Open-source digital technologies for low-cost monitoring of historical constructions

This paper shows new possibilities of using novel, open-source, low-cost platforms for the structural health monitoring of heritage structures. The objective of the study is to present an assessment of increasingly available open-source digital modeling and fabrication technologies in order to identify the suitable counterparts of the typical components of a continuous static monitoring system for a historical construction. The results of the research include a simple case-study, which is presented with low-cost, open-source, calibrated components, as well as an assessment of different alternatives for deploying basic structural health monitoring arrangements. The results of the research show the great potential of these existing technologies that may help to promote a widespread and cost-efficient monitoring of the built cultural heritage. Such scenario may contribute to the onset of commonplace digital records of historical constructions in an open-source, versatile and reliable fashion.Peer ReviewedPostprint (author's final draft

3D Printing for Dissemination of Maya Architectural Heritage: The Acropolis of La Blanca (Guatemala)

[EN] This paper focuses on the use of 3D printing as a tool for the dissemination of Maya architectural heritage. The case study is the Acropolis of La Blanca, the main complex of this archaeological site located in the Peten department, Guatemala. One of the objectives of La Blanca Project was to create a model of the Acropolis as part of the strategy for dissemination and as a didactical resource for the Visitor Center. The documentation of this architectural complex with digital survey techniques allowed to obtain a high-fidelity model of the Acropolis¿ buildings. In order to achieve this goal, it was necessary to develop a methodology for the reverse modelling of the Acropolis, starting from the data obtained by laser scanning. We developed a workflow to create a virtual replica of the Acropolis optimized for 3D printing. This model was first printed in 17 parts by using the FDM technology. Then, it was transported to Guatemala and, finally, it was reassembled and placed at the Visitor Center. Today, this physical replica of the Acropolis is an important resource that allows the visitors to have a complete view of the main complex of the site, which is not easy in the Guatemalan jungle. It also provides an exclusive view of some parts of the Acropolis, already studied by researchers and now protected with a soil layer to ensure their preservation. Moreover, it is a useful resource for supporting dissemination and also serves as a teaching resource for student visitors.This work was funded by the Universitat Politècnica de València through the Research and Development Grants Program (PAID-01-17); by the Spanish Ministry of Science, Innovation and Universities through the Aid Program for predoc contracts for the training of doctors (ref. BES-2015- 071296) and by Generalitat Valenciana through the Santiago Grisolía grants Program (GRISOLIAP/2018/139). This study is also part of the research project Arquitectura Maya: Sistemas Constructivos, Estética Formal, Simbolismo y Nuevas Tecnologías (PGC2018-098904-B-C21-AR), funded by the Spanish Ministry of Science, Innovation and Universities.Montuori, R.; Gilabert Sansalvador, L.; Rosado-Torres, AL. (2020). 3D Printing for Dissemination of Maya Architectural Heritage: The Acropolis of La Blanca (Guatemala). International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences (Online). 44:481-488. https://doi.org/10.5194/isprs-archives-XLIV-M-1-2020-481-2020S4814884

Scottish Archaeological Research Framework: Future Thinking on Carved Stones

No abstract available

From point cloud to digital fabrication: A tangible reconstruction of Ca' Venier dei Leoni, the Guggenheim Museum in Venice

The paper describes how new digital methodologies can be used within the field of Cultural Heritage, not only with the aim of documenting the actual state of an architecture but to review the past transformations it has undergone, conserving and representing these histories as well. The premise to conservation and enhancement of our Heritage is a deep study in terms of position, shape, colour, and also of the historical and artistic features. Survey methods have acquired data acquisition techniques in line with technological progress: today's electronic and IT technologies, that are the tools of modern Geomatics, allow the effective survey and representation of 3D objects, from architectural structures to sculptures or archaeological finds. Over the last few years, the methodologies of acquisition and integrated representation for 3D patrimony documentation have developed and consolidated considerably: the possibilities of the digital realm can augment the understanding and the valorisation of a monument. The specific case offered in the present paper, Ca' Venier dei Leoni, the palace where is the Guggenheim Museum in Venice, is a significant example. It suggests not only the theme of the "no longer existing", or better never built, but also the opportunity to formulate hypotheses regarding its implementation and the impact that the palace would have had in the Venetian contest

LEARNING GEOMATICS FOR RESTORATION: ICOMOS SUMMER SCHOOL IN OSSOLA VALLEY

Documentation and preservation of widespread rural heritage are today possible only if you can activate processes of conservation headed by local communities, thereby recognizing the link between the communities and their culture. The cultural heritage places (villages, sites and landscapes) can take different values; action is needed respecting the right of communities to identify the values contained in them. ‘Collaborative networks should be set up at different levels among multiple stakeholders in order to address issues related to heritage and create new value chains through innovative synergies. Dynamic, flexible, inclusive and integrated processes of engagement need to be employed for assessing long-term social impacts of heritage conservation programmes’ (Icomos, 2014). In 2011 the 3DSurvey Group of the Politecnico di Milano in collaboration with the Canova Association initiated an annual summer school program entitled ‘Laboratory of Places 2017, Ghesc and surroundings, History, survey, evolution Laboratory of Places'. The definition of “Laboratory of Places 2017, Ghesc and surroundings” links the idea of an inhabited space to an open space suitable for study, research, and an interactive absorption and confrontation of differing ideas. Founding elements of the project involve educational collaborations with university, but equally important will be the development of programs with local schools, associations, and public administration (Quaderni di Ghesc, 2010)

Bringing Impossible Places to the Public: Three Ideas for Rupestrian Churches in Goreme, Kapadokya Utilizing a Digital Survey, 3D Printing, and Augmented Reality

The churches of St. Eustache, the Meryemana and St. Daniel are located in the Göreme area in Kapadokya, Turkey. Each of the three structures is composed of a main church with a refuge system. Nowadays these churches have limited access: they cannot be visited by a common tourist. Thus, they are a meaningful sample of rupestrian architecture, containing important mural paintings and suggestive spaces. Using digital survey techniques, 3D modelling and 3D printing to produce physical copies from the originals, this research project tries to find articulate and well working solutions to bring these architectural structures to the public

Guidelines for the Management of Cultural Heritage Using 3D Models for the Insertion of Heterogeneous Data

[ES] La Gestión del Patrimonio Cultural (GPC) es una operación muy compleja cuyo objetivo es preservar la integridad física de los Bienes Culturales y, al mismo tiempo, difundir los valores históricos y permitir el disfrute del Patrimonio. Debido a las múltiples fases que componen la GPC (documentación, intervención, conservación preventiva, uso), el gestor se ve sometido a un gran esfuerzo de coordinación de las interacciones creadas por figuras profesionales muy diferentes, tanto por formación como por necesidades específicas en el ámbito de la gestión. En los últimos años, la aplicación de las tecnologías digitales al Patrimonio Cultural se ha convertido en una parte indispensable de la GPC. Las metodologías más utilizadas para la adquisición de datos, como el escaneo láser terrestre y la fotogrametría digital, también se han convertido en una práctica habitual en las actividades profesionales. Sin embargo, el uso de modelos 3D para la gestión se limita hasta ahora a algunas investigaciones académicas, que a menudo no tienen continuidad tras la finalización del proyecto. Además, hasta la fecha existen pocas normas supranacionales que guíen a las instituciones en el proceso de creación y uso de modelos 3D para la GPC. Por tanto, la falta de herramientas para controlar la calidad de los datos y productos digitales adquiridos afecta negativamente a la interacción entre el sector de la investigación académica, el sector de la gestión y el mundo profesional. La investigación propone el uso de los modelos 3D como una herramienta válida de apoyo en todas las fases de la gestión, ya sea utilizando los datos tridimensionales como base del archivo digital, o explotando todos los productos obtenidos a partir de los datos básicos para las múltiples acciones de cada fase. Por lo tanto, el objetivo de la tesis doctoral es desarrollar directrices para la producción de modelos 3D con el fin de gestionar, introducir y preservar eficazmente los datos. Estas directrices investigan todos los aspectos del proceso que va desde la adquisición de datos, pasando por su catalogación y archivo, hasta su tratamiento y la creación de un sistema de información simplificado para su gestión. Cada directriz guía al usuario a través de una fase específica del tratamiento y el uso de los datos digitales, y proporciona indicaciones adaptadas al nivel de conocimientos respecto a las tecnologías y metodologías digitales. De este modo, el gestor puede utilizar los modelos 3D para su gestión y controlar su calidad y sus estándares mínimos. Se ha optado por un enfoque interdisciplinar e internacional con el fin de elaborar directrices que se adapten al mayor número posible de Bienes Culturales, desarrollando la tesis en el marco de un acuerdo de cotutela entre la Universidad de Bolonia y la Universitat Politècnica de València. Con el fin de obtener unas pautas universales, las metodologías analizadas en el estudio del estado del arte se aplicaron a una serie de casos de estudio. Los principales son los monumentos paleocristianos de Rávena (Italia), pertenecientes a la Lista del Patrimonio Mundial de la UNESCO, y un panteón neogótico situado en Castellón de la Plana (España). Las experiencias realizadas sobre la GPC en los dos países han contribuido a la elaboración de directrices y normas universales que mejoren las interacciones entre el mundo académico, los gestores y el sector profesional. La investigación, al poner de manifiesto los problemas inherentes a la GPC, ha permitido identificar las principales cuestiones abiertas que se deben explorar en futuras líneas de investigación, como la aplicación de estándares a un gran número de Bienes Culturales para conducir a la puesta a punto de los mismos estándares; la búsqueda de sistemas para la clasificación automática de los datos brutos; el tratamiento de los datos recogidos para la creación de relaciones, estrategias y métodos de clasificación, integración y optimización de datos heterogéneos.[CA] La Gestió del Patrimoni Cultural (GPC) és una operació molt complexa l'objectiu de la qual és preservar la integritat física del els Béns Culturals i, al mateix temps, difondre els valors històrics i permetre el gaudi del Patrimoni. A causa de les múltiples fases que componen la GPC (documentació, intervenció, conservació preventiva, ús) , el gestor es veu sotmés a un gran esforç de coordinació de les interaccions creades per figures professionals molt diferents, tant per formació com per necessitats específiques en l'àmbit de la gestió. En els últims anys, l'aplicació de les tecnologies digitals al Patrimoni Cultural s'ha convertit en una part indispensable de la GPC, des de les fases de documentació fins a les d'intervenció. Les metodologies més utilitzades per a l'adquisició de dades, com l'escaneig làser terrestre i la fotogrametria digital, també s'han convertit en una pràctica habitual en les activitats professionals. No obstant això, l'ús de models 3D per a la gestió es limita fins ara a algunes investigacions i aplicacions acadèmiques, que sovint no tenen continuïtat després de la finalització del projecte. A més, fins a la data hi ha poques normes supranacionals que guien a les institucions en el procés de creació i ús de models 3D. Per tant, la falta de ferramentes per a controlar la qualitat de les dades i productes digitals adquirits afecta negativament la interacció entre el sector de la investigació acadèmica, el sector de la gestió i el món professional. La investigació proposa l'ús dels models 3D com una ferramenta vàlida de suport en totes les fases de la gestió, ja siga utilitzant les dades tridimensionals com a base de l'arxiu digital, o explotant tots els productes obtinguts a partir de les dades bàsiques per a les múltiples accions de cada fase. Per tant, l'objectiu de la tesi doctoral és desenrotllar directrius per a la producció de models 3D a fi de gestionar, introduir i preservar eficaçment les dades. Estes directrius investiguen tots els aspectes del procés que va des de l'adquisició de dades, passant per la seua catalogació i arxiu, fins al seu tractament i la creació d'un sistema d'informació simplificat per a la seua gestió. Cada directriu particular guia l'usuari a través d'una fase específica del tractament i l'ús de les dades digitals, i proporciona indicacions adaptades al nivell de coneixements respecte a les tecnologies i metodologies digitals. D'esta manera, el gestor pot utilitzar els models 3D per a la seua gestió i controlar la seua qualitat i els seus estàndards mínims. S'ha optat per un enfocament interdisciplinari i internacional a fi d'elaborar directrius que s'adapten al nombre més gran possible de tipus de Béns Culturals Cultural, desenrotllat la tesi en el marc d'un acord de cotutela entre la Universitat de Bolonya i la Universitat Politècnica de València. A fi d'obtindre unes pautes universals, les metodologies analitzades en l'estudi de l'estat de l'art es van aplicar a una sèrie de casos d'estudi. Els principals són els monuments paleocristians de Ravenna (Itàlia), pertanyents a la Llista del Patrimoni Mundial de la UNESCO, i una capella neogòtica situada a Castelló de la Plana (Espanya). Les experiències realitzades sobre la GPC en els dos països han contribuït a l'elaboració de directrius i normes universals que milloren les interaccions entre el món acadèmic, els gestors i el sector professional. La investigació, al posar de manifest els problemes inherents a la GPC, permet identificar les principals qüestions obertes que s'han d'explorar en futures línies d'investigació, com l'aplicació d'estàndards a un gran nombre de Béns Culturals per a conduir a la posada al punt dels mateixos estàndards; la busca de sistemes per a la classificació automàtica de les dades brutes; el tractament de les dades arreplegats per a la creació de relacions, estratègies i mètodes de classificació, integració i optimització de dades heterogènies.[EN] The Management of Cultural Heritage (MCH) is a very complex operation aimed at protecting the physical integrity of Cultural Heritage assets, while promoting their historical value and development of tourism industry. Composed by distinct phases (documentation, intervention, monitoring and use), MCH implies a great effort for the project manager to coordinate the interactions among very different professional figures. In recent years, the use of digital technologies has become an essential part of the MCH delicate process, from early documentation to late intervention phases. The most commonly used methodologies for digital data acquisition, such as terrestrial laser scanning and digital photogrammetry, have become common practice in a broad range of professional activities. On the contrary, the use of 3D models for MCH is still limited to few academic research to date, often lacking continuity and wide application after the end of specific projects. Furthermore, very few supra-national standard guidelines regulating their use are available to date. As a consequence, the operator who decides to use a 3D model as a basis for management is faced with the scarcity and fragmentation of standards and guidelines. Moreover, the lack of standard on quality of acquired data and digital products negatively influences the interaction between the academic research sector, the managers and the professional world. The focus is on the use of 3D models as a valid support tool in the MCH process, highlighting their advantages in all the distinct phases of the management. As an example, 3D data can constitute themselves the basis for the digital database, gathering all available information concerning a Cultural Heritage site, exploitable for restoration works or for scientific dissemination. In particular, the aim of this PhD research is to develop guidelines to produce 3D models for MCH, with the purpose to efficiently entry, store and manage digital data. The here provided guidelines investigate every aspect of the process leading from data acquisition to cataloguing and archiving, processing and creation of a simplified information system. Each recommendation guides the user through the management of digital data, by adapting to his/her level of knowledge with respect to digital technologies and methodologies. In this way, the manager can efficiently use 3D models in MCH projects. In order to elaborate guidelines that could be suitable for as many typologies of Cultural Heritage as possible an international approach was chosen, developing the thesis in joint supervision under the University of Bologna and the Universitat Politècnica de València. We decided to apply state-of-the-art technologies and methodologies to a variety of case studies. The main ones are the early Christian monuments of Ravenna (Italy) belonging to the UNESCO World Heritage List, and a small neogothic chapel located in Castellón de la Plana (Spain). The fruitful collaboration between two different countries allowed an invaluable exchange of MCH expertise and, more broadly, contributed to the elaboration of standardized and universally applicable MCH guidelines that will allow a better interaction between managers, the academic research world and the professional one. The investigation, by highlighting the problems inherent to the MCH, made it possible to identify the main open issues that need to be explored in future lines of research, such as the application of standards to a large number of cultural assets in an iterative, continuous and automatic way, in order to perfecting the standards; the search for automatic classification of raw data; the processing of collected data for the creation of relations, strategies and methods for the classification, integration and optimisation of heterogeneous data.Bertacchi, G. (2022). Guidelines for the Management of Cultural Heritage Using 3D Models for the Insertion of Heterogeneous Data [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/182419TESI

Image-based models using crowdsourcing strategies

This paper aims to highlight the effectiveness of the collaboration between the modelling techniques that exploit the stereoscopic images of objects and the ability of the present-day technologies to generate images, both found in the web and gathered by other crowdsourcing techniques. Since nowadays the generation of models from images is a major low-cost resource, the whole strategy is aimed at obtaining benefits in the context of the documentation of Cultural Heritage (CH). Assuming that the documentation of CH is the basis of the protection and the conservation policies, the chances of finding images and using them to create 3D models is particularly effective when the assets in question are at risk in danger zones (wars or areas subject to natural disasters) or in areas that, for various reasons, are difficult to access. To demonstrate the advantage of using low-cost methods for the generation of 3D models of documentation with strategies that fall within the sphere of crowdsourcing, the case of the Vank cathedral modelling is presented. The Vank Cathedral in Isfahan in Iran is a building of the Safavid epoch (cent. XVII–XVIII) completely frescoed in the internal surfaces, where the architecture and especially the architectural decoration reach their peak. The experimental section of the paper also explores some aspects of usability of the digital output from the image-based modelling methods. The availability of orthophotos allows and facilitates the iconographic reading of the frescoes, adding to the radiometric data, there is the metric potentiality of reading the proportions and the compositions of the organisation of the frescoes. Furthermore, simplified and suitably schematised models can be even printed and can be used in a didactic environment, such as the knowledge dissemination intended by the museums and other cultural institutions

Photogrammetry and 3D printing for marble statues replicas: Critical issues and assessment

A project for realizing replicas of a couple of marble statues starting from reality-based 3D models is being presented in this paper. On the crowning element of the baptistry, consecrated to San Giovanni in Corte in Pistoia (Italy), there were originally a couple of marble statues that, in the 1980s, were removed to preserve them better and to avoid security issues. Recently, the Superintendence started a project aimed to reproduce both statues with additive manufacturing techniques. High-resolution 3D models are required for supporting the replica process. This project takes advantage of the structure from motion (SfM) technique to produce reality-based models and fused deposition modeling (FDM) to 3D print the replicas. This paper presents an overview of the potential of additive manufacturing systems in the field of cultural heritage conservation and describes all the phases of the project, up to the evaluation of the correspondence between the original and the copy