This paper proposes CulTO, a software tool relying on a computational ontology for Cultural Heritage domain modelling, with a specific focus on religious historical buildings, for supporting cultural heritage experts in their investigations. It is specifically thought to support annotation, automatic indexing, classification and curation of photographic data and text documents of historical buildings. CULTO also serves as a useful tool for Historical Building Information Modeling (H-BIM) by enabling semantic 3D data modeling and further enrichment with non-geometrical information of historical buildings through the inclusion of new concepts about historical documents, images, decay or deformation evidence as well as decorative elements into BIM platforms. CulTO is the result of a joint research effort between the Laboratory of Surveying and Architectural Photogrammetry “Luigi Andreozzi” and the PeRCeiVe Lab (Pattern Recognition and Computer Vision Lab) of the University of Catania,
<p><strong>Abstract.</strong> The research proposes a novel and expeditious approach starting from direct and SfM (Structure from Motion) surveying up to H-BIM to provide a supporting tool to the knowledge of traditional bell towers, also useful for the seismic vulnerability assessment. The research draws on the possibility to enrich the H-BIM model with a semantic layer that takes into account the vulnerability indicators as defined in 2011 Italian Guidelines for the assessment and reduction of seismic risk of cultural heritage. Starting from 3D data survey, passing through the historical and constructive analysis, and the semantic classification of parts, the workflow foresaw the setting up of a semantic layer creating parameters to be assigned to each architectural component of the building and according an expeditious check-list which focuses on empirical knowledge of bell towers. This kind of information stored in the model could be very useful in situations that require particularly timely decision-making, such as in the case of calamitous events.</p>
In recent years, there has been an increasing attention towards the use of the BIM (Building Information Modeling) approach in the cultural heritage domain. The stringent regulatory requirements in terms of BIM adoption in the field of public works in the short term will also have an impact on the historical heritage that characterises most European cities. However, when it comes to historical architecture, especially if it is in a state of ruin/abandonment, several critical issues arise. The first issue concerns the geometric simplification of architectural components provided by common commercial BIM platforms, that leads to search for other solutions. Another theme is the software interoperability, when sharing data between different platforms in order to enrich the digital model with not geometric information. Therefore, this research explores the concept of model tolerance and level of accuracy referring to a very complex architectural building. As case of study the church of Santa Maria delle Grazie in ancient Misterbianco (Sicily) has been chosen. The church was covered by the Etna eruption of 1669 and was recently brought to light during the excavations carried out by the Superintendence to Cultural Heritage of Catania. The state of decay of the church (warped floor, curved and out of lead walls, deteriorated altars and undamaged surfaces) makes it an excellent test bench on which to explore all the emerged criticalities, set up a feasible workflow and define a Level of Accuracy for complex or ruined architectural heritage.
<p class="VARAbstract">This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six altars, which are one of the most remarkable examples of Mannerist art in eastern Sicily. This research aimed to three-dimensional (3D) reconstruct both the altars and the portal, ideally reviving their original 17<sup>th</sup> century configuration. This goal was achieved through an in-depth archival research (documents dating back to the years between 1300 and 1666 were consulted), an analysis of Classic and Renaissance treatises, and two integrated digital survey campaigns (laser scans and photogrammetry). The outcome is represented by the 3D models of the seven artifacts, which include surviving parts reconstructed as photogrammetric meshes, several fragments were placed in their likely early location through a virtual anastylosis, and NURBS (Non Uniform Rational Basis-Splines) surfaces (recreating the no longer existing elements). The latter were 3D modelled based on the treatises (which provided information on the correct proportioning) or in analogy with other coeval similar artifacts. Overall, the digital reconstruction was based on the ethical principles of transparency of the intervention, recognition of non-original additions and distinction between evidence and hypothesis, according to the London Charter and the Seville Principles. The experimentation provides a valid support for possible interventions in the real world and is the starting point to develop a digital archive of the site, which would make the different accuracy levels the reconstruction explicit.</p><p><strong>Highlights:</strong></p><ul><li><p>3D virtual reconstruction is effective to visualize and bring back to life ruined architectural artefacts.</p></li><li><p>Information about the artefacts original appearance was harvested through digital survey campaigns, archival documents, and comparisons with iconographic sources and coeval buildings.</p></li><li><p>The 3D reconstruction follows ethical principles of transparency and combines photogrammetric meshes (partly relocated through a virtual anastylosis) and NURBS surfaces.</p></li></ul>
Abstract. This paper describes the results of a participatory approach experienced during the training of university and high school students at the MuRa (Museo della Rappresentazione). Mura is a university museum belonging to the Department of Civil Engineering and Architecture at University of Catania. It houses and exhibits the collections of architectural projects of Francesco Fichera and a series of chalcographies including the collection of the renown engraver Giovan Battista Piranesi. The training program has been addressed at the documentation, visualization and communication of the architectures realized by Francesco Fichera and other Sicilian architects in the city centre of Catania in the first half of XXth century, whose projects are hosted by the museum. The methodology adopted has included the experimentation of participatory strategies aimed at the communication and the narration of the architectures built in the early twentieth century in Catania. After a preliminary training phase on digital tools for 3D documentation and enhancement of architectural heritage, the students were invited to participate with their ideas and creative expressions in the dissemination actions of the identified case studies.
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