disegnare con... MAURIZIO FORTE

Maurizio Forte è ricercatore italiano di fama internazionale. Attualmente è distinguished Professor of Classical Studies Art, Art History, and Visual Studies e direttore del Dig@Lab alla Duke University negli Stati Uniti. Impossibile sintetizzare il suo esteso curriculum ma tra i suoi ruoli si vuole ricordare che è stato professore di World Heritage all’Università della California (Merced) e primo ricercatore presso l’Istituto per le Tecnologie Applicate al Patrimonio Culturale del CNR, presso il laboratorio di Virtual Heritage in cui molti giovani ricercatori si sono formati. Maurizio Forte ha coordinato ricerche archeologiche sul campo e progetti di ricerca in Italia, Etiopia, Egitto, Siria, Kazakistan, Perù, Cina, Oman, India, Honduras, Turchia, USA e Messico. Si è distinto nell’ambito del panorama disciplinare contemporaneo per il fondamentale contributo fornito alla dimensione teorica e metodologica dell’archeologia digitale e in particolare della Cyber Archaeology di cui parleremo in seguito. Tra i primi a comprendere e sfruttare i vantaggi della realtà virtuale, delle simulazioni in archeologia e l’importanza delle relazioni tra uomo ed ecosistema virtuale, è autore di oltre 200 articoli scientifici alcuni dei quali hanno contribuito a consolidare le basi di questo settore disciplinare e tracciare nuove strade non ancora percorse. Alcuni contributi che si possono considerare punti di riferimento sono Virtual Archaeology (1996), Virtual Reality in Archaeology (2000), From Space to Place (2006), Cyber Archaeology (2012), Digital Methods and Remote Sensing in Archaeology (co-editor Stefano Campana, 2017); da ultimo Digital Cities (co-editor Helena Murteira, 2020). Questa intervista ci dà l’opportunità di interrogarci, con uno dei pionieri della disciplina, su cosa sia cambiato nell’ambito del patrimonio culturale, con particolare attenzione ai modelli ricostruttivi del passato, grazie o a causa della recente rivoluzione tecnologica e soprattutto su che cosa cambierà per l’umanista digitale del terzo millennio.DOI: https://doi.org/10.20365/disegnarecon.27.2021.dw</p

Virtual reconstruction and restoration. Comparing methodologies, practices, and experiences

The digital technologies currently in use for the virtual representation of archaeological sites, and architectural artefacts offer researchers and scholars a wider range of possibilities than a few decades ago. The rapid evolution of ICT applied to the Cultural Heritage field has greatly advantaged the archaeological interpretation’s process; the latter, thanks to the development of three-dimensional acquisition, analysis, and visualization methodologies, is now able to extract previously unthinkable information, and to advance reconstructive hypotheses for landscapes, sites and artefacts; moreover, the scientific processes that underlie such works can now become more evident. Especially in the architectural field, ICTs have made clear the interpretation’s process integrating data resulting by the field survey with those relating to the state of surface’s degradation, finally making them readable directly on the virtual models, thanks to accurate ontologies. This has made it possible to create virtual restoration simulations or, when possible, three-dimensional reconstructions based on analytical readings obtained by crossing the documentary sources with the material traces that can be read directly on the artefacts. Over the years, methodologies and operational practices have been developed in the various fields of Archaeology, Architecture, and Restoration relying on both the theoretical basis of the respective disciplines and on scientific principles borrowed from philology and physical restoration. On an international level, numerous research groups have developed approaches focused on scenarios that are very different from one to another; for example the reconstructions of a landscape, at urban or architectural scale, starting from very different scientific and cultural backgrounds.DOI: https://doi.org/10.20365/disegnarecon.27.2021.ed</p

Il contributo dell’archeologia digitale allo studio e all’interpretazione dell’edilizia storica. Il caso di San Marino

The archaeology of standing buildings and archaeological survey are the essential prerequisite to properly investigate and interpret the evolution of historical buildings. Technological advances in recent years have led to an improvement in the methodologies and tools for three-dimensional survey and data analysis. However, so far, many of these tools and methods are not fully integrated in the archaeological practice, and their potential is only partially exploited. In some cases, technology becomes the goal and not the tool to answer research questions. Often, its implementation is only limited to documentation, while the analytical contribution is ignored. The article illustrates a method already well established in the research activities of the DHiLab laboratory of the CNR ISPC, which makes use of three-dimensional survey and visualization techniques as support tools for the analysis and interpretation of the medieval fortification of San Marino, including the three Towers and the city walls. The aim is to solve interpretative issues and answer complex research questions in order to better document and analyse the urban context and to reconstruct its architectural evolution in the late medieval and post-medieval periods

The Virtual Museum of the Tiber Valley Project

[EN] The aim of the Virtual Museum of the Tiber Valley project is the creation of an integrated digital system for the knowledge, valorisation and communication of the cultural landscape, archaeological and naturalistic sites along the Tiber Valley, in the Sabina area between Monte Soratte and the ancient city of Lucus Feroniae (Capena). Virtual reality applications, multimedia contents, together with a web site, are under construction and they will be accessed inside the museums of the territory and in a central museum in Rome. The different stages of work will cover the building of a geo-spatial archaeological database, the reconstruction of the ancient potential landscape and the creation of virtual models of the major archaeological sites. This paper will focus on the methodologies used and on present and future results.[ES] El objetivo del proyecto del Museo Virtual del Valle del Tiber es la creación de un sistema digital integrado para el conocimiento, la valorización y la comunicación del paisaje cultural, arqueológico y natural a lo largo del valle del Tíber, en la zona Sabina entre Monte Soratte y la antigua ciudad de Lucus Feroniae (Capena). Actualmente están en proceso de construcción varias aplicaciones de realidad virtual, contenidos multimedia, junto con un sitio web, a los que se tendrá acceso en diversos museos de la zona así como en un museo central ubicado en Roma. Las diferentes fases de trabajo se centrarán en la construcción de una base de datos arqueológicos geo-espacial, en la reconstrucción del paisaje antiguo y en la creación de los modelos virtuales de los sitios arqueológicos más importantes. Este documento se centra en la metodología utilizada, desgranado los resultados presentes y futuros esperados.Arnoldus Huyzendveld, A.; Di Ioia, M.; Ferdani, D.; Palombini, A.; Sanna, V.; Zanni, S.; Pietroni, E. (2012). The Virtual Museum of the Tiber Valley Project. Virtual Archaeology Review. 3(7):97-101. https://doi.org/10.4995/var.2012.4396OJS9710137ADAM, J.P. (1988): L'arte di costruire presso i romani, Longanesi, Milano.CAMBI, F. (2004): "Le campagne di Falerii e di Capena dopo la romanizzazione", in Bridging the Tiber, London, pp. 75-102.COARELLI, F. (2009): "La romanizzazione della Sabina", in F. Coarelli et alii, "Falacrinae. Le origini di Vespasiano", Roma, pp. 11-17.DI GIUSEPPE, H. (2005): "Villae, villulae e fattorie nella Media Valle del Tevere, in Roman Villas around the Urbs: interaction with landscape and environment", in the Proceedings of a conference held at the Swedish Institute in Rome (September, 17-18, 2004), Roma.GROS, P. & TORELLI, M. (2007): Storia dell'urbanistica. Il mondo romano, Laterza, Roma.MORACHIELLO, P. & FONTANA, V. (2009): L'architettura del mondo romano, Laterza, Roma.PAROTTO, M. (2008): "Evoluzione paleogeografica dell'area romana: una breve sintesi", in Funiciello R., Praturlon A. & Giordano G. (ed) La Geologia di Roma dal centro storico alla periferia. Memorie Descrittive della Carta Geologica d'Italia, LXXX, pp. 25-39.SANTORO, P. (2006): "L'Etruria e i Sabini del Tevere: influenze culturali e commerciali", in Archeologia in Etruria meridionale, atti delle giornate di studio in ricordo di Mario Moretti (Civita Castellana, 14-15 novembre 2003), Roma, pp. 49-64.STERNINI, M. (2004): La Romanizzazione della Sabina Tiberina, Bari.TARQUINI, S., ISOLA, I., FAVALLI, M., MAZZARINI, F., BISSON, M., PARESCHI, M.T., BOSCHI, E. (2007): "TINITALY/01: a new Triangular Irregular Network of Italy", in Annals of Geophysics, nº 50, pp. 407-425.TARQUINI, S., VINCI, S., FAVALLI, M., DOUMAZ, F., FORNACIAI, A., NANNIPIERI, L. (2012): "Release of a 10-m-resolution DEM for the Italian territory: Comparison with global-coverage DEMs and anaglyph-mode exploration via the web", in Computers & Geosciences 38, 168-170. doi: doi:10.1016/j.cageo.2011.04.018. http://dx.doi.org/10.1016/j.cageo.2011.04.018VITRUVIO, De Architectura

Analysis of Visualisation and Interaction Tools Authors

This document provides an in-depth analysis of visualization and interaction tools employed in the context of Virtual Museum. This analysis is required to identify and design the tools and the different components that will be part of the Common Implementation Framework (CIF). The CIF will be the base of the web-based services and tools to support the development of Virtual Museums with particular attention to online Virtual Museum.The main goal is to provide to the stakeholders and developers an useful platform to support and help them in the development of their projects, despite the nature of the project itself. The design of the Common Implementation Framework (CIF) is based on an analysis of the typical workflow ofthe V-MUST partners and their perceived limitations of current technologies. This document is based also on the results of the V-MUST technical questionnaire (presented in the Deliverable 4.1). Based on these two source of information, we have selected some important tools (mainly visualization tools) and services and we elaborate some first guidelines and ideas for the design and development of the CIF, that shall provide a technological foundation for the V-MUST Platform, together with the V-MUST repository/repositories and the additional services defined in the WP4. Two state of the art reports, one about user interface design and another one about visualization technologies have been also provided in this document

Implementation of guidelines and best practices for technology-aided narratives via prototypes

This deliverable contains the guidelines and best practices for the digital acquisition campaign and 3d model optimisation finalised for web3d implementation. It specifically includes a reproducible workflow for creating digital twins in the cultural heritage domain. It addresses how to create reproducible workflows for the 3D acquisition and digitisation of cultural heritage objects to ensure sustainability and reusability across various institutions. By addressing two main research questions, the paper proposes a workflow that involves the systematic acquisition, processing, and digitisation of cultural heritage artefacts. In particular, the workflow focuses on developing digital twins for cultural heritage settings and exhibitions and proposes baseline standards for both technical and interpretative aspects of digitisation. The workflow has been derived and tested on the pilot case of the temporary exhibition Other Renaissance: Ulisse Aldrovandi and the Wonders of the World in the context of the CHANGES project. We reflect on the software and hardware equipment, the procedures and techniques to use, and the formats to adopt to comply with openness, accessibility, transparency, reproducibility, reusability and sustainability of the research workflow by backing on previous works on fostering reproducibility in research and improving the interoperability of 3D data across different systems. It highlights the necessity for transparent documentation of every step of the process, focusing on accountability and practices in the context of cultural heritage research. Finally, the deliverable also suggests improvements to enhance the sustainability of these workflows and discusses future directions for digitisation efforts and sharing research practices. Part of the content of this deliverable has been submitted for consideration in the DARIAH Transformations journal, and can be cited as: Sebastian, B., Bordignon, A., Collina, F., Fabbri, F., Fanini, B., Ferdani, D., Gualandi, B., Heibi, I., Mariniello, N., Massari, A., Massidda, M., Moretti, A., Peroni, S., Pescarin, S., Rega, M. F., Renda, G., &amp; Sullini, M. (2024). A reproducible workflow for the creation of digital twins in the cultural heritage domain. Zenodo. https://doi.org/10.5281/zenodo.1417083

Saving temporary exhibitions in virtual environments: The Digital Renaissance of Ulisse Aldrovandi – Acquisition and digitisation of cultural heritage objects

As per the objectives of Project CHANGES, particularly its thematic sub-project on the use of virtual technologies for museums and art collections, our goal was to obtain a digital twin of the temporary exhibition on Ulisse Aldrovandi called “The Other Renaissance”, and make it accessible to users online. After a preliminary study of the exhibition, focusing on acquisition constraints and related solutions, we proceeded with the digital twin creation by acquiring, processing, modelling, optimising, exporting, and metadating the exhibition. We made hybrid use of two acquisition techniques to create new digital cultural heritage objects and environments, and we used open technologies, formats, and protocols to make available the final digital product. Here, we describe the process of collecting and curating bibliographical exhibition (meta) data and the beginning of the digital twin creation to foster its findability, accessibility, interoperability, and reusability. The creation of the digital twin is currently ongoing