3D digitizing a whole museum: A metadata centered workflow

Guidi, Gabriele; Micoli, Laura Loredana; Gonizzi, S.; Navarro, Paula; Russo, Michele

doi:10.1109/digitalheritage.2013.6744768

Cited by 11 publications

(3 citation statements)

References 8 publications

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“…Based on these developments, several museums started to experiment with 3D digitization of a limited set of objects [Levoy 1999;Bernardini et al 2002;Bryce 2015]. Following these projects, a few large-scale initiatives for 3D digitization of collections of archeological artifacts were started worldwide: the European project 3DICONS [Guidi et al 2013], the UCL's Petrie Museum of Egyptian Archaeology [Robson et al 2012], and the Smithsonian 3D digitization [Smithsonian's Digitization Program Office 2013] to name a few. More recently, thanks to the sponsorship of Indiana University, the Uffizi Gallery in Florence started the three-dimensional digitization of its complete collection of sculptural heritage ].…”

Section: State Of the Art: Literature Review And Current Trendsmentioning

confidence: 99%

3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience

Malik

Tissen

Vermeeren

2021

SDH

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3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.

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Section: State Of the Art: Literature Review And Current Trendsmentioning

confidence: 99%

3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience

Malik

Tissen

Vermeeren

2021

SDH

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“…This is also opening up the restoration field to the "digital humanities" new frontiers, with their opportunities and issues. Web portals, such as Europeana or Sketchfab, are taking an increasingly central role in the dissemination of these digital models obtained from surveying operations (Barrettara, 2013;Guidi et al, 2013). In this context, it is worth it to mention the AIOLI reality-based 3D annotation platform.…”

Section: Digital Replicas Of Cultural Heritage For Collaborative Studies Based On 3d Web Portalsmentioning

confidence: 99%

Integrated Methods for the Conservation and Restoration of Archaeological Sites. An Experimental Application on the “Balneum” of Piazza Dante In Catania (Italy)

Sanfilippo

Mondello

Russa

et al. 2021

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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Abstract. Archaeological sites in urban areas are often poorly integrated with the modern urban fabric and appear as “trenches” at a lower level than the road. They become neglected and unvalued places. The study of archaeological ruins in urban centres must involve archaeologists and architects to integrate restoration, enhancement and improvement of physical and visual accessibility projects. New digital technologies can improve these activities thanks to 3D models, “digital replicas” that allow even remote study (especially during a pandemic). The paper presents the case study of a private Roman-imperial bath in Catania. The open-air site is located at a depth of 3 metres above the road level and is not exploited. Our study consisted of historical-bibliographical research, direct and SfM surveys that allowed creating a high-resolution textured 3D model. We have extracted orthophotos and sections for geometric and technical-constructive analyses and recognition of decay from this model. We drew up an archaeological restoration and valorisation design. In addition, we imported the model into the Sketchfab portal. So, we enriched the mesh with information from the analyses employing specific tags about annotations, 2D drawings, historical and technical-scientific information. In this way, the model becomes an interactive document to monitor over time the conservation state, validate the restoration design and contribute to the valorisation of the site. This is an easy tool of exchange between all involved users (researchers, professions and students). Thus, the digital replica also represents a very high potential for dissemination purposes.

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“…New improvements in the field of 3D scanning has now allowed us to create 3D models of the painting surface, models that can be used to study the conservation state of the painting layer, to observe the planar surface changes that can take place after a consolidation processes, or (in the case of more accurate scanning) even to create three dimensional reproductions through new 3D printing techniques [3][4][5][6][7].…”

Section: Introductionmentioning

confidence: 99%

The implications of free 3D scanning in the conservation state assessment of old wood painted icon

Munteanu

Sandu

2016

IOP Conf. Ser.: Mater. Sci. Eng.

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Abstract. The present paper presents the conservation state and the making of a 3D model of a XVIII-th century orthodox icon on wood support, using free available software and cloud computing. In order to create the 3D model of the painting layer of the icon a number of 70 pictures were taken using a Nikon DSLR D3300, 24.2 MP in setup with a Hama Star 75 photo tripod, in loops 360° around the painting, at three different angles. The pictures were processed with Autodesk 123D Catch, which automatically finds and matches common features among all of the uploaded photographs in order to create the 3D scene, using the power and speed of cloud computing. The obtained 3D model was afterwards analyzed and processed in order to obtain a final version, which can now be use to better identify, to map and to prioritize the future conservation processes and finally can be shared online as an animation.

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3D digitizing a whole museum: A metadata centered workflow

Cited by 11 publications

References 8 publications

3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience

3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience

Integrated Methods for the Conservation and Restoration of Archaeological Sites. An Experimental Application on the “Balneum” of Piazza Dante In Catania (Italy)

The implications of free 3D scanning in the conservation state assessment of old wood painted icon

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