Photogrammetry: From Field Recording To Museum Presentation (Timiryazevo Burial Site, Western Siberia)

Zaitceva, Olga V.; Vavulin, Mikhail V.; Pushkarev, Andrey A.; Vodyasov, Evgeny V.

doi:10.5281/zenodo.204982

Cited by 3 publications

(2 citation statements)

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“…Photogrammetry is a prominent technique for reconstructing objects of cultural importance [42][43][44]. It involves creating the geometry of a 3D model based on images.…”

Section: Photogrammetrymentioning

confidence: 99%

The Methodology of Virtualizing Sculptures and Drawings: A Case Study of the Virtual Depot of the Gallery of Matica Srpska

Obradović,

Mišić,

Vasiljević

et al. 2023

Electronics

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The aim of this paper is to introduce the public to the virtual depot of the Gallery of Matica Srpska (GMS), which showcases a collection of sculptures that have been digitized using a Structure-from-Motion photogrammetry and presented by the use of virtual reality and paintings, and drawings were presented through a digital flipbook application. Through the application of cutting-edge methods, highly precise digital replicas of these significant cultural artifacts have been created with details that are difficult to see without a magnifying glass when observing the physical artifact. Additionally, it explores the profound significance and advantages of the virtual depot, such as facilitating remote access, augmenting preservation endeavors, and fostering interdisciplinary collaborations, academic research, educational purposes, and public engagement. The implementation of the virtual depot offers a novel approach to showcasing and studying cultural heritage, opening up new possibilities for the exploration and appreciation of these artifacts in a digital environment. Today, the collection of the GMS encompasses more than 10,000 art objects, which means that one visitor would need about 53 years to access each individual artifact. Virtual depot enables each visitor to do this much faster, but more importantly, in any occasion and setting that they find suitable.

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“…Photogrammetry is a prominent technique for reconstructing objects of cultural importance [42][43][44]. It involves creating the geometry of a 3D model based on images.…”

Section: Photogrammetrymentioning

confidence: 99%

The Methodology of Virtualizing Sculptures and Drawings: A Case Study of the Virtual Depot of the Gallery of Matica Srpska

Obradović,

Mišić,

Vasiljević

et al. 2023

Electronics

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“…In the last decades, the role of 3D techniques in the field of archaeological heritage has assumed, on the one hand, an increasingly importance for the web diffusion of cultural contents, public outreach and education [1][2][3][4], also thanks to different mediums of visualization [5] that improves the spread of Cultural Heritage artefacts [6]. On the other hand, 3D technologies have a key role in documenting and supporting archaeologists who deal with continuous work of restoration and their associated studies, generating 3D models for archival purposes, for conservation records [7][8][9], for 3D visualization [10][11][12][13][14] and reconstructive interpretation of lost artefacts [15][16][17][18][19][20][21]. In [22], Lai et al stressed the importance to use 3D technologies as a tool to improve archaeological research and to increase the production of information from archaeological data to 4D analysis and interpretation.…”

Section: Introductionmentioning

confidence: 99%

Systematic integration of 2D and 3D sources for the virtual reconstruction of lost heritage artefacts: the equestrian monument of Francesco III d’Este (1774–1796, Modena, Italy)

Gherardini

Sirocchi

2022

Herit Sci

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The role of 3D virtual reconstruction of lost heritage artefacts is acquiring ever-greater importance, as a support for archaeological research and art history studies, as well as a vehicle for the cultural and evocative involvement of the end-user. The main risk of virtual reconstruction is the lack of a faithful restitution but, conversely, very often the artefact conservation state does not allow a complete 3D reconstruction. Therefore, 2D sources, both textual and iconographic, represent a precious integration and completion of the existing 3D sources. This paper proposes an operating systematic workflow to integrate retrieved 2D and 3D sources and assess their compatibility for the virtual reconstruction of lost heritage artefacts using and integrating 3D survey and digital modelling. As a case study, we virtually reconstructed the lost equestrian monument of Duke Francesco III d'Este, 7 m high, built in 1774 in Modena, Italy, by the sculptor Giovanni Antonio Cybei and completely destroyed a little over 20 years later during the revolutionary uprisings. Following the proposed workflow, we integrate data coming from: a still preserved preparatory stucco model, paintings and engravings showing the missing details of the 3D model, a series of urban views returning the proportion and positioning of the monument (statue, pedestal and base), a fragment of the right foot providing the statue size and the appearance of the original white Carrara marble. The final 3D digital model shows a faithful correspondence to the 2D sources and guarantees an effective user’s fruition thanks to dedicated virtual applications. Besides the scientific and cultural goal, we highlight the evocative role of this work, which has contributed to the restitution of a monument that is unknown to most citizens and visitors.

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3D Digital Heritage Models as Sustainable Scholarly Resources

Champion

Rahaman

2019

Sustainability

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If virtual heritage is the application of virtual reality to cultural heritage, then one might assume that virtual heritage (and 3D digital heritage in general) successfully communicates the need to preserve the cultural significance of physical artefacts and intangible heritage. However, digital heritage models are seldom seen outside of conference presentations, one-off museum exhibitions, or digital reconstructions used in films and television programs. To understand why, we surveyed 1483 digital heritage papers published in 14 recent proceedings. Only 264 explicitly mentioned 3D models and related assets; 19 contained links, but none of these links worked. This is clearly not sustainable, neither for scholarly activity nor as a way to engage the public in heritage preservation. To encourage more sustainable research practices, 3D models must be actively promoted as scholarly resources. In this paper, we also recommend ways researchers could better sustain these 3D models and assets both as digital cultural artefacts and as tools to help the public explore the vital but often overlooked relationship between built heritage and the natural world.

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Photogrammetry: From Field Recording To Museum Presentation (Timiryazevo Burial Site, Western Siberia)

Cited by 3 publications

References 0 publications

The Methodology of Virtualizing Sculptures and Drawings: A Case Study of the Virtual Depot of the Gallery of Matica Srpska

The Methodology of Virtualizing Sculptures and Drawings: A Case Study of the Virtual Depot of the Gallery of Matica Srpska

Systematic integration of 2D and 3D sources for the virtual reconstruction of lost heritage artefacts: the equestrian monument of Francesco III d’Este (1774–1796, Modena, Italy)

3D Digital Heritage Models as Sustainable Scholarly Resources

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