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The Survey for the Cultural Heritage of Swabian Bari Castle

Carmela CRESCENZI | Francesco TIOLI | Simone BENEVENTI | Fabrizio FORTE (Università degli Studi di Firenze – DIDA, Firenze, Italy) Keywords: Survey Lidar, 3D modelling, Swabian castle of Bari, archaeological study Abstract: The study, entrusted to the Department of Architecture of the University of Florence,  shows the first data of the survey and the idea of a multimedia project for the orientation visit of Norman Swabian Castle in Bari. The Castle is about to potentiate its museum activity to tell its history and that of the territory. Opening to a cultural role, “U Castidd” will give voice to the remains found in the excavations on site and those kept by the Architectonic and the Land-scape heritage Superintendence of Bari. The same Bari Superintendence, who has benefited from funding POiN 2012-2016 “Cultural and natural attractions for tourism”, carried out the development project. The enhancement and preservation of cultural heritage and the promotion depend on innovative processes of data acquisition, management and knowledge. Digital technologies, constantly evolving, provide new tools useful in the research and aimed to the “smart” Documentation of Cultural Heritage, from the finds to the archaeological or architectural areas as in the case study. The project uses different kind of visualizations and digital representations developed to show the cultural heritage. Lidar and photogrammetric technique allow accurate surveys and diversified processing outputs. The relation shows the issues encountered during the data processing whit the Autodesk software e the approach to pursuit the expected result both in measure and in the final product. The initial good display and assembly speed of point clouds is affected by the increase of the number of clouds. The quality of collimation and recording is compromised, for example, by some proposed software suggestions, such as creating cloud blocks to merge them later, or to optimize the file at its saving and closing. Additionally, the user friendly interface give to the user a little control over the model, and the lack of output formats force the user to use exclusively other Autodesk software. Relevance Conference / Relevance Session: Case study and critical analysis on limits and possibilities of 3D reconstruction software, applied to the field of...

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GRAVITATE

Martina POLIG | S.C. PHILLIPS | S. MODAFFERI | S. HERMON | L. DORST | M. SPAGNUOLO | C.E. CATALANO | D. OLDMANN | D. TANASE | A. TAL, I. SHIMSHONI (The Cyprus Institute – CyI, Nicosia, Cyprus) A platform for the re-unification, re-association and re-assembly of Cultural Heritage artefacts Keywords: Semantic, 3D models, similarity, reassociation, reunification, reassembly Abstract: The overall aim of GRAVITATE is to provide a digital solution to main challenges in archaeology and cultural heritage, represented by three Rs: Re-Unification, Re-Association and Re-Assembly. This means bringing together fragments of objects now stored in different museum and collections, assembling fragments and artefacts once belonging to a same object or group and virtual restoration of broken artefacts in a digital environment. This will be achieved by creating an innovative research platform integrating 3D geometry analysis with semantic descriptions, 2D/3D puzzling (shapes and colour), natural language processing and advanced visualisation methods. Such a platform will serve the archaeological research community, as well as museum curators and archaeologists in the public sector dealing with curated artefacts. Moreover, it will offer an innovative solution to search for objects of similar criteria and bring them together (digitally) for a comprehensive interpretation through their digital surrogates. Finally, while being a stand-alone platform, GRAVITATE aims to integrate its digital solutions with major large-scale research initiatives, virtual research environments and research infrastructures, such as RESEARCH SPACE, E-RIHS or ARIADNE. In this paper the functionalities of GRAVITATE that will be offered to the end-user will be briefly introduced, followed by a discussion on issues that were encountered in the project. The structure and codification of metadata and the heterogeneity in terminology and classification within the cultural heritage sector will be addressed, as well as the quality of 3D models and the requirements they have to meet that allow a use beyond mere documentation and visualization. These issues are pertinent to the ongoing digitization of the cultural heritage in Europe and around the world and GRAVITATE aims at contributing to the discussion arising around these efforts. It is hoped that the project illustrates a novel approach for geometrically and semantically exploring, comparing and associating objects in large...

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Could virtual restoration substitute actual restoration?

Luciano RICCIARDI (Urbino University, Urbino, Italy) A proposal for two artworks Keywords: Virtual restoration, new technologies, photo retouching, non-invasive interventions Abstract: The aim of the research presented is to investigate the opportunity of replacing, where possible, the restoration of a work of art by means of virtual intervention. This for a number of reasons: to virtually re-integrate  missing areas in a work of art on the basis of proper historical and diagnostic examinations; to avoid tampering with original parts –something that inevitably occurs during an actual restoration; and to limit the number of works which are restored not for conservation purposes, but mainly for aesthetical upgrade. More specifically, this research proposes a method for virtually reintegrating the figurative text of works of arts, where readability is damaged due to the presence of numerous or extensive areas of loss. The method has been developed taking as case study two panel paintings of the XIV century, sited in the Galleria Nazionale delle Marche (Urbino): the Madonna dell’Umiltà, attributed to “Maestro dell’incoronazione di Bellpuig” and the Annunciazione by Olivuccio di Ceccarello. Both representations have been considerably damaged during their conservative history and have incurred extensive loss of authentic pictorial film, even in key sectors, such as characters’ anatomical details. These areas of loss have been filled with neutral colors during restoration interventions carried out around 1970, since judged as not interpretable, according to criteria set by Italian Theory of Restoration. Starting with a high-resolution photograph of mentioned paintings, it has been proposed to redefine the missing form and color with AutoCAD and Photoshop, so as to render the paintings virtually intact. In order to recreate the drawing, the research compares graphic surveys taken from other works of the same artist. Peculiarity of Medieval artistic production, indeed, is the use of silhouettes, reproducing standardised shapes. Moreover, part of this research focuses on the theme of virtual cleaning. Here, an example of application is proposed for the Madonna dell’Umiltà, where diagnostic images have detected severely altered...

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The Annotated Atlas on the Architecture of Hauran, Syria

Tony GERROUGE (DAI Stunde Null-Project, GHS scholarship, Berlin, Germany) Keywords: Syria, Cultural Heritage, Hauran, Interactive Media Abstract: Among the international and regional efforts to protect and preserve the endangered cultural heritage in Syria, the project “Stunde Null: A future for the Time after the Crisis” by the German Archaeological Institute comes as one of the valuable steps to complete the Institute’s highly significant targets. The need for documentation projects is evident, particularly for urgent regions like Palmyra and Aleppo, as World Heritage sites. Moreover, there is also a need for the documentation of other important regions like Hauran, South of Syria, to form a source of information for the restoration experts and decision makers when the crisis is over. With the vast areas of endangered sites of cultural heritage in Syria, any given attention by organizations, initiatives and individuals seems to be very important to cover a part of those areas. This “The Annotated Atlas on the Architecture of Hauran, Syria” is a 2-year project, as a scholarship by Gerda Henkel Foundation in Düsseldorf, Germany that aims to produce a restricted-access online database to experts and researchers, containing the available materials in the library of the Orient Department of DAI, related to the archaeology and historical architecture in Hauran, Syria. Targets: Due to the fertile soil in Hauran, the people of this region have had through history enough resources to build and maintain their architectural monuments. During the 5th and 6th centuries, the region of Hauran had about 30 parishes to cover all the villages of the region, each of which has had at least 1 church. This project has the following targets: •       Shedding light on the importance of Christian architecture of the region of Hauran in the Near East, •       Supporting researchers, restoration experts and decision makers by building an online interactive...

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The Adriatic coast

Paolo FORMAGLINI | Filippo GIANSANTI | Stephane GIRAUDEAU | Alessandro GIACOMELLI (Dipartimento di Architettura, DIDA UNIFI, Florence University, Italy) The case study of Albani and Clementina towers Keywords: Coastline towers, Adriatic Sea, military architecture, Papacy, photogrammetry survey Abstract: Along the Mediterranean coast, the fortification system of towers has always the function to prevent and defend the coast from all the attacks, often of pirates. This kind of system is a planned and wellorganized network also in the Adriatic sea, where during the XIII century the Papacy and the Republic of Venice militarily controlled the sea. The choice of the case study, the Torre di Albani in Montignano, near Senigallia (AN), built in the XIII century, has served for the analysis of the historical and technological aspects that characterized the towers in this part of Adriatic sea in the Modern Age. Interesting is also the comparison with the Torre Clementina in Portonovo (AN) built in 1716 by Pope Clement XI, 30 km far from Montignano, tower of a different period, but with the same relationship between the tower and the territory. It appeared immediately evident the need to have exact metric references since it is a strong offset towards the sea side. In order to process a photogrammetric survey, photographs were taken around the tower, which allowed to select 183 photos that were used during 3D alignment using the Agisoft Photoscan. The dense point cloud resulting from alignment has a high quality, with over 23millions points. After appropriate point cleaning with the 3D System Geomagic software, the resulting mesh model of 20 million polygons maintains the right relationship between data quality and data management ease. At the end, a rebuilding of the UV map has allowed to get a high-resolution texture map (16384 px). This work aims to document and show all aspects of the tower, the construction type, the materials and the building model and to be able to analyze the different characteristics of the towers in order to better interpret the defensive system of the Adriatic...

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The Archaeological Area of Rome rediscovered with the visual arts

Tiziana CASABURI (Roma Tre University, Rome, Italy) Keywords: Archaeological Area, visual arts, new realities Abstract: My research forms part of the current debate on the development of the archaeological landscape in an urban context. I start by looking at the relevance of our “archaeological heritage” in the modern world and at how the way in which we are exposed to our heritage has developed. From being the preserve of elite to it becoming a base resource for mass tourism. In the past, the presentation and layout of the archeological sites in Rome were structured in a way that limited access to scholars. Today mass tourism has opened up our archaeological heritage to a mixed audience. How can one inform the tourist, packaging the information in a way that is readily accessible without debasing that information? In coming up with a solution to the problems of presentation, various bodies within Rome opted for an approach using a digital media such as AR “augmented reality” A live but indirect view of archeological sites augmented by computer generated sensory input such as video, graphics and sound in order to convey information in an entertaining way. Augmented reality has been experimented with, as a guide to various sites such as: The Roman Domus of Palazzo Valentini, Cesare’s Forum, and the projections of the great fire of AD64 during the reign of Nero at Augusto’s Foro and at Domus Aurea. Using digital technology is one way of opening up and giving the public a key to understanding Rome’s archaeological heritage. Augmented reality can add to the experience of both those that are familiar with the historical layout of the archaeological sites as well as those that are coming anew. With all that the computer generated sensory input can impart, such as video, graphics and sound, the fundamental and perhaps the most important experience remains that of being there. Being on site and seeing with one’s own eyes. Relevance conference/ Relevance session: New methods to promote the archaeological landscape in an urban context. Innovation: New approach using a digital media such as AR “augmented reality” in Rome’s Archaeological Area References: – Domus of Palazzo Valentini...

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