Cultural Heritage 2007Eurographics 2007 - Cultural Heritagehttps://diglib.eg.org:443/handle/10.2312/2592024-03-19T12:10:11Z2024-03-19T12:10:11ZColor PagesArnold, David B.Ferko, Andrejhttps://diglib.eg.org:443/handle/10.2312/egch.20071008.057-060_colorpages2022-03-28T11:59:32Z2007-01-01T00:00:00ZColor Pages
Arnold, David B.; Ferko, Andrej
David B. Arnold and Andrej Ferko
Color Pages
2007-01-01T00:00:00ZMapping highly detailed color information on extremely dense 3D models: the case of David s restorationDellepiane, MatteoCallieri, MarcoPonchio, FedericoScopigno, Robertohttps://diglib.eg.org:443/handle/10.2312/egch.20071007.049-0562022-03-28T11:59:33Z2007-01-01T00:00:00ZMapping highly detailed color information on extremely dense 3D models: the case of David s restoration
Dellepiane, Matteo; Callieri, Marco; Ponchio, Federico; Scopigno, Roberto
David B. Arnold and Andrej Ferko
The support of advanced Information Technology (IT) to preservation, restoration and documentation of Cultural Heritage is becoming a very important goal for the research community. Michelangelo's David was one of the first applications of 3D scanning technology on a highly popular work of art. The subsequent restoration campaign, started in 2002 and concluded in 2004, was also a milestone for the adoption of modern scientific analysis procedures and IT tools in the framework of a restoration process. One of the focuses in this restoration was also methodological, i.e. to plan and adopt innovative ways to document the restoration process. In this paper we present the results of an integration of different restoration data (2D and 3D datasets) which has been concluded recently. The recent evolution of HW and SW graphics technologies gave us the possibility to interactively visualize an extremely dense 3D model which incorporates the color information provided by two professional photographic campaigns, made before and after the restoration. Moreover, we present the results concerning the mapping, in this case on the 2D media, of the reliefs produced by restorers to assess and document the status of the marble surface before the restoration took place. This result could lead to new and fascinating applications of computer graphics for preservation, restoration and documentation of Cultural Heritage.
2007-01-01T00:00:00ZTangible Heritage: Production of Astrolabes on a Laser EngraverZotti, Georghttps://diglib.eg.org:443/handle/10.2312/egch.20071006.041-0482022-03-28T11:59:32Z2007-01-01T00:00:00ZTangible Heritage: Production of Astrolabes on a Laser Engraver
Zotti, Georg
David B. Arnold and Andrej Ferko
The astrolabe, an analog computing device, used to be the iconic instrument of astronomers during the Middle Ages. It allowed a multitude of operations of practical astronomy which were otherwise cumbersome to perform in an epoch when mathematics had apparently almost been forgotten. Usually made from wood or sheet metal, a few hundred instruments, mostly from brass, survived until today and are valuable museum showpieces. This paper explains a procedural modelling approach for the construction of the classical kinds of astrolabes, which allows a wide variety of applications from plain explanatory illustrations to 3D models, and even the production of working physical astrolabes usable for public or classroom demonstrations.
2007-01-01T00:00:00ZFlatland: A Tool for Transforming Historical Sites into Archival DrawingsSrisinroongruang, RattasakSinzinger, EricHill, Glennhttps://diglib.eg.org:443/handle/10.2312/egch.20071005.033-0402022-03-28T11:59:33Z2007-01-01T00:00:00ZFlatland: A Tool for Transforming Historical Sites into Archival Drawings
Srisinroongruang, Rattasak; Sinzinger, Eric; Hill, Glenn
David B. Arnold and Andrej Ferko
Detailed documentation of historical sites is important for archaeological discovery and cultural preservation. The traditional method of documentation is to hand sketch 2D drawings of the region. Laser range finders can be used to produce highly accurate geometric representations of the historical sites, and high resolution images provide vital detail. However, archaeologists are both used to and prefer a flat, two dimensional archival drawing of the region. Flatland provides the missing link for archaeologists between three dimensional representations and archival drawings. There are two critical pieces of Flatland texture mapping and geometric transformation. The texture map acquisition phase aligns the world geometry with the high resolution images. Many historical sites contain rocky, uneven terrain and structures that do not contain distinguishing features that would allow for automated methods of correspondence selection. Instead, manually selected correspondences between the point cloud and the high resolution image are used to compute the texture map. If the selected region is nonplanar, then a camera projection matrix is computed to determine the texture map for the point cloud. However, when the selected region is planar, the camera projection matrix can not be computed, and instead a homography is used to determine the texture map. The geometric transformation phase allows the archaeologists to essentially unfold both square and cylindrical surfaces to representations with a single dominant plane. A square room can be unfolded into four panels where geometric distance is preserved within each panel. An elliptical surface is unrolled about a flat rectangle with the height of the elliptical surface and the width equivalent to the circumference of the surface. The use of Flatland is demonstrated on scans from the Mesa Verde National Park.
2007-01-01T00:00:00Z