New Technologies For The Documentation And Preservation Of The Maya Cultural Heritage. The Palace Of The Governor At Uxmal (Yucatán, Mexico)

[EN] One of the major challenges currently facing the architectural and archaeological heritage in subtropical World Heritage sites is its preventive conservation. Many of these sites are vulnerable to the adverse impacts of natural disasters and climate change. The risk is compounded by the fact that several of them are among the most iconic places in the world, and so they also face the threat of the excessive growth of visitors. What is more, in earlier times many were restored with unsuitable materials or using inappropriate techniques which have heightened the risk they face today. However, thanks to the new digital technologies of architectural documentation involving the use of laser scanner and photogrammetry, applied in combination with traditional systems, the current state of the buildings can be documented and evaluated thoroughly and accurately. The information obtained can help to guide the choice of the measures and actions needed to prevent, or at least minimize, future deterioration or loss. An example of a project of this kind is the documentation work we are currently carrying out at the Palace of the Governor, an exceptional 98 m long building from the Late Classic period, located in the Maya city of Uxmal (Yucatán, Mexico). The palace is situated in a prominent position on a large, elevated platform. The results of this research are the subject of this paper.This research would not have been possible without the support of: The Generalitat Valenciana (Project Mayatech-Prometeo 2016/155); The Spanish Ministry of Science, Innovation and Universities through the funding of various coordinated research programs (reference numbers BIA2011-28311-C02, BIA2014-53887-C2 and PGC2018-098904-B-C2), as well as the support of the archaeologist José G. Huchim at Uxmal (Mexico) and Eduardo López Calzada, delegate of the Instituto Nacional de Antropología e Historia at Yucatán (Mexico). Special thanks also to the team of Project Mayatech at Uxmal: Riccardo Montuori, Rosana Martínez Vanaclocha, Sara Moreno Sánchez, Silvia Puerto Aboy, Sara Portela i Valls, Héctor Cauich Caamal, Patricia Valencia Santiago and Luis Fernando Cruz Pacheco.Muñoz Cosme, G.; Vidal Lorenzo, C. (2020). New Technologies For The Documentation And Preservation Of The Maya Cultural Heritage. The Palace Of The Governor At Uxmal (Yucatán, Mexico). International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences (Online). XLIV-M-1:397-403. https://doi.org/10.5194/isprs-archives-XLIV-M-1-2020-397-2020397403XLIV-M-

Field sketching and the interpretation of landscape : exploring the benefits of fieldwork and drawing in contemporary landscape practice

This thesis explores potential roles for field sketching in, landscape observation and assessment, landscape planning and design, landscape representation, and in addressing the experiential dimension of the landscape.The research seeks to define and legitimise the old technique of field sketching, and the use and development of field sketches by students and practitioners of landscape architecture, and other landscape disciplines. The wider values of, fieldwork, hand -generated field notations, drawing as an interactive dialogue with others, and the sketch as a type of landscape representation, are also recognised.Whilst accurate representation and precise geometrical definition of the landscape can now be achieved quickly with photographs and by semi - automated digital means, interpretation requires careful observation. Sketching involves an observer stopping and looking and interpreting slowly and carefully. Field sketching and the uses of the field sketch are proposed as bringing an effectiveness to landscape work, valuable because of the interpretation it involves, and the time it does take: timeless because of its simplicity.A personal way of working is investigated, based on a Grounded Theory approach. Systematic analysis of case studies is made through reflection-on-practice. Practice observations (data) are collated and interpreted by practical sorting tasks, to propose a series of how to do and why important principles regarding field sketching. External support for the research findings is sought from literature, considering the broad themes of: fieldwork and the experience of landscapes, field sketching and drawing as craft and expression, and developing and using field sketches.Applications for field sketching to meet contemporary needs in landscape architecture are proposed: the sketch as a designer's tool, sketch-based visualisations as interpretive images, and field sketching as a participative technique that can be used to engage the inquirer, collaborators, and the public with landscape experience -grounded decisions

Métodos de representação virtual e visualização para informação arquitetónica e contextual em sítios arqueológicos

This work seeks to outline some guidelines in order to improve the use of 3D visualization applied to archaeological data of diverse nature and at different scales. One difficulty found in this process is related to the still frequent two-dimensional representation of the three-dimensional archaeological reality. Aware that the existence of data of two-dimensional nature is fundamental in the archaeological process and that they result, on the one hand, from the manual archaeological recording processes and, on the other hand, from the intense analysis and interpretation activity of the archaeological investigation team, we seek to ensure an adequate 3D representation based on 3D acquisition methods mostly available to the archaeology teams. Archaeological visualization in three-dimensional support is an increasingly frequent and necessary practice, but it continues to show some difficulties. These are substantiated in the reduced number of visualization techniques used, the use of visualization tools that are not very customized for the archaeological needs and the privileged use of visual features of the models during the archaeological process phases. Thus, the main objective of this work is to design and evaluate appropriate methods for visualizing archaeological data. To determine which visualization methods are most used during the phases of the archaeological process, an online user-survey was carried out, which allowed consolidating the 3D representation methodologies used, as well as to propose a visualization model that also categorizes the appropriate visualization techniques which increase the visual perception and understanding of the archaeological elements. Three prototypes are defined according to the different 3D data acquisition methodologies presented and visualization methodologies are designed in order to, on the one hand, take into account the scale and diversity of the archaeological elements and, on the other hand, to account for the need to ensure visualization methods which are easily assimilated by archaeologists. Each prototype was evaluated by two archaeologists with different professional background. They were proposed, through a set of previously determined tasks, to assess the interaction with 3D models and with the visualization methods and the satisfaction of the visualization results regarding the archaeological needs. The evaluation of the prototypes allowed to conclude that the presented visualization methods increase the perception of 3D models which represent archaeological elements. In addition, it was also possible to produce new objects that reveal elements of archaeological interest. It is suggested to make these methodologies available on a web-based application and on mobile platforms.Este trabalho procura esboçar algumas diretrizes no sentido de melhorar a utilização da visualização 3D aplicada aos dados arqueológicos de natureza diversa e a escalas distintas. Uma dificuldade encontrada neste processo prende-se com a, ainda frequente, representação bidimensional da realidade arqueológica tridimensional. Ciente de que a existência de dados de natureza bidimensional são fundamentais no processo arqueológico e que resultam, por um lado, dos processos manuais de registo arqueológicos e, por outro, da intensa atividade de análise e interpretação da equipa de investigação arqueológica, procuramos assegurar uma representação 3D adequada, com base em metodologias de aquisição de dados 3D geralmente disponíveis às equipas de arqueologia. A visualização arqueológica em suporte tridimensional é uma prática cada vez mais frequente e necessária, mas que continua a evidenciar algumas dificuldades. Estas substanciam-se no reduzido número de técnicas de visualização usadas, na utilização de ferramentas de visualização pouco adaptadas às necessidades arqueológicas e na utilização preferencial de características visuais dos modelos durante as fases do processo arqueológico. Assim, o objetivo primordial deste trabalho é desenhar e avaliar métodos adequados à visualização de dados arqueológicos. Para determinar que métodos de visualização são mais utilizados durante as fases do processo arqueológico realizou-se um questionário online que permitiu consolidar as metodologias de representação 3D usadas, bem como propor um modelo de visualização que também categoriza as técnicas de visualização adequadas para aumentar a perceção e a compreensão visual dos elementos arqueológicos. Definem-se três protótipos de acordo com as distintas metodologias de aquisição de dados 3D apresentados e são desenhadas metodologias de visualização que, por um lado, têm em conta a escala e a diversidade dos elementos arqueológicos e, por outro, a necessidade de assegurar métodos de visualização facilmente assimilados pelos arqueólogos. Cada protótipo foi avaliado por dois arqueólogos com experiências profissionais distintas. O que lhes foi proposto, através de um conjunto de tarefas previamente estabelecidas, foi aferir da facilidade de interação com os modelos 3D e com os métodos de visualização e adequação dos resultados de visualização às necessidades dos arqueólogos. A avaliação dos protótipos permitiu concluir que os métodos de visualização apresentados aumentam a perceção dos modelos 3D que representam elementos arqueológicos. Para além disso foi possível produzir também novos objetos que revelam elementos com interesse arqueológico. É sugerida a disponibilização destas metodologias em ambiente web e plataformas móveis.Programa Doutoral em Informátic

Using Structure from Motion Mapping to Record and Analyze Details of the Colossal Hats (Pukao) of Monumental Statues on Rapa Nui (Easter Island)

Structure from motion (SfM) mapping is a photogrammetric technique that offers a cost-effective means of creating three-dimensional (3-D) visual representations from overlapping digital photographs. The technique is now used more frequently to document the archaeological record. We demonstrate the utility of SfM by studying red scoria bodies known as pukao from Rapa Nui (Easter Island, Chile). We created 3-D images of 50 pukao that once adorned the massive statues (moai) of Rapa Nui and compare them to 13 additional pukao located in Puna Pau, the island’s red scoria pukao quarry. Through SfM, we demonstrate that the majority of these bodies have petroglyphs and other surface features that are relevant to archaeological explanation and are currently at risk of continued degradation

The Pukao of Rapa Nui (Easter Island, Chile)

Structure from motion (SfM) mapping is a photogrammetric technique that offers a cost-effective means of creating three-dimensional visual representations from overlapping digital photographs. The technique has seen increasing uses for documenting the archaeological record. We demonstrate the utility of SfM through a study of the form of red scoria bodies known as pukao from Rapa Nui (Easter Island, Chile). We study 50 pukao that once adorned the massive statues (moai) of Rapa Nui, and compare them to 13 additional pukao located in Puna Pau: the island’s red scoria pukao quarry. Through SfM, we demonstrate that the majority of these bodies have petroglyphs and other surface features that are relevant to archaeological explanation and are currently at risk of continued degradation

The development and application of a simple methodology for recording rock art using consumer-grade digital cameras

A simple methodology for recording rock art has been recently developed in Australia and tested on aboriginal rock art, including both petroglyphs and pictographs (engraved and painted images respectively). The approach was based upon commercial photogrammetric software and consumer-grade digital cameras, because it was believed that archaeologists, conservators and site managers need simple and cost-effective methods to record and document rock art. This methodology has been adopted subsequently by the Northumberland and Durham Rock Art Project working in conjunction with English Heritage, to assist in recording 1500 prehistoric engraved panels located across the north-east of England. Significantly, the field work is carried out by enthusiastic volunteers, willing to sacrifice their weekends to capture imagery suitable for digital photogrammetry. This paper explains briefly how the recording technique was developed in Australia before indicating how expertise and equipment was integrated to allow UK-based volunteers to carry out data acquisition and, perhaps surprisingly, also the photogrammetry. This will demonstrate the value of mobilising the voluntary sector for heritage recording, which is feasible only if recording methodologies are based on cheap and simple instrumentation