Papers by Francesco Giuri
2015 Digital Heritage, 2015
This paper describes a complete path of research, which, starting from analysis and restitution 3... more This paper describes a complete path of research, which, starting from analysis and restitution 3D, gets to the virtual exploration of Hypogeum Palmieri in Lecce, a monument of Messapian age (4th century BC) currently not visible by tourists, as it is located in the garden of a private home. This project is developed under the DICET, an Italian National Operative Program, that aims to define and produce innovative models, processes, and tools for the sustainable development of a smart territory by capitalizing on its cultural and environmental resources, and marketing their touristic offerings. The instrumental survey of the Palmieri hypogeum was executed using two different methods, laser scanner and digital photogrammetry, in order to get a high metric control of the monument and high-resolution textures for the sculpted friezes. The two different survey methods allowed a perfect porting on different outputs: the 3D real time visit on the web and virtual visit on portable devices. A stereoscopic animation, installed at the museum MUST (Historic Museum of Lecce) Lecce, provides an easy diffusion of the cultural message. The richness of the textures and the resolution of the models has allowed the study of the monument from a morphological and structural point of view. The virtual reconstruction contributes to read an unpublished part of monumental tombs in Messapian age. Thanks to a cinematic approach with a great scientific rigor, the historical competence of an ordinary visitor is now largely formed on information coming from these media, thus creating a great increase in the demand for products with a high technological content and popularising historical re-evocations and reconstructions of the past.
in A. Chiga, P. Durante, S. Giammaruco (a cura di), Conservare l’acqua. Le Pozzelle di Zollino tra memoria storica e indagini scientifiche, Galatina 2015, pp. 63-70.
Il contributo illustra i risultati della campagna di rilievo effettuata nell'area delle pozzelle ... more Il contributo illustra i risultati della campagna di rilievo effettuata nell'area delle pozzelle presenti in località Pirro a Zollino (Le) e in località Apigliano a Martano (Le).
– In this paper we illustrate the use of cognitive metaphors for the transmission of historical a... more – In this paper we illustrate the use of cognitive metaphors for the transmission of historical and cultural contents as an indispensable condition in the process of museum communication. For this we used the 3D computer graphics animation to introduce the subjects dealt with in the exhibition spaces dedicated to Queen Nefertari, the chapel of Maya, the tomb of Kha, the house of the Golden Bracelet and the house of Octavius Quartio. In these filmed segments, passive viewing is offset by an emotional approach that engages visitors in an information path where, despite the inactive mode of fruition, they are in some way participants, because they are emotionally involved. The film itself is conceived as a showcase of changeable, heterogeneous digital content, capable to offer a concise, preparatory overview of the finds present in the museum spaces.
– This paper presents the results achieved for the reconstructive study of the Greek-Roman theatr... more – This paper presents the results achieved for the reconstructive study of the Greek-Roman theatre of Taormina, aimed at the realization of a Computer Graphic (CG) film presented at the G7 summit (26-27 May 2017). The reconstruction is now exposed to visitors within one of the two basilicas at the entrance of the theater. The work was commissioned by the Archaeological Superintendence-Park of Naxos-Taormina and proposes the ancient structure in its original aspect in two distinct phases. The first phase dating back to the first quarter of the II century A.D.. When, following a first imposed renovation, the complex expanded the receptive capacity of audience with the construction of an external ambulatory and the reconstruction of the entire scaenae frons. The second part dating back to III century A.D. instead, it involves changes to the stage building and the orchestra with its transformation into the arena that change the use of the building. In particular the theatre representations were substituted with gladiatorial games. Our reconstruction uses fast 3D surveys based on drone photogrammetry and close range photogrammetry, together with the potential offered by the 3D modelling environment for interpretation and study. This approach has led to some unpublished solutions. The main goal of this work, is to understand the architectural and details of the monument, in an overall vision of the original context that allows the visitors to value its element of originality.
The use of cognitive metaphors for the transmission of historical and cultural content is now an ... more The use of cognitive metaphors for the transmission of historical and cultural content is now an indispensable condition in the process of revamping the forms of museum communication. In this project for setting up the new Museo Egizio in Turin, the cultural message has been entrusted to three specific filmed segments in 3D computer graphics, aimed at introducing the subjects dealt with in the rooms dedicated to queen Nefertari, the chapel of the painter Maya, and the tomb of Kha. These are archaeological settings of extraordinary importance for studying and learning about the art and culture of ancient Egypt. In these filmed segments, passive viewing is offset by an emotional approach that engages visitors in an information path where, despite the inactive mode of fruition, they are in some way participants, because they are emotionally involved. The film itself is conceived as a showcase of changeable, heterogeneous digital content, capable of offering a concise, preparatory overview of the finds present in the museum spaces. This passive and " self-explanatory " approach will allow the visitor to understand the relationships between various objects – some not directly visible – like the mummy of Kha and of his consort Merit; to reconstruct the tombs virtually in their original context; but above all, thanks to the techniques of virtual archaeology, to visit these settings as they appeared at the moment they were unearthed. All this was made possible thanks to the use of integrated technologies for rendering and representation, capable of bringing virtualization to a level of verisimilitude that can foster a hyper-realistic " participatory " vision. The high degree of realism of the virtual reconstructions, the visual effects, and the techniques of cinematographic representation add emotion to the scientific content, making a positive contribution towards the visitors " losing themselves " between the real and the virtual dimension. Active or passive communication? Based on dynamic narration and multimodal information, new forms of museum communication have strongly changed the very ways in which cultural content is enjoyed by the public, and the logic with which it is displayed. At the same time, the impulse of new technologies has overarchingly imposed new forms of communication, based above all on digital content and languages. Recent studies clearly show that all those museums that characterized their own cultural offering through the use of digital technologies and the public's active participation have been most successful in terms of attendance figures and also, in all likelihood, have achieved better understanding of the cultural information being communicated. In this context, Turin's Museo Egizio has seen a communication proposal come into being that, through the use of 3D restitution technologies, virtual reconstruction, and computer animation, can accelerate and enhance the visitor's cognitive abilities, becoming a medium capable of effectively generating " virtuous " learning
The roman amphitheatre of Catania stands in a very complex and interesting area where settlement ... more The roman amphitheatre of Catania stands in a very complex and interesting area where settlement dynamics and transformations have profoundly marked its urban landscape. Over the centuries, the urban and architectural histories together with the formation of the archaeological deposits have led to the complete obliteration of the monument and restricted knowledge of its plan and architectural development. Therefore, it constitutes an interesting context in which to experiment methods and techniques for architectural representation and the three-dimensional reconstruction of the monument. Resumen: El anfiteatro romano de Catania se encuentra en una zona compleja e interesante donde la dinámica de asentamiento y transformaciones han marcado profundamente su paisaje urbano. A través de los siglos, las historias urbanas y arquitectónicas, junto con la formación de los depósitos arqueológicos han dado lugar a la destrucción completa del monumento y el conocimiento de su plan de desarrollo arquitectónico. Por lo tanto, constituye un contexto interesante en el que experimentar métodos y técnicas para la representación de la arquitectura y la reconstrucción tridimensional del monumento.
The Graeco-Roman theatre of Catania stands in the heart of the historic centre, on the southeaste... more The Graeco-Roman theatre of Catania stands in the heart of the historic centre, on the southeastern slopes of the hill of Montevergine. The building visible today was built during the Julio-Claudian period as part of a programme that saw the rebuilding of the monument, which probably used structures and materials from the earlier Greek theatre. The work undertaken over more than fifty years, involving expropriation, demolition, excavation, and restoration, has, on the whole, made it possible to bring to light the surviving parts of the theatre, improving the comprehension of this monument, despite the fact that some sectors have been irreparably compromised. Resumen: El teatro greco-romano de Catania se encuentra en el corazón del centro histórico, en las laderas del sureste de la colina de Montevergine. visibles en la actualidad el edificio fue construido durante el período Julio-Claudia como parte de un programa que vio la reconstrucción del monumento, lo que probablemente utiliza estructuras y materiales del teatro griego anterior. El trabajo realizado durante más de cincuenta años, la participación de la expropiación, demolición, excavación y restauración, tiene, en general, hecho posible sacar a la luz las partes sobrevivientes del teatro, la mejora de la comprensión de este monumento, a pesar del hecho de que algunos sectores han sido irremediablemente comprometido.
Virtual Archaeology Review, 2015
La reconstrucción de un monumento antiguo está fuertemente influenciada por las lagunas de inform... more La reconstrucción de un monumento antiguo está fuertemente influenciada por las lagunas de información, la transcripción incorrecta de las fuentes, traducción errónea o peores, interpretaciones subjetivas que pueden afectar drásticamente el resultado final, que conduce a reconstrucciones también significativamente diferentes unos de otros. Este trabajo tiene como objetivo presentar los resultados de un estudio llevado a cabo la reconstrucción filológica de algunos monumentos de Siracusa griega, tratando de resaltar la contribución específica de la arqueología en los procesos de interpretación, con el fin de proponer una presentación eficaz dirigido a un target específico de turistas. Siguiendo este enfoque se han reconstruido el Templo de Apolo, el conjunto monumental de la Piazza Duomo y el Teatro griego, tratando de dar salida de pantalla que eran adecuadas para una consulta de los smartphones y coherentes con los objetivos generales del proyecto "PON Energy Smart City". Este proyecto implica un enfoque "inteligente" para visitar Siracusa, centrándose principalmente fruición lógica eficientes para la adopción de tecno-logías basado en la Realidad Aumentada, la visión de los monumentos de puntos inusuales y visita virtual multimodal de los puntos de interés. Se desprende de este estudio, la nueva fisonomía de aquellos monumentos que, por diversas razones, se han representado en los últimos años en todas las diferentes formas, que hacen que a veces irreconocibles reconstrucciones diferentes del mismo objeto. Gracias a la tecnología de restitución basado en imágenes de 3D fue posible integrar las partes faltantes de algunos elementos arquitectónicos y escultóricos que prácticamente se trasladaron a su posición original, lo que permite una lectura dinámica que combina el verdadero aspecto con lo virtual.
Lo studio ricostruttivo di un monumento antico risente fortemente di lacune informative, errata t... more Lo studio ricostruttivo di un monumento antico risente fortemente di lacune informative, errata trascrizione delle fonti, errata traduzione o peggio ancora, di inter-pretazioni soggettive che possono compromettere drasticamente il risultato finale, portando a ricostruzioni anche notevolmente diverse tra di loro. Questo lavoro vuole presentare i risultati di uno studio ricostruttivo condotto filologicamente su alcuni monumenti di Siracusa in età greca, cercando di evidenziare il contributo specifico dell’archeologia virtuale nei processi interpretativi, al fine di proporre una presentazione efficace rivolta ad un target specifico di turisti. Seguendo questo approccio sono stati ricostruiti il Tempio di Apollo, il complesso monumentale di piazza Duomo ed il Teatro greco, cercando di fornire output di visualizzazione che fossero adeguati ad una consultazione da smartphone e coerenti alle finalità generali del progetto “PON Energia Smart City”. Questo progetto prevede un approccio “smart” alla visita di Siracusa, privilegiando principalmente logiche di fruizione efficiente on-site grazie all’adozione di tecnologie basate sulla Realtà Aumentata, la visione dei monumenti da punti inusuali e la visita virtuale multimodale dei punti di interesse. Emerge da questo studio la nuova fisionomia di quei monumenti che, per motivi diversi, sono stati rappresentati negli anni in forme e modi del tutto differenti, tali da rendere a volte irriconoscibili le diverse ricostruzioni dello stesso oggetto. Grazie alle tecnologie di restituzione 3D basate sull’immagine è stato possibile integrare le parti mancanti di alcuni elementi architettonici e scultorei che, ricollocati virtualmente nella posizione originaria, permettono una lettura dinamica che combina l’aspetto reale con quello virtuale.
This paper describes the results obtained in two different projects for museum communication aime... more This paper describes the results obtained in two different projects for museum communication aimed at digital restoration and enjoyment at a distance of some artworks of Giovanni Todisco form Abriola.
The first project was promoted in the year 2005 by the Municipality of Abriola (Potenza, Italy) and the Basento Camastra Local Action Group as part of the “Cammini d’Europa” project (Asse II Cooperazione transnazionale). It was conducted in collaboration with Officina Rambaldi, an international team of professionals headed by Carlo Rambaldi, Oscar winner for special effects. The objective of this study is basically museographical, i.e. to promote knowledge and virtual exhibition of the works of two great artists of the 16th and 17th centuries, Giovanni and Girolamo Todisco da Abriola. The starting point of this knowledge itinerary is the Sanctuary of Monteforte, in Abriola, virtually reconstructed in 3D using image-based technologies with particular reference to photo-modelling which were integrated into a navigation engine for Real Time 3D content. The overall management of the data on a web-based platform enables the distance viewing of works and places, including the Sanctuary and its geographical context. It also gives access to a pool of heterogeneous information (interactive spherical panoramas, texts, videos, Flash and Shockwave animation, etc.). The use of accurate 3D models enables highly realistic three-dimensional navigation, which is made even more convincing and engaging by the adoption of stereoscopic viewing systems. The project was officially presented to the public only in February 2011, demonstrating the continuing validity and communicative effectiveness of this by-now consolidated technology in terms of both communication and distance viewing of contexts of historical and archaeological interest.
The second project regarding the virtual reconstruction of the pictorial cycles located in the monastery of Santa Maria di Orsoleo in Sant'Arcangelo (Potenza) detached from their original context in 1973 for protection purpose. The extraordinary frescoes that were found along the walls of the cloister depict stories the life of the Virgin and Christ, allegorical scenes, episodes from the life of St. Francis and greatest triumphs of life and death. The virtual development is part of the project for conversion of the monastery in Scenographic Museum of the spirituality. The reconstruction process is aimed at re-contextualization of the frescoes through a three-dimensional restitution of cloister using image-based techniques and camera mapping texture mapping. The result has allowed us to view the complete cycles in the original context, and the visitors to understand all the extraordinary expressive force of this artist, symbol of the Lucan Renaissance.
The methodology described in this article was developed in connection with two different projects... more The methodology described in this article was developed in connection with two different projects and entails texture mapping by time-of-flight laser scanner. In order to verify its operational effectiveness and applicability to other contexts, sites with extremely different morphological characteristics were studied.
The first case study refers to the three-dimensional mapping of the rupestrian church of Santo Spirito in Monopoli (near Bari, Italy), whose objective was to provide a three-dimensional restitution for restoration purposes and to prepare two-dimensional drawings for the mapping of diagnostic surveys of various kinds, including observation via IR images and Georadar analyses. The church is characterised by a typically irregular underground space, entirely excavated from the rock. The survey looked at a total area of about 458 m2 and produced about 40 million polygons, with a mesh resolution of 4 mm.
The second case study refers to the church of Spirito Santo in Lecce, near the ex-hospital of the same name. The layout of the building, with a single nave, has four arches and six niches, richly decorated in stone and baroque stuccoes, each holding an altar. In this case too, the surveys were designed to support diagnostics, conducted as part of the AITECH project (Applied Innovation Technologies for Diagnosis and Conservation of Built Heritage). The project is linked in turn to the "Rete dei Laboratori" (Laboratory Network) initiative, promoted by the Italian Ministry of Economic development, Ministry of Universities and Research and Puglia Regional administration.
The basic rationale of this simple method derives from the need to obtain different types of mapping – including RGB real colour images, infra-red images, false colour images from georadar scans, etc. – from the same scanned surface. To resolve this problem, we felt that the most appropriate step was to obtain a UVW mapping based on the high resolution real colour images and then use the same coordinates to rapidly map the false colour images as well.
Thus we fitted a device to the camera to determine its trajectory (similar to a gun-sight); when scanned by the laser scanner in the same context as the monument, it makes it possible to know the exact coordinates of the viewpoint. A series of photographs was taken, each time pointing the camera at a target or at an easily recognisable element on the scanned surface. For each photograph, 3D software was used to place the virtual camera in the same position as the viewpoint detected with the laser scanner and to orient it towards the same target. Camera Projection was used to obtain a correct mapping of the textures for the different viewpoints. This rapid method has been experimentally shown to be operationally effective, with a level of precision in the order of 2-3 mm.
One of the main activities of MAIER - Italian Archaeological Mission at Hierapolis - has been the... more One of the main activities of MAIER - Italian Archaeological Mission at Hierapolis - has been the development of a research line aimed at the virtual restoration
and the three-dimensional restitution of ancient buildings in the roman city of Hierapolis of Phrygia, in Turkey. The project, named "Virtual Hierapolis," has
gradually articulated in the last three seasons of excavation (years 2007-2009) and developed from early experiences of Virtual Reality conducted on the same site
during previous years. The research, coordinated by the Director of the italian mission, prof. F. D'Andria, and conducted within the Information Technologies Lab
(ITLab) of the IBAM-CNR in Lecce, involves heterogeneous research units engaged in field work, restoration and interpretation of data.
The main aim of this study is to enable the public to enjoy the results of archaeological and arc... more The main aim of this study is to enable the public to enjoy the results of archaeological and archaeometric research, via
the web or stand-alone products, and to “virtually visit” the monuments using RealTime 3D visiting systems. The
navigation platform allows the user to visualise complex scenes and DVR-based knowledge models in “full-screen
mode” even on desktop computers. As well as showing the current state of the monuments, the visit includes
reconstructions of previous phases in their history and virtual restorations of the Byzantine paintings. All the textures
were obtained by processes of photomodelling and were applied to the geometrical forms in accordance with the
radiosity algorithm, with lights and shadows of the ‘area’ type. The result is extremely life-like, almost
indistinguishable from reality.
The main aim of this study is to enable the public to enjoy the results of archaeological and arc... more The main aim of this study is to enable the public to enjoy the results of archaeological and archaeometric research, via the web or stand-alone products, and to "virtually visit" the monuments using RealTime 3D visiting systems. The navigation platform allows the user to visualise complex scenes and DVR-based knowledge models in "full-screen mode" even on desktop computers. As well as showing the current state of the monuments, the visit includes reconstructions of previous phases in their history and virtual restorations of the Byzantine paintings. All the textures were obtained by processes of photomodelling and were applied to the geometrical forms in accordance with the radiosity algorithm, with lights and shadows of the 'area' type. The result is extremely life-like, almost indistinguishable from reality.
The methodology described in this article was developed in connection with two different projects... more The methodology described in this article was developed in connection with two different projects and entails texture mapping by time-of-flight laser scanner. In order to verify its operational effectiveness and applicability to other contexts, sites with extremely different morphological characteristics were studied.
Una de las principales actividades de la MAIER tiene como objetivo desarrollar una línea de inves... more Una de las principales actividades de la MAIER tiene como objetivo desarrollar una línea de investigación dirigida a la restauración virtual y la reproducción 3D de los antiguos monumentos de la ciudad romana de Hierápolis de Frigia, Turquía. El proyecto, llamado "Virtual Hierápolis, se ha desarrollado gradualmente en las últimas tres temporadas de excavación (años 2007-2009) y ha madurado a partir de las primeras experiencias de la RV aplicada a este sitio en años anteriores. Esta investigación, coordinada por el Director de la misión italiana, prof. F. D'Andria, y llevada a cabo en el Laboratorio de Tecnologías de la Información (ITLab) dell'IBAM-CNR de Lecce (Italia), implica unidades de investigación heterogéneas, comprometidas en actividades in situ, restauración e interpretación de datos.
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Papers by Francesco Giuri
The first project was promoted in the year 2005 by the Municipality of Abriola (Potenza, Italy) and the Basento Camastra Local Action Group as part of the “Cammini d’Europa” project (Asse II Cooperazione transnazionale). It was conducted in collaboration with Officina Rambaldi, an international team of professionals headed by Carlo Rambaldi, Oscar winner for special effects. The objective of this study is basically museographical, i.e. to promote knowledge and virtual exhibition of the works of two great artists of the 16th and 17th centuries, Giovanni and Girolamo Todisco da Abriola. The starting point of this knowledge itinerary is the Sanctuary of Monteforte, in Abriola, virtually reconstructed in 3D using image-based technologies with particular reference to photo-modelling which were integrated into a navigation engine for Real Time 3D content. The overall management of the data on a web-based platform enables the distance viewing of works and places, including the Sanctuary and its geographical context. It also gives access to a pool of heterogeneous information (interactive spherical panoramas, texts, videos, Flash and Shockwave animation, etc.). The use of accurate 3D models enables highly realistic three-dimensional navigation, which is made even more convincing and engaging by the adoption of stereoscopic viewing systems. The project was officially presented to the public only in February 2011, demonstrating the continuing validity and communicative effectiveness of this by-now consolidated technology in terms of both communication and distance viewing of contexts of historical and archaeological interest.
The second project regarding the virtual reconstruction of the pictorial cycles located in the monastery of Santa Maria di Orsoleo in Sant'Arcangelo (Potenza) detached from their original context in 1973 for protection purpose. The extraordinary frescoes that were found along the walls of the cloister depict stories the life of the Virgin and Christ, allegorical scenes, episodes from the life of St. Francis and greatest triumphs of life and death. The virtual development is part of the project for conversion of the monastery in Scenographic Museum of the spirituality. The reconstruction process is aimed at re-contextualization of the frescoes through a three-dimensional restitution of cloister using image-based techniques and camera mapping texture mapping. The result has allowed us to view the complete cycles in the original context, and the visitors to understand all the extraordinary expressive force of this artist, symbol of the Lucan Renaissance.
The first case study refers to the three-dimensional mapping of the rupestrian church of Santo Spirito in Monopoli (near Bari, Italy), whose objective was to provide a three-dimensional restitution for restoration purposes and to prepare two-dimensional drawings for the mapping of diagnostic surveys of various kinds, including observation via IR images and Georadar analyses. The church is characterised by a typically irregular underground space, entirely excavated from the rock. The survey looked at a total area of about 458 m2 and produced about 40 million polygons, with a mesh resolution of 4 mm.
The second case study refers to the church of Spirito Santo in Lecce, near the ex-hospital of the same name. The layout of the building, with a single nave, has four arches and six niches, richly decorated in stone and baroque stuccoes, each holding an altar. In this case too, the surveys were designed to support diagnostics, conducted as part of the AITECH project (Applied Innovation Technologies for Diagnosis and Conservation of Built Heritage). The project is linked in turn to the "Rete dei Laboratori" (Laboratory Network) initiative, promoted by the Italian Ministry of Economic development, Ministry of Universities and Research and Puglia Regional administration.
The basic rationale of this simple method derives from the need to obtain different types of mapping – including RGB real colour images, infra-red images, false colour images from georadar scans, etc. – from the same scanned surface. To resolve this problem, we felt that the most appropriate step was to obtain a UVW mapping based on the high resolution real colour images and then use the same coordinates to rapidly map the false colour images as well.
Thus we fitted a device to the camera to determine its trajectory (similar to a gun-sight); when scanned by the laser scanner in the same context as the monument, it makes it possible to know the exact coordinates of the viewpoint. A series of photographs was taken, each time pointing the camera at a target or at an easily recognisable element on the scanned surface. For each photograph, 3D software was used to place the virtual camera in the same position as the viewpoint detected with the laser scanner and to orient it towards the same target. Camera Projection was used to obtain a correct mapping of the textures for the different viewpoints. This rapid method has been experimentally shown to be operationally effective, with a level of precision in the order of 2-3 mm.
and the three-dimensional restitution of ancient buildings in the roman city of Hierapolis of Phrygia, in Turkey. The project, named "Virtual Hierapolis," has
gradually articulated in the last three seasons of excavation (years 2007-2009) and developed from early experiences of Virtual Reality conducted on the same site
during previous years. The research, coordinated by the Director of the italian mission, prof. F. D'Andria, and conducted within the Information Technologies Lab
(ITLab) of the IBAM-CNR in Lecce, involves heterogeneous research units engaged in field work, restoration and interpretation of data.
the web or stand-alone products, and to “virtually visit” the monuments using RealTime 3D visiting systems. The
navigation platform allows the user to visualise complex scenes and DVR-based knowledge models in “full-screen
mode” even on desktop computers. As well as showing the current state of the monuments, the visit includes
reconstructions of previous phases in their history and virtual restorations of the Byzantine paintings. All the textures
were obtained by processes of photomodelling and were applied to the geometrical forms in accordance with the
radiosity algorithm, with lights and shadows of the ‘area’ type. The result is extremely life-like, almost
indistinguishable from reality.
The first project was promoted in the year 2005 by the Municipality of Abriola (Potenza, Italy) and the Basento Camastra Local Action Group as part of the “Cammini d’Europa” project (Asse II Cooperazione transnazionale). It was conducted in collaboration with Officina Rambaldi, an international team of professionals headed by Carlo Rambaldi, Oscar winner for special effects. The objective of this study is basically museographical, i.e. to promote knowledge and virtual exhibition of the works of two great artists of the 16th and 17th centuries, Giovanni and Girolamo Todisco da Abriola. The starting point of this knowledge itinerary is the Sanctuary of Monteforte, in Abriola, virtually reconstructed in 3D using image-based technologies with particular reference to photo-modelling which were integrated into a navigation engine for Real Time 3D content. The overall management of the data on a web-based platform enables the distance viewing of works and places, including the Sanctuary and its geographical context. It also gives access to a pool of heterogeneous information (interactive spherical panoramas, texts, videos, Flash and Shockwave animation, etc.). The use of accurate 3D models enables highly realistic three-dimensional navigation, which is made even more convincing and engaging by the adoption of stereoscopic viewing systems. The project was officially presented to the public only in February 2011, demonstrating the continuing validity and communicative effectiveness of this by-now consolidated technology in terms of both communication and distance viewing of contexts of historical and archaeological interest.
The second project regarding the virtual reconstruction of the pictorial cycles located in the monastery of Santa Maria di Orsoleo in Sant'Arcangelo (Potenza) detached from their original context in 1973 for protection purpose. The extraordinary frescoes that were found along the walls of the cloister depict stories the life of the Virgin and Christ, allegorical scenes, episodes from the life of St. Francis and greatest triumphs of life and death. The virtual development is part of the project for conversion of the monastery in Scenographic Museum of the spirituality. The reconstruction process is aimed at re-contextualization of the frescoes through a three-dimensional restitution of cloister using image-based techniques and camera mapping texture mapping. The result has allowed us to view the complete cycles in the original context, and the visitors to understand all the extraordinary expressive force of this artist, symbol of the Lucan Renaissance.
The first case study refers to the three-dimensional mapping of the rupestrian church of Santo Spirito in Monopoli (near Bari, Italy), whose objective was to provide a three-dimensional restitution for restoration purposes and to prepare two-dimensional drawings for the mapping of diagnostic surveys of various kinds, including observation via IR images and Georadar analyses. The church is characterised by a typically irregular underground space, entirely excavated from the rock. The survey looked at a total area of about 458 m2 and produced about 40 million polygons, with a mesh resolution of 4 mm.
The second case study refers to the church of Spirito Santo in Lecce, near the ex-hospital of the same name. The layout of the building, with a single nave, has four arches and six niches, richly decorated in stone and baroque stuccoes, each holding an altar. In this case too, the surveys were designed to support diagnostics, conducted as part of the AITECH project (Applied Innovation Technologies for Diagnosis and Conservation of Built Heritage). The project is linked in turn to the "Rete dei Laboratori" (Laboratory Network) initiative, promoted by the Italian Ministry of Economic development, Ministry of Universities and Research and Puglia Regional administration.
The basic rationale of this simple method derives from the need to obtain different types of mapping – including RGB real colour images, infra-red images, false colour images from georadar scans, etc. – from the same scanned surface. To resolve this problem, we felt that the most appropriate step was to obtain a UVW mapping based on the high resolution real colour images and then use the same coordinates to rapidly map the false colour images as well.
Thus we fitted a device to the camera to determine its trajectory (similar to a gun-sight); when scanned by the laser scanner in the same context as the monument, it makes it possible to know the exact coordinates of the viewpoint. A series of photographs was taken, each time pointing the camera at a target or at an easily recognisable element on the scanned surface. For each photograph, 3D software was used to place the virtual camera in the same position as the viewpoint detected with the laser scanner and to orient it towards the same target. Camera Projection was used to obtain a correct mapping of the textures for the different viewpoints. This rapid method has been experimentally shown to be operationally effective, with a level of precision in the order of 2-3 mm.
and the three-dimensional restitution of ancient buildings in the roman city of Hierapolis of Phrygia, in Turkey. The project, named "Virtual Hierapolis," has
gradually articulated in the last three seasons of excavation (years 2007-2009) and developed from early experiences of Virtual Reality conducted on the same site
during previous years. The research, coordinated by the Director of the italian mission, prof. F. D'Andria, and conducted within the Information Technologies Lab
(ITLab) of the IBAM-CNR in Lecce, involves heterogeneous research units engaged in field work, restoration and interpretation of data.
the web or stand-alone products, and to “virtually visit” the monuments using RealTime 3D visiting systems. The
navigation platform allows the user to visualise complex scenes and DVR-based knowledge models in “full-screen
mode” even on desktop computers. As well as showing the current state of the monuments, the visit includes
reconstructions of previous phases in their history and virtual restorations of the Byzantine paintings. All the textures
were obtained by processes of photomodelling and were applied to the geometrical forms in accordance with the
radiosity algorithm, with lights and shadows of the ‘area’ type. The result is extremely life-like, almost
indistinguishable from reality.