们创建了四个骆驼(Lama glama)骨元素(头骨，桡骨-尺骨，跖骨和近端指骨)的3D模型，旨在展示3D模型优于2D骨导的优势，2D骨导通常用于执行标本的解剖和系统确定。照片是用一台1600万像素的尼康D5100数码单反相机在三脚架上拍摄的，与物体的距离在1到3米之间，使用50mm固定镜头。每个骨骼元素都被放置在一个1米高的凳子上，背景是绿色的，对比度高。照片每隔10-15分钟拍摄一次，以圆圈的形式移动。每组约30张照片分别以垂直角度分别为0度、45度和60度从三个圆周上拍摄。此外，从每个骨单元的背侧和腹侧拍摄了一些详细的俯视图。每一组背部和腹部照片都被导入Agisoft Photoscan Professional。执行了对齐、结合点匹配、高分辨率3D密集点云构建和创建覆盖有摄影纹理的三角形网格的工作流程(图4)。最后对背侧和腹侧模型进行对齐合并，实现三维模型的精确缩放。为了确定模型的准确性，进行了线性测量，并将其与物理骨骼的数字测量进行了比较，获得了小于0.5毫米的差异。此外，还选择了5个考古标本，将我们的3D模型与最常用的2D骆驼图谱进行比较(Pacheco Torres et al.， 1986;Sierpe, 2015)。在考古动物分析的特殊情况下，对标本的解剖和系统测定是关键，数字摄影测量已被证明比传统的二维记录方法更有效。这是由于基于绘图或图片的二维骨学指南缺乏必要的视角来对标本进行充分和完整的诊断。使用新技术可以提供更好的结果，产生更全面的骨骼元素信息，具有很高的细节和几何精度，而不限于特定角度的图片或绘图。在本文中，我们可以看到如何使用SfM-MVS(结构从运动多视图立体)3D建模允许从多个角度观察一个元素。放大和旋转模型的可能性(图6g, 6h, 7d, 8c)提高了考古标本的测定。关于如何制作3D模型的信息是必不可少的。元数据文件必须包括每个骨元素(解剖学和分类学)的数据以及照片数量和质量的信息。该文件还必须包含用于生成模型的软件以及工作流中每个步骤的参数和分辨率(3D点的数量，网格顶点，纹理分辨率和模型误差的量化)。简而言之，3D模型是骨学指导的优秀工具。
{"title":"SfM photogrammetry applied to taxonomic determination of archaeofauna remains","authors":"Gabriela Lorenzo, L. López, R. A. Moralejo, Luis M. del Papa","doi":"10.4995/VAR.2019.11094","DOIUrl":"https://doi.org/10.4995/VAR.2019.11094","url":null,"abstract":"Photogrammetry has recently been incorporated into archaeological research, replacing much more expensive techniques while still generating high resolution results. This technique converts two dimensional (2D) images into three-dimensional (3D) models, allowing for the complex analysis of geometric and spatial information. It has become one of the most used methods for the 3D recording of cultural heritage objects. Among its possible archaeological uses are: digitally documenting an archaeological dig at low cost, aiding the decision-making process (Dellepiane et al., 2013); spatial surveying of archaeological sites; 3D model generation of archaeological objects and digitisation of archaeological collections (Adami et al., 2018; Aparicio Resco et al., 2014; Cots et al., 2018; Iturbe et al., 2018; Moyano, 2017). The objective of this paper is to show the applicability of 3D models based on SfM (Structure from Motion) photogrammetry for archaeofauna analyses. We created 3D models of four camelid (Lama glama) bone elements (skull, radius-ulna, metatarsus and proximal phalange), aiming to demonstrate the advantages of 3D models over 2D osteological guides, which are usually used to perform anatomical and systematic determination of specimens. Photographs were taken with a 16 Megapixel Nikon D5100 DSLR camera mounted on a tripod, with the distance to the object ranging between 1 and 3 m and using a 50mm fixed lens. Each bone element was placed on a 1 m tall stool, with a green, high contrast background. Photographs were shot at regular intervals of 10-15o, moving in a circle. Sets of around 30 pictures were taken from three circumferences at vertical angles of 0o, 45o and 60o. In addition, some detailed and overhead shots were taken from the dorsal and ventral sides of each bone element. Each set of dorsal and ventral photos was imported to Agisoft Photoscan Professional. A workflow (Fig. 4) of alignment, tie point matching, high resolution 3D dense point cloud construction, and creation of a triangular mesh covered with a photographic texture was performed. Finally the dorsal and ventral models were aligned and merged and the 3D model was accurately scaled. In order to determine accuracy of the models, linear measurements were performed and compared to a digital gauge measurement of the physical bones, obtaining a difference of less than 0.5 mm. Furthermore, five archaeological specimens were selected to compare our 3D models with the most commonly used 2D camelid atlas (Pacheco Torres et al., 1986; Sierpe, 2015). In the particular case of archaeofaunal analyses, where anatomical and systematic determination of the specimens is the key, digital photogrammetry has proven to be more effective than traditional 2D documentation methods. This is due to the fact that 2D osteological guides based on drawings or pictures lack the necessary viewing angles to perform an adequate and complete diagnosis of the specimens. Using new technology can deliver better r","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":"10 1","pages":"70-83"},"PeriodicalIF":2.3,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45141258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Ruymbeke, P. Hallot, Gilles-Antoine Nys, R. Billen
Modelling cultural heritage is a research topic shared by a broad scientific community. Although this subject has been widely studied, it seems that some aspects still have to be tackled. This paper describes two CIDOC (ICOM’s International Committee for Documentation) Conceptual Reference Model (CRM) extension proposals (A & B) dedicated to structuring knowledge concerning historical objects and historical events. It focuses on multiple interpretations and sequential reality, this last being a concept which does not exist in CIDOC CRM but was originally developed in another conceptual model, the Multiple Interpretation Data Model (MIDM). To begin, an extensive description of MIDM concepts is given as well as a recall of its main peculiarities. It is followed by a mapping proposed to translate MIDM concepts into ontologies devoted to describing cultural heritage entities and activities, the CIDOC CRM and compatible models. Unfortunately, some MIDM concepts are not covered by this mapping because they do not match with existing CRM entities and properties, and this paper explains why an extension is necessary. It describes how the two versions of the extension proposal cover the missing MIDM concepts. One of these two versions, the proposal A, has been implemented as ontology in Protégé and has been tested through an instantiation phase using a real example. This instantiation phase is fully detailed. It shows that proposal A works coherently with CRM ontologies. On another hand, instantiation phase highlights improvements needs such as recording chronology in a structured way.Highlights:Cultural Heritage modelling involves two different ontological concepts: reality and information held about it.Historical Objects existence is a sequence made by events, stability periods and changes affecting it.Multiple Interpretation Data Model mapping to CIDOC CRM and its extension proposal take into account difference between reality and information. They also manage sequence concept.
{"title":"Implementation of multiple interpretation data model concepts in CIDOC CRM and compatible models","authors":"M. Ruymbeke, P. Hallot, Gilles-Antoine Nys, R. Billen","doi":"10.4995/VAR.2018.8884","DOIUrl":"https://doi.org/10.4995/VAR.2018.8884","url":null,"abstract":"Modelling cultural heritage is a research topic shared by a broad scientific community. Although this subject has been widely studied, it seems that some aspects still have to be tackled. This paper describes two CIDOC (ICOM’s International Committee for Documentation) Conceptual Reference Model (CRM) extension proposals (A & B) dedicated to structuring knowledge concerning historical objects and historical events. It focuses on multiple interpretations and sequential reality, this last being a concept which does not exist in CIDOC CRM but was originally developed in another conceptual model, the Multiple Interpretation Data Model (MIDM). To begin, an extensive description of MIDM concepts is given as well as a recall of its main peculiarities. It is followed by a mapping proposed to translate MIDM concepts into ontologies devoted to describing cultural heritage entities and activities, the CIDOC CRM and compatible models. Unfortunately, some MIDM concepts are not covered by this mapping because they do not match with existing CRM entities and properties, and this paper explains why an extension is necessary. It describes how the two versions of the extension proposal cover the missing MIDM concepts. One of these two versions, the proposal A, has been implemented as ontology in Protégé and has been tested through an instantiation phase using a real example. This instantiation phase is fully detailed. It shows that proposal A works coherently with CRM ontologies. On another hand, instantiation phase highlights improvements needs such as recording chronology in a structured way.Highlights:Cultural Heritage modelling involves two different ontological concepts: reality and information held about it.Historical Objects existence is a sequence made by events, stability periods and changes affecting it.Multiple Interpretation Data Model mapping to CIDOC CRM and its extension proposal take into account difference between reality and information. They also manage sequence concept.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":" ","pages":""},"PeriodicalIF":2.3,"publicationDate":"2018-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49184852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Extended Abstract:The archaeological site of Torreparedones (Baena) is one of the most outstanding Roman sites in the Province of Cordoba, due to not only the structural remains excavated in recent decades, but also the relevance through the relevance of other recovered materials. In recent years, among the recordings made during excavations and in the area of the north portico of the forum and the temple, an important sculptural group from the high imperial time was documented. The sculptural cycle consists of two dynastic groups, which are currently part of the museum exhibition of Baena. The first, found in the area of the gate, consists of a toga, a female figure, a military sculpture and a fragment ideal statue (of the type hüftmantel). The second group, from the temple or near the same area, consists of two male and female seated statues representing: Divus Augustus, Divus Claudius and Diva Augusta (Livia). The latter offers a representation of idealized types, as characters portraits were produced post-mortem once the senate decreed their deification time. Because of the importance of this second group, a three-dimensional (3D) model of each of the pieces has been created. The main objective of this research, with some results presented in this article, is further development of a mobile application that allows disseminating results and promotes the use of virtual reality in the field of heritage. In order to carry out the development of the app the following lines of action have been followed: 1) Recording by the sculptural 3D scanning cycle; and 2) the development of a 3D digital catalogue for the dissemination and study within the framework of scientific research.Data collection of the surface was performed by using a 3D laser scanner, a tool that allows obtaining sub-millimetre resolution and accuracy. After obtaining the results, we processed and checked the quality of the acquired points, best-fit and registration of successive surface recordings, and filtering and cleaning of the point clouds. To disseminate the findings of this research we chose to carry out analyses with a free application called "Sculptural Cycle Torreparedones" available for the Android operating system. With this app, the user can access all the information available, with periodic updates as the progress of other ongoing investigations. This application allows and intuitive and easy way of navigation, see the 3D models of the sculptures, as well as access a virtual tour of Rome in 360° room of the museum of Baena.Also, the user can access different multimedia content related to the site. As representative logo for the app, the icon of the half-head portrait of Divus Augustus was selected along with the title “3D Sculptural Cycle Torreparedones” as it is one of the largest and best known general level sculpture images. Since the app has been available since October 2017, a surve
{"title":"APP 3D: el ciclo escultórico del foro de Torreparedones (Baena, Córdoba)","authors":"A. Merino, Carlos Márquez, R. González","doi":"10.4995/VAR.2018.9424","DOIUrl":"https://doi.org/10.4995/VAR.2018.9424","url":null,"abstract":"Extended Abstract:The archaeological site of Torreparedones (Baena) is one of the most outstanding Roman sites in the Province of Cordoba, due to not only the structural remains excavated in recent decades, but also the relevance through the relevance of other recovered materials. In recent years, among the recordings made during excavations and in the area of the north portico of the forum and the temple, an important sculptural group from the high imperial time was documented. The sculptural cycle consists of two dynastic groups, which are currently part of the museum exhibition of Baena. The first, found in the area of the gate, consists of a toga, a female figure, a military sculpture and a fragment ideal statue (of the type hüftmantel). The second group, from the temple or near the same area, consists of two male and female seated statues representing: Divus Augustus, Divus Claudius and Diva Augusta (Livia). The latter offers a representation of idealized types, as characters portraits were produced post-mortem once the senate decreed their deification time. Because of the importance of this second group, a three-dimensional (3D) model of each of the pieces has been created. The main objective of this research, with some results presented in this article, is further development of a mobile application that allows disseminating results and promotes the use of virtual reality in the field of heritage. In order to carry out the development of the app the following lines of action have been followed: 1) Recording by the sculptural 3D scanning cycle; and 2) the development of a 3D digital catalogue for the dissemination and study within the framework of scientific research.Data collection of the surface was performed by using a 3D laser scanner, a tool that allows obtaining sub-millimetre resolution and accuracy. After obtaining the results, we processed and checked the quality of the acquired points, best-fit and registration of successive surface recordings, and filtering and cleaning of the point clouds. To disseminate the findings of this research we chose to carry out analyses with a free application called \"Sculptural Cycle Torreparedones\" available for the Android operating system. With this app, the user can access all the information available, with periodic updates as the progress of other ongoing investigations. This application allows and intuitive and easy way of navigation, see the 3D models of the sculptures, as well as access a virtual tour of Rome in 360° room of the museum of Baena.Also, the user can access different multimedia content related to the site. As representative logo for the app, the icon of the half-head portrait of Divus Augustus was selected along with the title “3D Sculptural Cycle Torreparedones” as it is one of the largest and best known general level sculpture images. Since the app has been available since October 2017, a surve","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":" ","pages":""},"PeriodicalIF":2.3,"publicationDate":"2018-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48962103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the excavations carried out in summer 2011 in Piazza Anita Garibaldi in Ravenna, during construction of the new underground waste containers, five rooms decorated with mosaic floors were found, probably dating back to the early Roman Empire (1st-2ndcentury AD). The mosaics were removed for restoration and musealisation, however –given the size of the large lacunae-it would not be possible to reintegrate them in a traditional restoration without creating arbitrary reconstructions. Therefore, we opted for a digital reconstruction of the lacunae, attempting virtual restoration hypotheses for the recovered mosaics. Subsequently, it was possible to grasp the trend of the figuration and how it could have appeared in the past. The characteristics of many mosaics, such as the symmetry and the repetition of geometric patterns, make them suitable for both a simulated integration and are construction by the analogies of the pattern. As a matter of fact, we used simple and easily accessible software to perform this work. The purpose of this digital workflow was to give an example of virtual processing useful for conservators and restorers, as well as for scholars (archaeologists, art historians, etc.) that can be carried out without specific information technology expertise and computer skills. After the images were acquired digitally, we were able to proceed with the reconstruction of the floor, by taking into account the geometric motifs that make up the mosaic assembly and that made the recomposition the most reliable. The virtual restoration also provides the opportunity of simulating the type of integration and the colour so that scholars, restorers and conservators may evaluate the final appearance of the work and the different aesthetic choices. The virtual restoration is finally considered an essential tool for the enhancement of cultural heritage.Highlights:An example of virtual restoration is presented relevant to Roman mosaics recently found in Ravenna (Italy).A simulated integration by the analogies of the geometric patterns present in the mosaics allows a reliable reconstruction.Virtual restoration results in a useful tool for enhancement, knowledge and improvement of understanding of mosaics by the general public.
{"title":"Non-metric digital reconstruction of Roman mosaics excavated in the city of Ravenna (Italy)","authors":"M. Monti, G. Maino","doi":"10.4995/VAR.2018.7227","DOIUrl":"https://doi.org/10.4995/VAR.2018.7227","url":null,"abstract":"During the excavations carried out in summer 2011 in Piazza Anita Garibaldi in Ravenna, during construction of the new underground waste containers, five rooms decorated with mosaic floors were found, probably dating back to the early Roman Empire (1st-2ndcentury AD). The mosaics were removed for restoration and musealisation, however –given the size of the large lacunae-it would not be possible to reintegrate them in a traditional restoration without creating arbitrary reconstructions. Therefore, we opted for a digital reconstruction of the lacunae, attempting virtual restoration hypotheses for the recovered mosaics. Subsequently, it was possible to grasp the trend of the figuration and how it could have appeared in the past. The characteristics of many mosaics, such as the symmetry and the repetition of geometric patterns, make them suitable for both a simulated integration and are construction by the analogies of the pattern. As a matter of fact, we used simple and easily accessible software to perform this work. The purpose of this digital workflow was to give an example of virtual processing useful for conservators and restorers, as well as for scholars (archaeologists, art historians, etc.) that can be carried out without specific information technology expertise and computer skills. After the images were acquired digitally, we were able to proceed with the reconstruction of the floor, by taking into account the geometric motifs that make up the mosaic assembly and that made the recomposition the most reliable. The virtual restoration also provides the opportunity of simulating the type of integration and the colour so that scholars, restorers and conservators may evaluate the final appearance of the work and the different aesthetic choices. The virtual restoration is finally considered an essential tool for the enhancement of cultural heritage.Highlights:An example of virtual restoration is presented relevant to Roman mosaics recently found in Ravenna (Italy).A simulated integration by the analogies of the geometric patterns present in the mosaics allows a reliable reconstruction.Virtual restoration results in a useful tool for enhancement, knowledge and improvement of understanding of mosaics by the general public.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":"1 1","pages":""},"PeriodicalIF":2.3,"publicationDate":"2018-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41823343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Pöchtrager, Gudrun Styhler-Aydın, M. Döring-Williams, N. Pfeifer
Planning on adaptive reuse, maintenance and restoration of historic timber structuresrequiresextensive architectural and structural analysis of the actual condition. Current methods for a modellingof roof constructions consist of several manual steps including the time-consuming dimensional modelling. The continuous development of terrestrial laser scanners increases the accuracy, comfort and speed of the surveying work inroof constructions. Resultingpoint clouds enabledetailed visualisation of theconstructionsrepresented by single points or polygonal meshes, but in fact donot containinformation about the structural system and the beam elements. The developed workflow containsseveral processing steps on the point cloud dataset. The most important among them arethenormal vector computation, the segmentation of points to extract planarfaces, a classification of planarsegmentsto detect the beam side facesand finally theparametric modelling of the beams on the basis of classified segments. Thisenablesa highly automated transitionfrom raw point cloud data to a geometric model containing beams of the structural system. The geometric model,as well as additional information about the structural properties of involved wooden beams and their joints,is necessaryinput for a furtherstructural modellingof timber constructions. The results of the workflow confirm that the proposed methods work well for beams with a rectangularcross-section and minor deformations. Scan shadows and occlusionof beamsby additional installationsor interlockingbeamsdecreases the modelling performance, but in generala high level ofaccuracy and completeness isachieved ata high degree of automationHighlights: This article presents a novel approach to automated reconstruction of beam structures by modelling geometry from segmented point clouds.Wooden beams are modelled as cuboids, thus a rectangular cross-section with minor deformation is required.An accuracy of less than 1 cm can be reached for modelled beams, compared to the reference LiDAR point cloud.
{"title":"Digital reconstruction of historic roof structures: developing a workflow for a highly automated analysis","authors":"M. Pöchtrager, Gudrun Styhler-Aydın, M. Döring-Williams, N. Pfeifer","doi":"10.4995/VAR.2018.8855","DOIUrl":"https://doi.org/10.4995/VAR.2018.8855","url":null,"abstract":"Planning on adaptive reuse, maintenance and restoration of historic timber structuresrequiresextensive architectural and structural analysis of the actual condition. Current methods for a modellingof roof constructions consist of several manual steps including the time-consuming dimensional modelling. The continuous development of terrestrial laser scanners increases the accuracy, comfort and speed of the surveying work inroof constructions. Resultingpoint clouds enabledetailed visualisation of theconstructionsrepresented by single points or polygonal meshes, but in fact donot containinformation about the structural system and the beam elements. The developed workflow containsseveral processing steps on the point cloud dataset. The most important among them arethenormal vector computation, the segmentation of points to extract planarfaces, a classification of planarsegmentsto detect the beam side facesand finally theparametric modelling of the beams on the basis of classified segments. Thisenablesa highly automated transitionfrom raw point cloud data to a geometric model containing beams of the structural system. The geometric model,as well as additional information about the structural properties of involved wooden beams and their joints,is necessaryinput for a furtherstructural modellingof timber constructions. The results of the workflow confirm that the proposed methods work well for beams with a rectangularcross-section and minor deformations. Scan shadows and occlusionof beamsby additional installationsor interlockingbeamsdecreases the modelling performance, but in generala high level ofaccuracy and completeness isachieved ata high degree of automationHighlights: This article presents a novel approach to automated reconstruction of beam structures by modelling geometry from segmented point clouds.Wooden beams are modelled as cuboids, thus a rectangular cross-section with minor deformation is required.An accuracy of less than 1 cm can be reached for modelled beams, compared to the reference LiDAR point cloud.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":" ","pages":""},"PeriodicalIF":2.3,"publicationDate":"2018-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42068173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：