In the framework of the digital documentation of complex environments the advanced Geomatics researches offers integrated solution and multi-sensor strategies for the 3D accurate reconstruction of stratified structures and articulated volumes in the heritage domain. The use of handheld devices for rapid mapping, both image- and range-based, can help the production of suitable easy-to use and easy-navigable 3D model for documentation projects. These types of reality-based modelling could support, with their tailored integrated geometric and radiometric aspects, valorisation and communication projects including virtual reconstructions, interactive navigation settings, immersive reality for dissemination purposes and evoking past places and atmospheres. The aim of this research is localized within the “Torino 1911” project, led by the University of San Diego (California) in cooperation with the PoliTo. The entire project is conceived for multi-scale reconstruction of the real and no longer existing structures in the whole park space of more than 400,000&thinsp;m<sup>2</sup>, for a virtual and immersive visualization of the Turin 1911 International “Fabulous Exposition” event, settled in the Valentino Park. Particularly, in the presented research, a 3D metric documentation workflow is proposed and validated in order to integrate the potentialities of LiDAR mapping by handheld SLAM-based device, the ZEB REVO Real Time instrument by GeoSLAM (2017 release), instead of TLS consolidated systems. Starting from these kind of models, the crucial aspects of the trajectories performances in the 3D reconstruction and the radiometric content from imaging approaches are considered, specifically by means of compared use of common DSLR cameras and portable sensors.
Abstract. Rebuilding the past of cultural heritage through digitization, archiving and visualization by means of digital technology is becoming an emerging issue to ensure the transmission of physical and digital documentation to future generations as evidence of culture, but also to enable present generation to enlarge, facilitate and cross relate data and information in new ways. In this global effort, the digital 3D documentation of no longer existing cultural heritage can be essential for the understanding of past events and nowadays, various digital techniques and tools are developing for multiple purposes.In the present research the entire workflow, starting from archive documentation collection and digitization to the 3D models metrically controlled creation and online sharing, is considered. The technical issues to obtain a detail 3D model are examined stressing limits and potentiality of 3D reconstruction of disappeared heritage and its visualization exploiting three complexes belonging to 1911 Turin World’s Fair.
Abstract. Documentation of CH is paramount to preserve its memory and allow its study, especially when CH is meant to be dismantled, as for the architectures of World’s Fairs. Very few efforts are undertaken to achieve this goal and national and international institutions rarely adopt innovative digital technologies. Digital technologies and products like 3D digital models are successfully and largely applied in CH domains, while webGIS is less explored for CH. Nevertheless, 3D digital models are rarely adopted to accompany digital archives and Digital Humanities studies. Very few cases use 3D models for World’s Fairs’ study and documentation. WebGIS is not used for World’s Fairs, and are scarcely adopted and not fully exploited by Digital Humanities and digital archives for sharing data and information about CH. Turin 1911 is the first digital project aimed to virtually document, recreate, and study an entire World’s Fair. Combining digital technologies (geo-DB, 3D digital reconstruction, and 3D webGIS) with cataloging standards, Turin 1911 is a pioneering initiative that applies these innovations to Digital Humanities in order to share information online. In this paper, dedicated webGIS applications are developed for the Turin 1911 needs, reporting the designed procedure, challenges in the development phase, and potentialities for Digital Humanities research. Finally, BIM models are also integrated in webGIS apps, making visible no more visible architectures. The paper discusses how webGIS apps could become a way for sharing information and data, but also a working environment for Digital Humanities studies where the research takes place in 3D environments.
Since the publication of simulacres et simulation (1981), Jean Baudrillard's analyses of technologically advanced societies as existing in a state of hyperreality—a condition marked by the alleged inability of our collective consciousness to differentiate reality from the simulation of reality—have inspired both caustic criticism and zealous support. One of Baudrillard's most famous dicta, the assertion that shopping malls, theme parks, and video games have produced “sublimations” of a real without origin or density, suspended in a condition of “hallucinatory resemblance” to itself, generated apocalyptic conclusions: we, postmodern denizens of the hyperreal, have become inept at experiencing and interpreting the world, which has been emptied of meaning (Simulations 23). In Travels in Hyperreality, Umberto Eco mirrored Baudrillard's posture but avoided the caustic pessimism Baudrillard displayed when, for example, he argued that the replicas of settings in the United States at Disneyland are more real than their real-world counterparts, with the consequence that America has become “more and more like Disneyland” (Best and Kellner, Postmodern Theory 119). In Europe as well as the United States, we were told that we lived in a world doomed to inertia and entropy, where all distinct hermeneutical systems and stable theories of knowledge had dissolved into a vaporous vacuum without substance and depth.
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