Digital Restoration and Virtual Reconstructions

This article illustrates the reconstructive hypothesis of the trefoil hall found in the roman Villa of Aiano (Tuscany, Italy) built at the beginning of the fourth century AD and characterised by monumental architecture and decorations. The core of the article focuses in detail on the research questions and issues faced during interpretation describing, step by step, all the sources and the reasonings that have led to the scientific visualization. Furthermore, a breakdown of the use of 3D modelling as a research tool to simulate and debate the proposed hypothesis, its findings, and its implications is discussed. The article ends by presenting a project for the exploitation of the reconstructive work through a museum exhibition in San Gimignano. It includes not only the musealization of archaeological finds but, above all, the presentation of a short movie narrating the evolution of the Roman villa and the trefoil hall and the display of a physical replica of the site created using rapid prototyping techniques.

The use of architectural scale models, also known by the French word maquette or the Italian names plastico or modello, is an ancient practice, which probably began when architecture emerged from its purely practical and utilitarian phase to become a formal category of knowledge with specifically sought-after and deliberately selected characteristics, linked to the increased dimensions and the enrichment of forms [1]. The model constitutes a representation, generally on a smaller scale and made of different materials but similar in effect, of a work to be created. Models are made of various materials, in accordance with the tastes of Scholars and with need, such as wood, wax, terracotta, stucco and so on. Precisely due to the highly perishable nature of the materials with which models in antiquity were made, this type of indirect source is very rarely found in archaeological contexts. This contribution concerns a case study in which an architectural model found in an archaeological excavation was used as the main of research source for the 3D reconstruction of an ancient monument.

It is quite common to make decisions during a building process that may have some effect on design guidelines. The proposed case study, that is the old Kitchen wing in the Monastery of El Escorial (Madrid, Spain)—built between April 1564 and May 1571-, shows the various design changes made even during construction. They can be followed in the graphic and written historical documents that are still preserved, to compare them with the built reality by means of an accurate survey. The study of this area in such an interesting World Heritage Site -inscribed in 1984- is justified for two main reasons: first, its formal, geometrical, and constructive complexity shown in the numerous and ingenious ashlar work vaults, arches, and openings; second, the interesting functional solutions displayed on the six-storey wing, from cellars to attics. Both are closely related because the constructive solutions applied gave a clear answer to the original operational needs, and particularly to natural lighting and airing requirements. Moreover, the built artifices are illustrative examples of Mannerist architecture that were fully operational over centuries. Through the digital reconstruction of this area, we aim to recover and interesting part of the Monastery’s memory.

The restoration project, according to the Italian ministerial guidelines, gives the photographic campaign a truly significant importance. The photos, which capture the state of things, before, during and after the restoration, have the task of transmitting correct historical information to the observer. For this reason, the ministerial indications suggest affixing the photos inside the restored site with the aim of highlighting above all those parts added to complete the architectural gaps. When this procedure is not performed and when the restoration does not meet the criteria of distinguishability and reversibility, it is necessary to carry out a reverse operation to the photographic campaign. Starting from historical documentary and iconographic sources, it is necessary to create virtual models such as to provide the observer with the correct historical information. At this point the images play a fundamental role. The aim of the work is to define different levels of virtual models based on the accuracy of the acquired historical source. Simplified and monochromatic models, for example, serve to tell what cannot be documented. These models, in fact, are abstracted from reality to the point of transferring to the observer the perception that the virtual reconstruction is hypothetical. More complex and photorealistic models, obtained with the latest digital technologies, virtualize the real object that is perceived by the observer as objective. The methodology presented, and based on different levels of digital models, was applied to the Rocca Janula di Cassino case study, with the aim of clearly and unequivocally communicating the main historical phases that characterize its current state.

The aim of this research is the study of a complex monument, such as the Aurelian Walls, and of some portions of it (gates, towers and portions of mu-ra), using digital technologies of augmented and virtual reality.

In 2020 the University of L’Aquila bought the archaeological site of Amiternum, near the city of L’Aquila, where a series of excavations have been carried out from 2012. Through the so called “Amiternum Project”, the aim of the University is to create an international archaeological school-camp, and develop research activities for an adequate conservation, protection and valorisation of the site. The paper presents the first activities of an interdisciplinary research group of L’Aquila University—composed by archaeologists, historians, heritage scholars, ICT researchers—focused on the study of methodologies and tools for site interpretation, presentation, and narration, in particular through the use of digital approaches.

On Monte Caputo near Monreale stands a castle, presumably built in the twelfth century. The paper presents the first results of a still in progress survey activity, carried out on the entire monument using laser scanning and photogrammetric methods. This activity was carried out as part of a scientific agreement stipulated between the University of Palermo, Department of Architecture and the Club Alpino Siciliano, owner of the Castle. The graphic restitution of the survey provided new information and unpublished images of the castle. It was then possible to formulate hypotheses on the virtual reconstruction of lost configurations. This was achievable thanks to the survey analytical reading which is intended as a tool for the critical interpretation of the monument, together with the study of historical, archival and iconographic sources. A video was made by combining animation and visualisation techniques of 3D models with drone video shootings. It narrates the monument by proposing the virtual navigation of some of the castle areas, through the construction of three-dimensional digital models allowing to ideally move in space and time. The video lets to enjoy the castle even from a distance. The use of 3D visualisation techniques allows to transmit cultural content and historical information to a wide audience in a simple and immediate language.

During the sixteenth century, Seville experienced a great flourishing due to the monopoly of trade with the Americas. It was consequently decided to renew the architectural image of the gates of the walled city so that their appearance would be in keeping with the new era. Their design followed a report issued in 1560 by the prestigious architect Hernán Ruiz II, author of the fine Renaissance finial of the Giralda tower of the Cathedral. The Royal Gate -(Puerta Real, also named Puerta de Goles) located near the river port- was completely renovated between 1560 and 1566. It had been known as the Royal Gate since King Philip II entered Seville through it in 1570. The gate subsequently appeared in important urban images by Bambrilla (1585), Janssonius (1617), Olavide (1771), Ford (1830–1833), and in a valuable photograph by Masson (c. 1858). In 1864, the Royal Gate was demolished and just one side of the city wall hosting a commemorative stone is preserved nowadays. By collecting its historical portrayals and analysing its urban environment, this research provides a virtual reconstruction of this unique Renaissance work. To this end, the dimensions of the preserved archaeological remains had been obtained with Masson’s photograph, digitally processed, as foundation. Auxiliary geometric lines were used as references and both the Book of Architecture by Hernán Ruiz II and the treatise by Sebastiano Serlio as guidelines to define details. A photomontage of the gate in its current urban environment completes the reproduction, aiming to underline its great heritage importance.

This article describes data acquisition and processing operations with a 3D laser scanner for the tomb TT315 in the archaeological area site in Deir-el-Bahari, Theban (Egypt). We collected data manually, with drawings and photographs of the most relevant elements, together with a TLS (Terrestrial Laser Scanner) campaign, that has allowed us to create a high-resolution point cloud with the morphology of the outer area and galleries, rooms, and interior wells. All data was processed to obtain a 3D virtual object. This paper will be used as a template to develop the specific images required for each of the survey purposes: knowledge transfer, dissemination and the creation of the cartographic base for the whole researchers’ team. All the material allows for knowledge transfer to society through built-in 3D models. The research conditions at the archaeological site of Deir-el-Bahari forced us to create our own methodology. These conditions are linked to the site conditions: climate, limited access, bureaucracy permits; the distance between the university and the site and the site’s morphology, with galleries excavated into stone caves with structural irregularities. The object of this study is important on its own, because we know very little about funerary complexes of the Middle Kingdom. On the other hand, the process to carry out the research is allowing us to assign new uses to virtual representation and reconstruction techniques.

The study analyses multidisciplinary approaches in the reconstruction of the different construction phases of a Roman masonry bridge, implemented through the application of archaeological stratigraphic method and 3D reconstruction. The case study, a bridge in Canosa di Puglia over the Ofanto river (Italy), is today a masonry structure with five arches of similar dimensions. However, historical sources report a three-arched monument, built in the second century CE as part of the vast imperial construction project of the Via Traiana, of which only the piers, the abutments and the foundations are left. Despite numerous restorations, the large central arch collapsed in 1751 and the bridge was rebuilt in a very different shape, losing all evidence of its Roman monumentality. By cross-referencing data collected from historical documents, on-site surveys, photogrammetric processing and metrological analysis, the research aimed to reconstruct three-dimensionally the diachronic evolution of the monument.

The take-off of 5G technology in Italy coincided with a series of initiatives aimed at demonstrating the potential and possible applications of this network in the areas of smart technologies, internet of things, smart cities and next-generation smart homes. The use of this new high-speed connection will also positively involve the enjoyment of cultural heritage, proposing to offer new and more powerful solutions, especially in the field of immersive virtual visualization. With these premises is born a project promoted by Ericsson, Fastweb, Genoa Municipality and Strada Nuova Museums (UNESCO heritage), which aims to virtualize some spaces of the Museum of Palazzo Rosso through innovative solutions, immersive, emotional and persuasive. With the virtualization of the Palazzo Rosso museum we intend to test some features of the 5G network, investigating response times, streaming capabilities and portability of audio, video and 3D resources in real time. The main outputs concerned the development of immersive stereoscopic panoramas to be visualized on VR headset and, within these, stereoscopic movies. The realization of narratives including reconstructive films, immersive navigation in the paintings and virtual restoration of the ceilings destroyed during the Second World War, are made possible by the use of 3D-based technologies and the potential of methods based on Camera Mapping. The paper describes the main techniques used and exposes the results of the case study as a guideline for possible applications in other similar contexts.

The present study focuses on the adoption of a methodological approach which can bring enjoyment, in the context of an inclusive society, from “invisible” museum works. Reference is made to the invisible museum heritage, stored in basements not accessible to the public and therefore “hidden”. The specific action involves an meaningful dialogue between the University and the local museums both of whom have entered into formal institutional agreements. The collaboration is based on an interdisciplinary activity where survey, prototyping and technological processes are bound together to bring back to light the different artistic fragments, silent sometimes, but part of the museum collections. The purpose of the research is to develop an appropriate action plan for intervention to boost audience engagement implementing different multidisciplinary strategies. It is necessary then to create with the support of digital technology multi-sensory 3D models designed for a wider audience which includes both non-disabled people who can enjoy the full display (not only the fragments on view in the museum’s rooms also those off display kept in storage) and visually impaired visitors who can have an interactive tactile experience. The architectural-sculptural fragments studied in the present research are kept in the Museo Civico in Noto and belong to the main entrance and to the apse coronation found in the excavation site of the ruins of Ancient Noto annexed to thestructure of San Michele “al Castello”. Hopefully, the applied methodology can contribute to the sustainable protection of those artifacts whose storage in the museum basements often causes further damages.

Conservation of Cultural Heritage is a key topic and structural changes and damages can affect the structural behaviour of Cultural Heritage artefacts and buildings. Considering that the application of technologies can help in preserving, conserving and restoring ancient structures, it is mandatory to find the best pipeline to produce the correct analysis that can be provided with the use of Finite Element Analysis, a well-known technique used in modelling stress behaviour of objects and structures. The necessary workflow invests and involves design experts enabled to mathematically master the potential of models that pass from interpretation to design control. Following the principles of good experimental practice, the typical workflow involves the use of CAD 3D models made by Non-Uniform Rational B-splines (NURBS) surfaces, representing the ideal shape of the object to be simulated. Conversely, when applied to 3D models of Cultural Heritage, often altered by the time passed since their original creation, the representation with a schematic CAD model may introduce an excessive level of approximation leading to wrong simulation results. The focus of this work is to present a method based on retopology, hence on quadrangular element instead of triangles. Such process aims at generating the most accurate 3D representation of a real artefact from highly accurate 3D models derived from image-based and range—based techniques, maintaining the accuracy of the high—resolution polygonal models in the solid ones to be created for FEA. A proper pipeline can help to carry out the necessary interventions and perform virtual restoration prior to the physical one.

The purpose of digital cultural heritage dissemination requires multiple communication tactics to reach as broad an audience as possible. The relationship between high-tech and low-tech knowledge for visual communication requires an overall reflection on the role of expert knowledge to reach a wide audience. In this respect, Visual Journalism is a practical methodology for communicating cultural heritage and facilitating public access to complex content. The elaboration of this kind of visualisation, with particular reference to the use of 3D models of heritage sites, becomes an opportunity for a reflection on the role of heritage communication to achieve a broad strategy for its accessibility in a general sense.