Hand gestures play an important role in human communication. Although the study of their repertoires and roles for past communities is a popular field of research, there has been no attempt so far to study their visibility during public events. The aim of this study was to determine the maximum number of people who could see hand gestures well enough to understand their meaning. Using gestures taken from ancient Roman rhetorical treatises, which we divided into three classes related to the detail of the gestures (fingers, hand, arm, or arms), we conducted a series of experiments to determine the maximum distance from which each class of gestures could be seen. We used the results, including regression analysis, to conduct visibility analyses for two case studies: one on the rostra on the Late Republican Forum Romanum in Rome; and the other on Pyramid No 3 in the centre of Late-Classical Mayan Tikal. We used the calculation of the areas where gestures were visible to estimate crowd sizes by drawing on crowd behaviour observation during contemporary public gatherings. They show not only how many people could have potentially seen the gestures, but also what percentage of the theoretically available space could have been occupied by people who had the potential to see them. According to the findings, only a little under half (44.8%) of the maximum possible audience were able to detect all types of gestures (various levels of detail) at the LR Roman Forum, while at Pyramid No 3 in Tikal, just a mere 16.7% were able to do so. We believe that the results presented and the methodology used can be applied to analyse any public space, regardless of place and time, thus providing a valuable tool to comprehend past public assemblies.
{"title":"More than words: a study on the visibility of hand gestures in public spaces","authors":"Kamil Kopij, Kaja Głomb, Szymon Popławski","doi":"10.4995/var.2023.19315","DOIUrl":"https://doi.org/10.4995/var.2023.19315","url":null,"abstract":"Hand gestures play an important role in human communication. Although the study of their repertoires and roles for past communities is a popular field of research, there has been no attempt so far to study their visibility during public events. The aim of this study was to determine the maximum number of people who could see hand gestures well enough to understand their meaning. Using gestures taken from ancient Roman rhetorical treatises, which we divided into three classes related to the detail of the gestures (fingers, hand, arm, or arms), we conducted a series of experiments to determine the maximum distance from which each class of gestures could be seen. We used the results, including regression analysis, to conduct visibility analyses for two case studies: one on the rostra on the Late Republican Forum Romanum in Rome; and the other on Pyramid No 3 in the centre of Late-Classical Mayan Tikal. We used the calculation of the areas where gestures were visible to estimate crowd sizes by drawing on crowd behaviour observation during contemporary public gatherings. They show not only how many people could have potentially seen the gestures, but also what percentage of the theoretically available space could have been occupied by people who had the potential to see them. According to the findings, only a little under half (44.8%) of the maximum possible audience were able to detect all types of gestures (various levels of detail) at the LR Roman Forum, while at Pyramid No 3 in Tikal, just a mere 16.7% were able to do so. We believe that the results presented and the methodology used can be applied to analyse any public space, regardless of place and time, thus providing a valuable tool to comprehend past public assemblies.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48846544","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}
A finales de la Edad Media en la península ibérica la historia fue impulsora de una arquitectura en evolución hacia soluciones más racionales y eficientes. Entre los agentes promotores de este cambio, destacaron las órdenes militares que consiguieron solucionar un problema durante siglos imposible solventar: que las amplias llanuras de la meseta de la península habían resultado inconquistables para los cristianos hasta ese momento. Entre todas estas órdenes, la Orden de Santiago destacó porque en un territorio amplio consiguió configurar unos modelos arquitectónicos bastante homogéneos. La orden suministró muchos textos con información contenidos en los libros de visita; estos permiten un estudio que va desde lo general, como es la organización territorial, hasta lo particular que resulta la arquitectura construida en él a partir de descripciones de construcciones, usos, distribuciones, estructuras e incluso materiales. Este estudio no ha proporcionado toda la utilidad esperada sobre todo en cuanto a facilitar un análisis gráfico; se ha priorizado otros intereses, que sí han sido cubiertos con creces por la investigación. Los textos contenidos en los libros de visita resultan ser fuentes para el estudio histórico, proporcionando información más allá de lo supuesto; son fuentes para hipotetizar dibujos de construcciones, por su riqueza descriptiva, así como para su análisis, porque incluyen diversas descripciones; además, son fuentes para enriquecer el léxico histórico y arquitectónico. La integración de las tecnologías digitales al entorno arquitectónico permite extender el conocimiento del mismo mediante su incorporación a un registro que enumera construcciones, pero también a un análisis más amplio que profundiza en plantas y volumetrías, completando así un renovado catálogo arquitectónico que favorece el interés por el conocimiento de un legado que hasta hace unos años estaba destinado a perderse. Lo más destacado: El artículo contribuye al conocimiento del patrimonio arquitectónico de la Orden de Santiago profundamente degradado y mayormente desaparecido. Promueve una metodología científica pero también una difusión universal como recurso para la proyección cultural y educativa del patrimonio medieval. Introduce nuevas tecnologías permitiendo la proyección que influye en la llegada de recursos para laconservacióny restauración del patrimonio.
{"title":"Rendering Uqlīsh: la reconstrucción virtual de la arquitectura de la Orden de Santiago en el territorio de Uclés a través de los textos de los libros de visita","authors":"Pilar Moya-Olmedo","doi":"10.4995/var.2023.19215","DOIUrl":"https://doi.org/10.4995/var.2023.19215","url":null,"abstract":"A finales de la Edad Media en la península ibérica la historia fue impulsora de una arquitectura en evolución hacia soluciones más racionales y eficientes. Entre los agentes promotores de este cambio, destacaron las órdenes militares que consiguieron solucionar un problema durante siglos imposible solventar: que las amplias llanuras de la meseta de la península habían resultado inconquistables para los cristianos hasta ese momento.\u0000Entre todas estas órdenes, la Orden de Santiago destacó porque en un territorio amplio consiguió configurar unos modelos arquitectónicos bastante homogéneos. La orden suministró muchos textos con información contenidos en los libros de visita; estos permiten un estudio que va desde lo general, como es la organización territorial, hasta lo particular que resulta la arquitectura construida en él a partir de descripciones de construcciones, usos, distribuciones, estructuras e incluso materiales.\u0000Este estudio no ha proporcionado toda la utilidad esperada sobre todo en cuanto a facilitar un análisis gráfico; se ha priorizado otros intereses, que sí han sido cubiertos con creces por la investigación. Los textos contenidos en los libros de visita resultan ser fuentes para el estudio histórico, proporcionando información más allá de lo supuesto; son fuentes para hipotetizar dibujos de construcciones, por su riqueza descriptiva, así como para su análisis, porque incluyen diversas descripciones; además, son fuentes para enriquecer el léxico histórico y arquitectónico.\u0000La integración de las tecnologías digitales al entorno arquitectónico permite extender el conocimiento del mismo mediante su incorporación a un registro que enumera construcciones, pero también a un análisis más amplio que profundiza en plantas y volumetrías, completando así un renovado catálogo arquitectónico que favorece el interés por el conocimiento de un legado que hasta hace unos años estaba destinado a perderse.\u0000Lo más destacado:\u0000\u0000El artículo contribuye al conocimiento del patrimonio arquitectónico de la Orden de Santiago profundamente degradado y mayormente desaparecido.\u0000Promueve una metodología científica pero también una difusión universal como recurso para la proyección cultural y educativa del patrimonio medieval.\u0000Introduce nuevas tecnologías permitiendo la proyección que influye en la llegada de recursos para laconservacióny restauración del patrimonio.\u0000","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123486","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}
José Ángel González Ballesteros, José Gabriel Gómez Carrasco, A. Hernández-Robles, J. A. Eiroa Rodríguez
El conjunto arqueológico de San Esteban se localiza en el actual centro urbano de la ciudad de Murcia. Se trata de un amplio espacio de origen andalusí que formaba parte del antiguo arrabal de la Arrixaca, un barrio extramuros que parece conformarse durante el siglo XI y que constituyó una parte importante de la ciudad medieval de Murcia. El proyecto de investigación realizado entre los años 2018 y 2020 en el conjunto arqueológico de San Esteban, bajo el convenio firmado entre la Universidad de Murcia y el Ayuntamiento de Murcia, conllevó una serie de campañas de excavación arqueológica en diferentes puntos de este enclave. Se intervino en cuatro sectores que se mostraban especialmente relevantes desde el punto de vista funcional y de la articulación urbana de este entramado: los edificios conocidos como “Recinto I” y “Recinto II”, el “oratorio” y la maqbara. El proyecto fue concebido desde una perspectiva interdisciplinar, jugando un papel clave la incorporación de nuevas tecnologías en el proceso de documentación de la excavación. La metodología llevada a cabo se basó en los procedimientos fotogramétricos de alta precisión y de seguimiento diacrónico de la intervención arqueológica, teniendo como objetivo la elaboración de un registro gráfico que afectaba tanto al plano bidimensional (2D) como al tridimensional (3D). Para su correcta elaboración se combinó el uso de vehículos aéreos no tripulados (UAV por sus siglas en ingles) y de instrumental topográfico. Como resultado, este registro permitió confeccionar toda una serie de planimetrías vectoriales, ortomosaicos y recursos 3D de cara a su posterior análisis y de divulgación arquitectónica y material de los elementos arqueológicos intervenidos. Este trabajo desarrolla los procedimientos metodológicos llevados a cabo, una serie de propuestas de análisis y los resultados obtenidos en el marco de aplicación de las nuevas tecnologías en el campo de la arqueología.
{"title":"Modelización 3D de estructuras y depósitos arqueológicos como método de documentación y divulgación: el caso del conjunto arqueológico de San Esteban (Murcia, España)","authors":"José Ángel González Ballesteros, José Gabriel Gómez Carrasco, A. Hernández-Robles, J. A. Eiroa Rodríguez","doi":"10.4995/var.2023.18956","DOIUrl":"https://doi.org/10.4995/var.2023.18956","url":null,"abstract":"El conjunto arqueológico de San Esteban se localiza en el actual centro urbano de la ciudad de Murcia. Se trata de un amplio espacio de origen andalusí que formaba parte del antiguo arrabal de la Arrixaca, un barrio extramuros que parece conformarse durante el siglo XI y que constituyó una parte importante de la ciudad medieval de Murcia. El proyecto de investigación realizado entre los años 2018 y 2020 en el conjunto arqueológico de San Esteban, bajo el convenio firmado entre la Universidad de Murcia y el Ayuntamiento de Murcia, conllevó una serie de campañas de excavación arqueológica en diferentes puntos de este enclave. Se intervino en cuatro sectores que se mostraban especialmente relevantes desde el punto de vista funcional y de la articulación urbana de este entramado: los edificios conocidos como “Recinto I” y “Recinto II”, el “oratorio” y la maqbara. El proyecto fue concebido desde una perspectiva interdisciplinar, jugando un papel clave la incorporación de nuevas tecnologías en el proceso de documentación de la excavación. La metodología llevada a cabo se basó en los procedimientos fotogramétricos de alta precisión y de seguimiento diacrónico de la intervención arqueológica, teniendo como objetivo la elaboración de un registro gráfico que afectaba tanto al plano bidimensional (2D) como al tridimensional (3D). Para su correcta elaboración se combinó el uso de vehículos aéreos no tripulados (UAV por sus siglas en ingles) y de instrumental topográfico. Como resultado, este registro permitió confeccionar toda una serie de planimetrías vectoriales, ortomosaicos y recursos 3D de cara a su posterior análisis y de divulgación arquitectónica y material de los elementos arqueológicos intervenidos. Este trabajo desarrolla los procedimientos metodológicos llevados a cabo, una serie de propuestas de análisis y los resultados obtenidos en el marco de aplicación de las nuevas tecnologías en el campo de la arqueología.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41287437","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. Torres-González, Elena Cabrera Revuelta, A. I. Calero-Castillo
Highlights: The photogrammetric survey demonstrates to be a potential tool in the preventive conservation of ancient plasterworks. The high-precision 3D model allows the study and quantification of alterations (e.g. fissures, deformations, and loss of mass or polychromies). The virtual model and the analysis performed with CloudCompare software provide fast, accurate and accessible results to experts in the field. Abstract: Previous studies and documentation about the state of conservation of architectural or decorative elements are crucial for heritage managers, technicians and researchers to succeed in the maintenance and preservation of the heritage. In this sense, hand tracings, digital drawings, or photographs have traditionally been the methods for alteration and sample mapping. In spite of their effectiveness, these methods have some disadvantages, such as the need for more precision in terms of location, dimensions, quantification and types of alterations. By contrast, high-resolution three-dimensional (3D) models allow us to analyse decorative ancient plasterworks with great precision, offering considerable advantages over traditional tools for heritage documentation. To facilitate stakeholders’ work and enhance the quality of data collected, this work proposes the use of photogrammetry as a tool for the documentation of polychromed ancient plasterworks, taking the upper frieze of the access door to the Charles V ceiling room in the Royal Alcazar of Seville as a case of study. Thus, the work methodology applied has shown several advantages over previous methods. On the one hand, it was possible to obtain a 2D planimetry from the 3D model; this is an essential step for those responsible for heritage, especially in reports prior to restoration interventions. On the other hand, the 3D model created enables present alterations identification, the location of fissures and cracks in their three dimensions (opening, length and depth), deformations measurement and control, the quantification of mass or polychrome loss, and the detached elements digital reconstruction. In this way, highprecision digital results are quickly obtained and accessible to all the experts involved in the heritage conservation and maintenance plan.
{"title":"Photogrammetric state of degradation assessment of decorative claddings: the plasterwork of the Maidens' Courtyard (The Royal Alcazar of Seville)","authors":"M. Torres-González, Elena Cabrera Revuelta, A. I. Calero-Castillo","doi":"10.4995/var.2023.18647","DOIUrl":"https://doi.org/10.4995/var.2023.18647","url":null,"abstract":"Highlights:\u0000\u0000The photogrammetric survey demonstrates to be a potential tool in the preventive conservation of ancient plasterworks.\u0000The high-precision 3D model allows the study and quantification of alterations (e.g. fissures, deformations, and loss of mass or polychromies).\u0000The virtual model and the analysis performed with CloudCompare software provide fast, accurate and accessible results to experts in the field.\u0000\u0000Abstract:\u0000Previous studies and documentation about the state of conservation of architectural or decorative elements are crucial for heritage managers, technicians and researchers to succeed in the maintenance and preservation of the heritage. In this sense, hand tracings, digital drawings, or photographs have traditionally been the methods for alteration and sample mapping. In spite of their effectiveness, these methods have some disadvantages, such as the need for more precision in terms of location, dimensions, quantification and types of alterations. By contrast, high-resolution three-dimensional (3D) models allow us to analyse decorative ancient plasterworks with great precision, offering considerable advantages over traditional tools for heritage documentation. To facilitate stakeholders’ work and enhance the quality of data collected, this work proposes the use of photogrammetry as a tool for the documentation of polychromed ancient plasterworks, taking the upper frieze of the access door to the Charles V ceiling room in the Royal Alcazar of Seville as a case of study. Thus, the work methodology applied has shown several advantages over previous methods. On the one hand, it was possible to obtain a 2D planimetry from the 3D model; this is an essential step for those responsible for heritage, especially in reports prior to restoration interventions. On the other hand, the 3D model created enables present alterations identification, the location of fissures and cracks in their three dimensions (opening, length and depth), deformations measurement and control, the quantification of mass or polychrome loss, and the detached elements digital reconstruction. In this way, highprecision digital results are quickly obtained and accessible to all the experts involved in the heritage conservation and maintenance plan.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43503554","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}
Pablo Xosé Pouso-Iglesias, Gustavo Arcones-Pascual, Santiago Bellido-Blanco, David Villanueva Valentín-Gamazo
Highlights: Graphic tools and virtual reconstruction applied to watermills contribute to their overall understanding as an anthropogenic landscape. Virtual reconstruction of the milling mechanisms allows us to understand the mill operation beyond the mere construction preservation. The Riamonte mills are an example of a group of canal mills linked to a single dam and with a social typology of inheriting turns to grind. Abstract: Each concello (municipality) in Galicia is home to a large number of pre-industrial rural heritage assets integrated into the landscape. Among them are the water mills, usually made up of small constructions that are difficult to reuse in their original function. They are not easily compatible with other uses either. Their current state of abandonment requires their cataloguing and correct valorization as pre-industrial archaeological heritage. These constructions must be conceived as interrelated constructive groupings, in their original physical and social context. A good example of this is the unpublished sample of the Riamonte milling complex. Its study, digitalization and virtual recreation by means of computer-assisted graphics have great potential for dissemination to the public and better integration into the nature trail near the riverbed. Graphically presenting archaeological heritage through virtual media helps to promote social understanding in order to raise awareness of the importance of its protection and irreplaceable nature, especially in case of those vestiges lacking sufficient security to survive. Due to the large amount of vegetation around the wall remains, a rigorous planimetric survey of the entire complex was carried out, followed by three-dimensional (3D) modelling of representative elements. In addition, applying a rigorous principle of transparency, a chromatic differentiation is made in the 2D and 3D virtual reconstructions between already existing and newly added elements. Regarding the 3D model, a historical-archaeological evidence scale is used, allowing a graphic identification of the authenticity degree required to provide reliability in the reconstruction of lost or altered parts. This facilitates virtual recreation interpretation among future researchers from different disciplines. The Riamonte mill complex is part of a typology typical of the region, in which the use of virtual models makes it possible to reach the scales of the territory, the building and the machinery, facilitating the correct understanding of this cultural heritage.
{"title":"Abandoned rural pre-industrial heritage: study of the Riamonte mil complex (Galicia, Spain)","authors":"Pablo Xosé Pouso-Iglesias, Gustavo Arcones-Pascual, Santiago Bellido-Blanco, David Villanueva Valentín-Gamazo","doi":"10.4995/var.2023.18652","DOIUrl":"https://doi.org/10.4995/var.2023.18652","url":null,"abstract":"Highlights:\u0000\u0000Graphic tools and virtual reconstruction applied to watermills contribute to their overall understanding as an anthropogenic landscape.\u0000Virtual reconstruction of the milling mechanisms allows us to understand the mill operation beyond the mere construction preservation.\u0000The Riamonte mills are an example of a group of canal mills linked to a single dam and with a social typology of inheriting turns to grind.\u0000\u0000Abstract:\u0000Each concello (municipality) in Galicia is home to a large number of pre-industrial rural heritage assets integrated into the landscape. Among them are the water mills, usually made up of small constructions that are difficult to reuse in their original function. They are not easily compatible with other uses either. Their current state of abandonment requires their cataloguing and correct valorization as pre-industrial archaeological heritage. These constructions must be conceived as interrelated constructive groupings, in their original physical and social context. A good example of this is the unpublished sample of the Riamonte milling complex. Its study, digitalization and virtual recreation by means of computer-assisted graphics have great potential for dissemination to the public and better integration into the nature trail near the riverbed. Graphically presenting archaeological heritage through virtual media helps to promote social understanding in order to raise awareness of the importance of its protection and irreplaceable nature, especially in case of those vestiges lacking sufficient security to survive. Due to the large amount of vegetation around the wall remains, a rigorous planimetric survey of the entire complex was carried out, followed by three-dimensional (3D) modelling of representative elements. In addition, applying a rigorous principle of transparency, a chromatic differentiation is made in the 2D and 3D virtual reconstructions between already existing and newly added elements. Regarding the 3D model, a historical-archaeological evidence scale is used, allowing a graphic identification of the authenticity degree required to provide reliability in the reconstruction of lost or altered parts. This facilitates virtual recreation interpretation among future researchers from different disciplines. The Riamonte mill complex is part of a typology typical of the region, in which the use of virtual models makes it possible to reach the scales of the territory, the building and the machinery, facilitating the correct understanding of this cultural heritage.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46035592","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}
P. M. Millán-Millán, Celia Chacón-Carretón, Cristian Castela González
Highlights: High-definition scanning and 3D printing have been used as tools in the detection of heritage pathologies, as well as in the study of materials. The Carcabuey castle has been digitized and the volumetric data recovered from the study of its materials typology and its stereotomy, obtained with laser scanning. The study of construction and material phases, and the pathologies produced by them, has been carried out from the 3D printing of the heritage structure parts. Abstract: Precise documentation is essential to carry out the restoration and enhancement processes of protected heritage contexts. Data collection has been increasingly perfected, to the point of being able to perform virtual recreations of complex historical sites, in order to carry out in-depth studies and analyses. An example is Carcabuey Castle (Cordoba, Andalusia), a large fortress with important medieval structures. It is a monumental site of the so-called "Frontier Castles", which were located between the Kingdom of Aragon, and the Nasrid Kingdom of Granada. With the aim of restoring it and highlighting its value, an in-depth study was developed for its conservation and subsequent intervention. The data collection included terrestrial laser scanning and vectorising all the structures, as well as a complex and complete photogrammetric survey. From these previous data and carrying out a deductive analytical methodology, a model was generated which, after being printed in 3D (different models at different scales of detail), would allow the volumes, materials and textures which make up the castle, to be studied. The multidisciplinary team, composed of architects, archaeologists, historians and engineers, made it possible to provide multifaceted and inclusive character to all the work, both in the study of pathologies based on the models, and in the construction phases, detected by the stereotomy of the ashlars, or chemical composition of mortars. Since then, with all the data obtained in the research, summarised in this article, it has been possible to carry out a correct diagnosis for the restoration and enhancement of the heritage site.
{"title":"The process of digital fabrication and 3D printing as a tool in the study of heritage pathologies: Carcabuey Castle (Cordoba)","authors":"P. M. Millán-Millán, Celia Chacón-Carretón, Cristian Castela González","doi":"10.4995/var.2023.18213","DOIUrl":"https://doi.org/10.4995/var.2023.18213","url":null,"abstract":"Highlights:\u0000\u0000High-definition scanning and 3D printing have been used as tools in the detection of heritage pathologies, as well as in the study of materials.\u0000The Carcabuey castle has been digitized and the volumetric data recovered from the study of its materials typology and its stereotomy, obtained with laser scanning.\u0000The study of construction and material phases, and the pathologies produced by them, has been carried out from the 3D printing of the heritage structure parts.\u0000\u0000Abstract:\u0000Precise documentation is essential to carry out the restoration and enhancement processes of protected heritage contexts. Data collection has been increasingly perfected, to the point of being able to perform virtual recreations of complex historical sites, in order to carry out in-depth studies and analyses. An example is Carcabuey Castle (Cordoba, Andalusia), a large fortress with important medieval structures. It is a monumental site of the so-called \"Frontier Castles\", which were located between the Kingdom of Aragon, and the Nasrid Kingdom of Granada. With the aim of restoring it and highlighting its value, an in-depth study was developed for its conservation and subsequent intervention. The data collection included terrestrial laser scanning and vectorising all the structures, as well as a complex and complete photogrammetric survey. From these previous data and carrying out a deductive analytical methodology, a model was generated which, after being printed in 3D (different models at different scales of detail), would allow the volumes, materials and textures which make up the castle, to be studied. The multidisciplinary team, composed of architects, archaeologists, historians and engineers, made it possible to provide multifaceted and inclusive character to all the work, both in the study of pathologies based on the models, and in the construction phases, detected by the stereotomy of the ashlars, or chemical composition of mortars. Since then, with all the data obtained in the research, summarised in this article, it has been possible to carry out a correct diagnosis for the restoration and enhancement of the heritage site.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41826641","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}
A. Mozas-Calvache, José Luis Pérez-García, J. M. Gómez-López
Highlights: A new methodology is presented to develop geometrical analysis of burial structures based on 3D models. The methodology has been applied to three contiguous burial structures (hypogea), allowing the researchers to analyse some constructive aspects such as dimensions, proportions, orientations, flatness and inclinations. Results have demonstrated the advanced skills achieved by ancient Egyptians in construction techniques. Abstract: This study describes the methodology developed and the main results obtained when analysing the geometrical behavior of three adjacent burial structures located in southern Egypt. The rock-cut tombs are composed of complex geometries such as halls, corridors, chambers and vertical shafts. Among other determining aspects, this complexity greatly conditioned the data acquisition and processing work. In this context, the main objective of this study was to develop a new methodology for obtaining geomatic products that support a complete geometrical analysis of the tombs. The researchers have used photogrammetric and laser scanning surveys to obtain accurate 3D models on a common reference system. The procedure used included obtaining several secondary products, such as several geometries (planes and cylinders) fitted from point clouds or plans and sections obtained from the 3D models. The geometric analysis has included several aspects: dimensions, proportions, orientations, wall flatness, inclinations, etc., and it is based on these products. The results obtained suggest and confirm several hypotheses about the constructive aspects of these hypogea based on a large amount of data, including the determination of a proportional canon used by the ancient Egyptians to plan and perform the excavation works of each funerary structure. The application of this methodology has demonstrated that this type of analysis is viable to unveil some important aspects of these structures and the constructive procedures carried out almost four millennia ago.
{"title":"Geometrical study of Middle Kingdom funerary complexes in Qubbet el-Hawa (Aswan, Egypt) based on 3D models","authors":"A. Mozas-Calvache, José Luis Pérez-García, J. M. Gómez-López","doi":"10.4995/var.2023.18418","DOIUrl":"https://doi.org/10.4995/var.2023.18418","url":null,"abstract":"Highlights:\u0000\u0000A new methodology is presented to develop geometrical analysis of burial structures based on 3D models.\u0000The methodology has been applied to three contiguous burial structures (hypogea), allowing the researchers to analyse some constructive aspects such as dimensions, proportions, orientations, flatness and inclinations.\u0000Results have demonstrated the advanced skills achieved by ancient Egyptians in construction techniques.\u0000\u0000Abstract:\u0000This study describes the methodology developed and the main results obtained when analysing the geometrical behavior of three adjacent burial structures located in southern Egypt. The rock-cut tombs are composed of complex geometries such as halls, corridors, chambers and vertical shafts. Among other determining aspects, this complexity greatly conditioned the data acquisition and processing work. In this context, the main objective of this study was to develop a new methodology for obtaining geomatic products that support a complete geometrical analysis of the tombs. The researchers have used photogrammetric and laser scanning surveys to obtain accurate 3D models on a common reference system. The procedure used included obtaining several secondary products, such as several geometries (planes and cylinders) fitted from point clouds or plans and sections obtained from the 3D models. The geometric analysis has included several aspects: dimensions, proportions, orientations, wall flatness, inclinations, etc., and it is based on these products. The results obtained suggest and confirm several hypotheses about the constructive aspects of these hypogea based on a large amount of data, including the determination of a proportional canon used by the ancient Egyptians to plan and perform the excavation works of each funerary structure. The application of this methodology has demonstrated that this type of analysis is viable to unveil some important aspects of these structures and the constructive procedures carried out almost four millennia ago.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47765621","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}
Lo más destacado: El artículo contribuye al conocimiento del patrimonio arquitectónico industrial ligado a la trashumancia que se encuentra profundamente degradado y en visos de desaparecer. Introduce nuevas tecnologías para la difusión del conocimiento, facilitando una comprensión inclusiva para todos los sectores de la sociedad. Promueve una metodología científica rigurosa y exhaustiva, sentando las bases para la recuperación y valorización de este patrimonio arqueológico y cultural. Resumen: El esquileo de Perales (El Espinar, Segovia) constituye una muestra única de esta tipología arquitectónica singular de la región del piedemonte segoviano, implementada por las élites cortesanas a comienzos del siglo XVIII. El edificio sirvió para esquilar a la numerosa y reputada cabaña trashumante de lana fina de la marquesa de Perales, permitiendo además las operaciones complementarias a esta técnica novedosa (clasificación, almacenaje, estribado, etc.), así como el avituallamiento de todos los trabajadores y pastores ligados al proceso. A su vez, el esquileo integraba un palacio de excelente factura y prestancia para el alojamiento y disfrute de sus ennoblecidos propietarios, que participaban en la supervisión de las tareas. No obstante, tras la Guerra de la Independencia y el declive de la trashumancia el edificio fue abandonado paulatinamente, quedando abocado a su irremediable destrucción. En concreto, el esquileo fue desmantelado durante un extenso proceso regresivo sostenido a lo largo del siglo XX, derivado de nuevas motivaciones y planteamientos urbanísticos en la población. Durante estas fases se demolieron la mayoría de las edificaciones que integraban el conjunto, conservándose únicamente cuatro de los muros que componían su núcleo principal, y donde se integraron artificiosamente los elementos más significativos de las fachadas derribadas. Aun así, los restos supervivientes de este esquileo todavía muestran la sobresaliente calidad de la ejecución y su diseño, entre cuyos elementos destaca el magnífico conjunto de tres grandes portadas. En este artículo se presenta la reconstrucción virtual del esquileo de Perales, fundamentada en una metodología transversal de trabajo de campo y de archivo, y expuesta a través de un conjunto de planos e imágenes trazados mediante un modelado tridimensional (3D) que permite comprender la magnitud y capacidad de este singular complejo; todo ello, como medio para promover su conservación y salvaguarda futuras.
{"title":"Reconstrucción virtual del esquileo del marqués de Perales en El Espinar (Segovia)","authors":"Nicolás Gutiérrez Pérez","doi":"10.4995/var.2023.17913","DOIUrl":"https://doi.org/10.4995/var.2023.17913","url":null,"abstract":"Lo más destacado:\u0000\u0000El artículo contribuye al conocimiento del patrimonio arquitectónico industrial ligado a la trashumancia que se encuentra profundamente degradado y en visos de desaparecer.\u0000Introduce nuevas tecnologías para la difusión del conocimiento, facilitando una comprensión inclusiva para todos los sectores de la sociedad.\u0000Promueve una metodología científica rigurosa y exhaustiva, sentando las bases para la recuperación y valorización de este patrimonio arqueológico y cultural.\u0000\u0000Resumen:\u0000El esquileo de Perales (El Espinar, Segovia) constituye una muestra única de esta tipología arquitectónica singular de la región del piedemonte segoviano, implementada por las élites cortesanas a comienzos del siglo XVIII. El edificio sirvió para esquilar a la numerosa y reputada cabaña trashumante de lana fina de la marquesa de Perales, permitiendo además las operaciones complementarias a esta técnica novedosa (clasificación, almacenaje, estribado, etc.), así como el avituallamiento de todos los trabajadores y pastores ligados al proceso. A su vez, el esquileo integraba un palacio de excelente factura y prestancia para el alojamiento y disfrute de sus ennoblecidos propietarios, que participaban en la supervisión de las tareas. No obstante, tras la Guerra de la Independencia y el declive de la trashumancia el edificio fue abandonado paulatinamente, quedando abocado a su irremediable destrucción. En concreto, el esquileo fue desmantelado durante un extenso proceso regresivo sostenido a lo largo del siglo XX, derivado de nuevas motivaciones y planteamientos urbanísticos en la población. Durante estas fases se demolieron la mayoría de las edificaciones que integraban el conjunto, conservándose únicamente cuatro de los muros que componían su núcleo principal, y donde se integraron artificiosamente los elementos más significativos de las fachadas derribadas. Aun así, los restos supervivientes de este esquileo todavía muestran la sobresaliente calidad de la ejecución y su diseño, entre cuyos elementos destaca el magnífico conjunto de tres grandes portadas. En este artículo se presenta la reconstrucción virtual del esquileo de Perales, fundamentada en una metodología transversal de trabajo de campo y de archivo, y expuesta a través de un conjunto de planos e imágenes trazados mediante un modelado tridimensional (3D) que permite comprender la magnitud y capacidad de este singular complejo; todo ello, como medio para promover su conservación y salvaguarda futuras.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49321621","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}
Highlights: A virtual 3D model of a botanical garden was built based on a GIS with plants botanical information and buildings, statues and other assets historical information. The height and crown diameter of individual trees were determined from watershed operations on aerial LiDAR data. Statues were modelled photogrammetrically. Buildings were modelled procedurally using CGA rules. Users found realism and information access to be the most positive points. The way of data organisation and the elaborated modelling rules make the product easily extendable for new data and objects. Abstract: Botanical gardens are important spots in urban spaces, both for researchers and for many different kinds of public. Conveying scientific information by means of an attractive digital product, on a pre- or post-visit experience, is a way of captivating the public, especially the younger generation, to the relevance of those gardens as repositories of knowledge and for conservation of plant species diversity. This approach also facilitates communication with the general public and access to historical data. On the other hand, bringing the garden to the desktop of researchers and managers can be an advantage, not only for an overview of the status quo but also in spatial planning matters. This paper describes the production of a 3D dynamic model of the Tropical Botanical Garden in Lisbon on top of a Geographic Information System (GIS). Its development included creating a spatial database to organise data originating from a variety of sources, the three-dimensional (3D) modelling of plants, buildings and statues, the creation of web pages with historic and contextual information, as well as the publication of a number of interactive 3D scenes. Several software packages were used, and the final outputs were published in ArcGIS Online to be explored by the public and researchers (link provided at the end of the text). The data are organised in a database, and most 3D modelling tasks are procedural through Computer Generated Architecture (CGA) rules. Thus, updating information or 3D models can be done without having to repeat all steps, an important feature for a dynamic botanical garden. Challenges and solutions are also addressed, providing a constructive contribution to the further implementation of similar experiences in other botanical gardens. According to a user survey carried out, the realism of the representation and the possibility of easily retrieving information from the objects are the most positive aspects of the project.
{"title":"A digital botanical garden: using interactive 3D models for visitor experience enhancement and collection management","authors":"P. Redweik, Susana Reis, M. C. Duarte","doi":"10.4995/var.2023.17629","DOIUrl":"https://doi.org/10.4995/var.2023.17629","url":null,"abstract":"Highlights:\u0000\u0000A virtual 3D model of a botanical garden was built based on a GIS with plants botanical information and buildings, statues and other assets historical information.\u0000The height and crown diameter of individual trees were determined from watershed operations on aerial LiDAR data. Statues were modelled photogrammetrically. Buildings were modelled procedurally using CGA rules.\u0000Users found realism and information access to be the most positive points. The way of data organisation and the elaborated modelling rules make the product easily extendable for new data and objects.\u0000\u0000Abstract:\u0000Botanical gardens are important spots in urban spaces, both for researchers and for many different kinds of public. Conveying scientific information by means of an attractive digital product, on a pre- or post-visit experience, is a way of captivating the public, especially the younger generation, to the relevance of those gardens as repositories of knowledge and for conservation of plant species diversity. This approach also facilitates communication with the general public and access to historical data. On the other hand, bringing the garden to the desktop of researchers and managers can be an advantage, not only for an overview of the status quo but also in spatial planning matters. This paper describes the production of a 3D dynamic model of the Tropical Botanical Garden in Lisbon on top of a Geographic Information System (GIS). Its development included creating a spatial database to organise data originating from a variety of sources, the three-dimensional (3D) modelling of plants, buildings and statues, the creation of web pages with historic and contextual information, as well as the publication of a number of interactive 3D scenes. Several software packages were used, and the final outputs were published in ArcGIS Online to be explored by the public and researchers (link provided at the end of the text). The data are organised in a database, and most 3D modelling tasks are procedural through Computer Generated Architecture (CGA) rules. Thus, updating information or 3D models can be done without having to repeat all steps, an important feature for a dynamic botanical garden. Challenges and solutions are also addressed, providing a constructive contribution to the further implementation of similar experiences in other botanical gardens. According to a user survey carried out, the realism of the representation and the possibility of easily retrieving information from the objects are the most positive aspects of the project.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43827512","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}
Miguel García-Bustos, Olivia Rivero, Paula García Bustos, Ana María Mateo-Pellitero
Highlights: Despite being a transcendental cultural manifestation in the history of humanity, there are hardly any open-access virtual repertoires of Palaeolithic art. The numerous photogrammetric studies carried out in successive archaeological campaigns to answer scientific questions can be used in educational and dissemination projects. In the framework of the authors’ outreach project called "PaleoArt-3D: regreso al pasado" a virtual museum has been created to make Palaeolithic art a more accessible and democratic heritage. Abstract: Palaeolithic art is a cultural manifestation of great importance to understanding the early history of our species. Through this artistic phenomenon, one can study aspects such as long-distance contacts, evidence of learning or the perception with which Palaeolithic humans were able to execute and memorise such precise details. However, there are few virtual repertoires that offer collections of Palaeolithic art. Accessibility to this type of archaeological remains is even more difficult considering conservation is prioritised over tourist visits. For these reasons, Palaeolithic art is today a type of cultural asset that is largely unknown to the population. The project "PaleoArt-3D: regreso al pasado" was created with the aim of democratising this heritage and making it more accessible. To this end, a virtual museum has been developed to exhibit digital models of parietal and portable art with complementary annotations for each one. The methodology includes a first stage dedicated to digitising examples of Palaeolithic art in caves or open-air stations and exhibited in Spanish and French museums. Next, the necessary infrastructure was designed to house the exhibition using specific software such as Blender. Post-processing tasks were carried out to reducing the number of polygons without losing quality. Finally, the museum has been uploaded to the Sketchfab platform to make it freely available online. It is hoped that this virtual museum will contribute to promoting and creating a more significant number of digital resources related to Palaeolithic art that are easily accessible to the public.
{"title":"From the cave to the virtual museum: accessibility and democratisation of Franco-Cantabrian Palaeolithic art","authors":"Miguel García-Bustos, Olivia Rivero, Paula García Bustos, Ana María Mateo-Pellitero","doi":"10.4995/var.2023.17684","DOIUrl":"https://doi.org/10.4995/var.2023.17684","url":null,"abstract":"Highlights:\u0000\u0000Despite being a transcendental cultural manifestation in the history of humanity, there are hardly any open-access virtual repertoires of Palaeolithic art.\u0000The numerous photogrammetric studies carried out in successive archaeological campaigns to answer scientific questions can be used in educational and dissemination projects.\u0000In the framework of the authors’ outreach project called \"PaleoArt-3D: regreso al pasado\" a virtual museum has been created to make Palaeolithic art a more accessible and democratic heritage.\u0000\u0000Abstract:\u0000Palaeolithic art is a cultural manifestation of great importance to understanding the early history of our species. Through this artistic phenomenon, one can study aspects such as long-distance contacts, evidence of learning or the perception with which Palaeolithic humans were able to execute and memorise such precise details. However, there are few virtual repertoires that offer collections of Palaeolithic art. Accessibility to this type of archaeological remains is even more difficult considering conservation is prioritised over tourist visits. For these reasons, Palaeolithic art is today a type of cultural asset that is largely unknown to the population. The project \"PaleoArt-3D: regreso al pasado\" was created with the aim of democratising this heritage and making it more accessible. To this end, a virtual museum has been developed to exhibit digital models of parietal and portable art with complementary annotations for each one. The methodology includes a first stage dedicated to digitising examples of Palaeolithic art in caves or open-air stations and exhibited in Spanish and French museums. Next, the necessary infrastructure was designed to house the exhibition using specific software such as Blender. Post-processing tasks were carried out to reducing the number of polygons without losing quality. Finally, the museum has been uploaded to the Sketchfab platform to make it freely available online. It is hoped that this virtual museum will contribute to promoting and creating a more significant number of digital resources related to Palaeolithic art that are easily accessible to the public.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44201481","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}
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