Approaching Reality: Integrating Image-based 3D Modelling and Complex Spatial Data in Archaeological Field Recording

This thesis finalises a 5+3 PhD project within the joint doctoral programme in Digital Heritage established in collaboration between History, Archaeology and Classical Studies, Graduate School, the Faculty of Arts, Aarhus University and the University of York. The thesis deals with the overarching theme of spatial data in archaeological excavation recording. Spatial data are at the core of all archaeological observations, and are expressed in numerous ways, ranging from traditional hand drawings to digital two- and three-dimensional representations in Geographic Information Systems and proprietary 3D software. Yet, despite technological advances, state-of-the art digital spatial data are almost equally detached from textual archaeological interpretation as they were using conventional tools decades ago. The thesis presents a study of how technological advances influence archaeological excavation traditions and methodologies. Special emphasis is directed at exploring how the increased use of image-based 3D documentation may contribute to increased quality of field recording and, in particular, what theoretical conceptualisations and technical developments are needed to harness its full potential. The thesis is composed of four articles, which constitute individual chapters (2-5). Each chapter covers a theme within the underlying topic of integrating spatial data in archaeology, supplemented by an introductory chapter (1), a synthesis (6) and a conclusion (7). The first article (chapter 2) provides an introduction to the overarching research questions and their methodological and historical background. It offers some rudimentary impressions of differing excavation and recording traditions in Britain and Denmark, to critically assess the use of GIS in archaeology and the negotiation between state-of-the-art technology and archaeological practice. The article discusses how the adaptation of GIS may have contributed significantly to the detrimental effect of creating stand-alone silos of spatial data that are rarely fully integrated with non-spatial, textual data, and has acted to stifle the development of digital standards of recording by perpetuating outmoded analogue recording conventions from a previous century. The chapter outlines the potential of born-digital 3D recording technologies such as Structure From Motion (SFM), GPS, and laser scanning in current practice, while advocating for a conceptualisation of new types of data and data representation in archaeological documentation. This, however, requires changes in archaeological methodologies and workflows and that we redefine more explicitly what we actually want to do with spatial data in archaeology. The second article (chapter 3) seeks to advance the conceptual framework of 3D models within archaeological excavation recording. 3D documentation advocates for a new workflow with a more three-dimensional reasoning, allowing for the utilisation of 3D as a tool for continuous progress planning and evaluation of an excavation and its results. Just like the general use of models to form hypotheses, it is possible to use 3D models as spatial hypotheses of an ongoing excavation. This allows us to visually realise or spatially conceptualise our hypotheses as a virtual reconstruction and to combine it with our observational data. The article presents first-hand experiences of working with 3D reconstruction and visualisations during the excavations at Viking Age site Jelling, and explores how the concept of authenticity may facilitate negotiations between visualising what we know, and what we think we know. The third article (chapter 4) further addresses the challenges inherent to the integration of 3D documentation: specifically its inability to convey archaeological interpretations. Image-based 3D modelling is generally considered a superior tool for generating geometrically accurate and photo-realistic recording of an excavation, but does not immediately encourage reflexive or interpretative practice. This is a direct consequence of the technical limitations of currently available tools, but also reflects an archaeological methodology and spatial conceptualisation based on two-dimensional abstractions. Using the example of the excavations at the Iron Age site Alken Enge, this article takes a more technical approach to exploring how new tools developed for segmenting field-recorded 3D geometry allow embedding archaeological interpretations directly in the 3D model, thereby augmenting its semantic value considerably. This is considered a precondition for the successful integration of 3D models as archaeological documentation. Furthermore, the article explores how web-based 3D platforms may facilitate collaborative exchange of 3D excavation content and how the integration of spatial and attribute data into one common event-based data model may be advantageous. The event-based approach is used for conceptualising how digital spatial data are created, derived and evolve throughout the documentation and post-excavation process. This effectively means building a conceptualisation of excavation recording procedures and seeing them through to the data model implementation itself. The fourth and last article (chapter 5) further explores the technologies outlined in chapters two and four. In particular, it focuses on evaluating analytical capabilities and alternative visualisation end-goals for 3D excavation recording. The chapter presents a simple case study, demonstrating the pipeline from excavating an archaeological feature, through image-based documentation and processing, to volumetric visual representation, while exploring the potential of machine learning to aid in feature recognition and classification. Chapter six acts as a synopsis, which provides added context to the results of the preceding chapters and furthermore discusses archaeological data models in general, conceptual reference models and, finally, presents the data model and implementation developed during the research project. The research introduces several novel approaches and technical developments aimed at aggregating the fragmented excavation data throughout the archaeological sector. This includes developing software for harvesting 2D GIS data from file storage at local archaeological institutions, functions for 3D semantic segmentation, automated processes for pattern recognition (SVM), machine learning and volumetric visualisation, and database mappings to web-services such as the MUD excavation database - all of which feed into the development of the Archaeo Framework. The online database \url{www.archaeo.dk} provides an implementation of the proposed data model for complex spatial field recorded data, and demonstrates the achieved data management capabilities, analytical queries, various spatial and visual representations and data interoperability functions. The Archaeo Framework acts as a data repository for excavation data, and provides long-awaited integration of spatial and textual data in Denmark. The benefits of spatial integration are clearly evident, notably having all information in one system, available online for research, dissemination and data re-use. For the first time, it is possible to perform large-scale validation of digital excavation plans against the written record, and perform complex spatial queries at a much deeper level than merely a site on a map. This research frames the basis for further developments of dynamic data management approaches to the integration of complex spatial data in field archaeology. The data model is expected to assist archaeologists in implementing better conceptualised excavation data models, and to facilitate a better understanding and use of 3D for archaeological documentation and analysis. Ultimately, the implementation provides access to the inaccessible dimensions of archaeological recording by joining hitherto isolated and fragmentary archaeological datasets - spatial and textual. Future areas of investigation should seek to advance this further in order to facilitate the persistence of complex spatial data as integrated components of archaeological data models

Mixed physical and virtual design environments for digital fabrication

Digital Fabrication (3D printing, laser-cutting or CNC milling) enables the automated fabrication of physical objects from digital models. This technology is becoming more readily available and ubiquitous, as digital fabrication machines become more capable and affordable. When it comes to designing the objects that are to be fabricated however, there are still barriers for novices and inconveniences for experts. Through digital fabrication, physical objects are created from digital models. The digital models are currently designed in virtual design environments, which separates the world we design in from the world we design for. This separation hampers design processes of experienced users and presents barriers to novices. For example, manipulating objects in virtual spaces is difficult, but comes naturally in the physical world. Further, in a virtual environment, we cannot easily integrate existing physical objects or experience the object we are designing in its future context (e.g., try out a game controller during design). This lack of reflection impedes designer's spatial understanding in virtual design environments. To enable our virtual creations to become physical reality, we have to posses an ample amount of design and engineering knowledge, which further steepens the learning curve for novices. Lastly, as we are physically separated from our creation - until it is fabricated - we loose direct engagement with the material and object itself, impacting creativity. We follow a research through design approach, in which we take up the role as interaction designers and engineers. Based on four novel interaction concepts, we explore how the physical world and design environments can be brought closer together, and address the problems caused their prior separation. As engineers, we implement each of these concepts in a prototype system, demonstrating that they can be implemented. Using the systems, we evaluate the concepts and how the concepts alleviate the aforementioned problems, and that the design systems we create are capable of producing useful objects. In this thesis, we make four main contributions to the body of digital fabrication related HCI knowledge. Each contribution consists of an interaction concept which addresses a subset of the problems, caused by the separation of virtual design environment, and physical target world. We evaluate the concepts through prototype implementations, example walkthroughs and where appropriate user-studies, demonstrating how the concepts alleviate the problems they address. For each concept and system, we describe the design rationale, and present technical contributions towards their implementation. The results of this thesis have implications for different user audiences, design processes, the artifacts users design and domains outside of digital fabrication. Through our concepts and systems, we lower barriers for novices to utilize digital fabrication. For experienced designers, we make existing design processes more convenient and efficient. We ease the design of artifacts that reuse existing objects, or that combine organic and geometrically structured design. Lastly, the novel interaction concepts (and on a technical level, the systems) we present, which blur the lines between physical and virtual space, can serve as basis for future interaction design and HCI research

Value Creation with Extended Reality Technologies - A Methodological Approach for Holistic Deployments

Mit zunehmender Rechenkapazität und Übertragungsleistung von Informationstechnologien wächst die Anzahl möglicher Anwendungs-szenarien für Extended Reality (XR)-Technologien in Unternehmen. XR-Technologien sind Hardwaresysteme, Softwaretools und Methoden zur Erstellung von Inhalten, um Virtual Reality, Augmented Reality und Mixed Reality zu erzeugen. Mit der Möglichkeit, Nutzern Inhalte auf immersive, interaktive und intelligente Weise zu vermitteln, können XR-Technologien die Produktivität in Unternehmen steigern und Wachstumschancen eröffnen. Obwohl XR-Anwendungen in der Industrie seit mehr als 25 Jahren wissenschaftlich erforscht werden, gelten nach wie vor als unausgereift. Die Hauptgründe dafür sind die zugrundeliegende Komplexität, die Fokussierung der Forschung auf die Untersuchung spezifische Anwendungsszenarien, die unzu-reichende Wirtschaftlichkeit von Einsatzszenarien und das Fehlen von geeigneten Implementierungsmodellen für XR-Technologien. Grundsätzlich wird der Mehrwert von Technologien durch deren Integration in die Wertschöpfungsarchitektur von Geschäftsmodellen freigesetzt. Daher wird in dieser Arbeit eine Methodik für den Einsatz von XR-Technologien in der Wertschöpfung vorgestellt. Das Hauptziel der Methodik ist es, die Identifikation geeigneter Einsatzszenarien zu ermöglichen und mit einem strukturierten Ablauf die Komplexität der Umsetzung zu beherrschen. Um eine ganzheitliche Anwendbarkeit zu ermöglichen, basiert die Methodik auf einem branchen- und ge-schäftsprozessunabhängigen Wertschöpfungsreferenzmodell. Dar-über hinaus bezieht sie sich auf eine ganzheitliche Morphologie von XR-Technologien und folgt einer iterativen Einführungssequenz. Das Wertschöpfungsmodell wird durch ein vorliegendes Potential, eine Wertschöpfungskette, ein Wertschöpfungsnetzwerk, physische und digitale Ressourcen sowie einen durch den Einsatz von XR-Technologien realisierten Mehrwert repräsentiert. XR-Technologien werden durch eine morphologische Struktur mit Anwendungsmerk-malen und erforderlichen technologischen Ressourcen repräsentiert. Die Umsetzung erfolgt in einer iterativen Sequenz, die für den zu-grundeliegenden Kontext anwendbare Methoden der agilen Soft-wareentwicklung beschreibt und relevante Stakeholder berücksich-tigt. Der Schwerpunkt der Methodik liegt auf einem systematischen Ansatz, der universell anwendbar ist und den Endnutzer und das Ökosystem der betrachteten Wertschöpfung berücksichtigt. Um die Methodik zu validieren, wird der Einsatz von XR-Technologien in zwei industriellen Anwendungsfällen unter realen wirtschaftlichen Bedingungen durchgeführt. Die Anwendungsfälle stammen aus unterschiedlichen Branchen, mit unterschiedlichen XR-Technologiemerkmalen sowie unterschiedlichen Formen von Wert-schöpfungsketten, um die universelle Anwendbarkeit der Methodik zu demonstrieren und relevante Herausforderungen bei der Durch-führung eines XR-Technologieeinsatzes aufzuzeigen. Mit Hilfe der vorgestellten Methodik können Unternehmen XR-Technologien zielgerichtet in ihrer Wertschöpfung einsetzen. Sie ermöglicht eine detaillierte Planung der Umsetzung, eine fundierte Auswahl von Anwendungsszenarien, die Bewertung möglicher Her-ausforderungen und Hindernisse sowie die gezielte Einbindung der relevanten Stakeholder. Im Ergebnis wird die Wertschöpfung mit wirtschaftlichem Mehrwert durch XR-Technologien optimiert

Mobilizing the Past for a Digital Future : The Potential of Digital Archaeology

Mobilizing the Past is a collection of 20 articles that explore the use and impact of mobile digital technology in archaeological field practice. The detailed case studies present in this volume range from drones in the Andes to iPads at Pompeii, digital workflows in the American Southwest, and examples of how bespoke, DIY, and commercial software provide solutions and craft novel challenges for field archaeologists. The range of projects and contexts ensures that Mobilizing the Past for a Digital Future is far more than a state-of-the-field manual or technical handbook. Instead, the contributors embrace the growing spirit of critique present in digital archaeology. This critical edge, backed by real projects, systems, and experiences, gives the book lasting value as both a glimpse into present practices as well as the anxieties and enthusiasm associated with the most recent generation of mobile digital tools. This book emerged from a workshop funded by the National Endowment for the Humanities held in 2015 at Wentworth Institute of Technology in Boston. The workshop brought together over 20 leading practitioners of digital archaeology in the U.S. for a weekend of conversation. The papers in this volume reflect the discussions at this workshop with significant additional content. Starting with an expansive introduction and concluding with a series of reflective papers, this volume illustrates how tablets, connectivity, sophisticated software, and powerful computers have transformed field practices and offer potential for a radically transformed discipline.https://dc.uwm.edu/arthist_mobilizingthepast/1000/thumbnail.jp

Modèles d’intégration des designers créatifs dans les processus de conception industriels

Many studies show that industrial design is key to triggering, fostering andsustaining innovation. However, the unique capacities of creation and innovationof industrial designers make it challenging for them to thrive within industrialenvironments.The challenge for companies is to create the optimal work environment forthose professionals, while ensuring their work can be integrated smoothly intothe existing industrial design processes. We assume this dilemma is partiallystemming from the intensive use of sequential design models in the industry.Design tools were developed on the assumption that creative front end andproduct development should be separated.We introduce here a new model, aiming at depicting accurately the reasoningmodes and the nature of the object being designed with the digital ComputerAided Design (CAD) suites. This model is the result of the joint mobilization offour academic fields : computer, cognitive and management science and designtheories. Dassault Systèmes and their CATIA software have proven to be an excellentresearch environment for such questions. As we have been thinking, thenew model (laminated) makes three new hypothesis. Those unheard assertionshave been suggested and validated with this thesis :1/ Some specific design workshops are able to provide simultaneously robust andgenerative design capacities. We call this characteristic «acquired originality».2/ The object representations within by the software are not the result of successiverefinements but derive directly from a parameterized set of rules.3/ Industrial designers have specific requirements for CAD tools, different fromtheir engineers and artists counterparts because what they design is fundamentallydifferent. IDs generate conceptual models using a mass singularity technique.Those results sketch the emergence of a new generation of CAD tools forindustrial designers and able to foster innovation.De décisifs et puissants enjeux d'innovation ainsi que de renouvellement del'identité des objets bouleversent le monde industriel. De telles aptitudes créativessont usuellement associées aux designers industriels. Cependant, ces professionnelsne sont actuellement pas intégrés dans les processus numériques deconception.Afin de décrire ce paradoxe, nous formulons l'hypothèse que, l'omniprésencedans l'industrie de modèles de la conception de type séquentiel, qui juxtaposentcréativité et développement produit, entrave l'intégration des designers industrielsau sein des processus industriels. En effet, en compartimentant la conceptionen silos, ce type de modèles généralistes inhibe les méthodes spécifiquesdes concepteurs créatifs. Bien plus, les outils numériques adjoints au modèle séquentielétant calqués sur sa logique, ils reproduisent et les inconvénients d'unetelle structuration.En mobilisant quatre disciplines académiques qui traitent des outils numériques,à savoir les sciences informatiques, cognitives, de gestion et les théoriesde la conception, nous élaborons un nouveau modèle «dit stratifié». Ce dernierrévèle les modes de raisonnement empruntés par les concepteurs créatifs ainsique la nature des produits élaborés dans les environnements logiciels. A ce titre,l'entreprise Dassault Systèmes ainsi que la suite CATIA se sont révélés un substratde recherche idéal. Comme attendu, notre nouveau modèle propose desassertions inédites qui sont validées au cours de notre travail. Nous avons alorsdémontré que :1/ Certains ateliers de conception favorisent simultanément robustesse et générativité.Nous qualifions cette nouvelle propriété d'«originalité acquise».2/ Les avatars dans le logiciel ne résultent pas d'un raffinement progressif del'objet mais sont plutôt l'instanciation d'une base de règles paramétrée.3/ Les designers industriels requièrent des outils distincts de ceux employés parles artistes 3D ou les ingénieurs, de par la nature de leur conception. Plus exactement,ces professionnels génèrent des modèles conceptuels selon une logiquede singularité de masse.Ces résultats offrent ainsi la perspective engageante de l'émergence d'unenouvelle génération d'outils numériques de conception. Ces outils inédits serontaptes à intégrer les designers industriels et à proposer de l'innovation à la d

Synthesizing and Editing Photo-realistic Visual Objects

In this thesis we investigate novel methods of synthesizing new images of a deformable visual object using a collection of images of the object. We investigate both parametric and non-parametric methods as well as a combination of the two methods for the problem of image synthesis. Our main focus are complex visual objects, specifically deformable objects and objects with varying numbers of visible parts. We first introduce sketch-driven image synthesis system, which allows the user to draw ellipses and outlines in order to sketch a rough shape of animals as a constraint to the synthesized image. This system interactively provides feedback in the form of ellipse and contour suggestions to the partial sketch of the user. The user's sketch guides the non-parametric synthesis algorithm that blends patches from two exemplar images in a coarse-to-fine fashion to create a final image. We evaluate the method and synthesized images through two user studies. Instead of non-parametric blending of patches, a parametric model of the appearance is more desirable as its appearance representation is shared between all images of the dataset. Hence, we propose Context-Conditioned Component Analysis, a probabilistic generative parametric model, which described images with a linear combination of basis functions. The basis functions are evaluated for each pixel using a context vector computed from the local shape information. We evaluate C-CCA qualitatively and quantitatively on inpainting, appearance transfer and reconstruction tasks. Drawing samples of C-CCA generates novel, globally-coherent images, which, unfortunately, lack high-frequency details due to dimensionality reduction and misalignment. We develop a non-parametric model that enhances the samples of C-CCA with locally-coherent, high-frequency details. The non-parametric model efficiently finds patches from the dataset that match the C-CCA sample and blends the patches together. We analyze the results of the combined method on the datasets of horse and elephant images