3D Reconstruction

Auch vor der Ägyptologie macht die digitale Revolution nicht halt.
Steigende Rechenleistungen bei fallenden Preisen ermöglichen den Forschern neue Dokumentationsmethoden, die sowohl der Untersuchung der Objekte als auch dem Kulturgutschutz in enormer Weise zuträglich sind.
Die Rede ist von der sogenannten Photogrammetrie:

Dabei wird ein Objekt von allen Seiten aus verschiedenen Winkeln unter gleichen Lichtbedingungen abgelichtet. Anhand der Überschneidungspunkte kann eine digitale dreidimensionale Rekonstruktion erfolgen. Anhand der 3D-Modelle mehrerer Objekte – von einem kleinen Amulett über eine Sphinx aus dem Sinai bis zu ganzen, mit zahlreichen Graffiti überzogenen Felswänden – sollen nicht nur die technische Herangehensweise erläutert, sondern auch die Möglichkeiten und Grenzen sowie die gewonnenen Erkenntnisse vorgestellt werden.

La  localidad  de  El  Cuervo  de  Sevilla  ha  sido  hasta hace poco relegada a un segundo plano en lo que  a  estudios  histórico-arqueológicos  se  refiere.  Sin embargo, desde su independencia del munici-pio de Lebrija en 1992, se han sucedido una serie de trabajos que ponen de relieve la importancia de la zona como cruce de caminos desde épocas anti-guas. Aun así, y motivado por una falsa sensación de cercanía, poco se ha ahondado en lo relativo a época contemporánea en el entorno más inmedia-to, por lo que existe un importante vacío tanto en estudio como en difusión para el siglo XX. A  partir  de  esta  investigación  se  generará  de  forma  gráfica  una  visual  del  urbanismo  de  El  Cuervo de Sevilla y su entorno alrededor del siglo XX.

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Në vitin 1987 gërmimet në Bylis u zgjeruan në sheshin që shtrihet mbi muret e agorasë, pas hyrjes kryesore. Tri sondazhe që u kryen në një distancë prej rreth 15 metra nga njëra tjetra ekspozuan një seri muresh paralele. Bazuar në gjetjet  në shtresat kulturore, ndërtesa u ngrit në mesin e shek. III p.Kr., paralelisht me ndërtimin e murit  të agorasë. Artikulli shqyrton sugjerime të ndryshme për funksionin që mbajti, bazuar në karakteristikat e arkitekturës.

In 1987 the excavations in Byllis were extended in the square that stretched over the agora’s terracing wall, right after the main entrance. Three surveys that were made at a distance of about 15m from each other exposed a series of parallel walls. Based on the findings of the cultural layer, the building was constructed in the middle of the 3rd century BC, parallel with the construction of the agora wall. The paper examines various suggestions for the function it delivered, based on the characteristics of the architecture.

This paper investigates the stories that unfold and are created after an excavation in 1990s in Sweden of a few Late Viking Age burials. The excavation is followed by excavation reports, articles and an exhibition that also showcases a reconstruction made of one of the buried persons. The analysis is made from three perspectives; from the archaeological, the museum and the municipality. It is demonstrated that the stories presented on different levels contain both fictional and factual components. By acknowledging this, it is argued, it is possible for everyone to become involved in the interpretations and discussions of the past. The research paper appears in an inter-disciplinary book where several researchers from different academic disciplines investigate what is fiction and what is reality in a variety of societal areas, and how the relationship between the two concepts fiction and reality is full of tensions.

In the last decade, we have witnessed a revolutionary development of digitally supported information and computer technologies that enable us to acquire highly accurate models of different aspects of the environment. Through advanced technology of three dimensional (3D) printing, it is now possible to reproduce small and large artefacts with high precision and hence reproduce objects at a user selected scale.
The article describes the case of comparison and analysis of five 3D models of the hunting tool from the Ljubljanica River found near Sinja Gorica. The 40,000 years old Palaeolithic point, was made out of yew wood. Five 3D models of the point were taken throughout ten years, two before and three after the conservation process. The comparison of the 3D models serves two purposes. The primary goal is to evaluate the changes of the artefact that occurred during this period and, accurately, to compare its shape before and after the treatment. Conservation of waterlogged wood is still a delicate and somewhat uncertain process in regards to the long-term survivability of such artefacts. The second goal is to asses which software tools are currently available for such comparison, what are technical problems that need to be addressed, and how to effectively present or visualise the sometimes small but critical changes of shape.
To educate the general public about the technology and objects used in the past, a certified copy of the object based on available 3D technology can provide a convenient and less expensive way to reach the same goal. At the same time, it is not necessary that the owner of valuable objects give up the possession of those objects which reduces the risk of their damage. Most importantly, it allows the primary object to stay in the original place which gave in the past the necessary environment for its preservation and enables further scientific study on unperturbed objects. We must rethink therefore the philosophy and ethics of conservation and implement new concepts of preservation and presentation of wooden artefacts for educational purposes, which remains the mission of any museum.

Ljubljanica river near Sinja Gorica (Vrhnika, Slovenia) keep in situ a partially researched (2008, 2012) extraordinary Roman flat bottom cargo ship from the first half of the 1st cent. AD. To the common knowledge of navigation on rivers during the Roman Empire in contrast to the most other flat-bottomed Roman ships around Europe, the ship from Sinja Gorica contributes an extraordinary, particularly interesting, solution to the strengthening of the ship's construction.

In that time it is an entirely unknown solution of the structure in the form of slender bottom timbers hidden in a cross-section groove in bottom planks and continuing through the chine-girder of the ship. Another feature of the ship is that it was almost entirely constructed of beech wood, which is rarely used at this time. The documentation that was carried out during the research is based on 3D photogrammetry with a range of 900 images.

After the publication (Erič et al., 2014), an accurate comparative and research analysis of the 3D model has performed again, to find out through the point cloud it is possible to expect information on the construction that was or could be overlooked during the fieldwork. Through the majority of filters used, we discovered on the 3D model very unexposed bottom slide on the surface of the wood that could not be detected during the fieldwork. Between two bottom timbers, 180cm (6 Roman PES) apart, we discovered a very shallow, no more than 2-3mm transverse edge of the depression in the wood at a distance of ~28cm from the timber. The area of the depression on the surface then continues ~125cm to the next timber.

From the recognised mark in the point cloud, could be concluded that the wooden surface of the bottom planks was heavily overweighted. Therefore, it can be concluded that the wooden container for the bulk cargo was the permanent equipment of the ship from Sinja Gorica. The purpose of the shipping container, therefore, be compared with some similar solutions, such as Arles Rhone 3.

The invasion of Russia by the Napoleonic Grande Armée was a complete disaster. The French army was decimated during the retreat from Russia. Thousands of victims were buried in mass graves located near several cities during the retreat. One of these mass graves was discovered in in the centre of Kaliningrad (formerly Königsberg), presently the most occidental oblast of the Russian Federation. Some skeletons revealed evidence of violence related traumatic injuries. Among them, the skeleton C2 belonged to a young male, who had suffered a serious injury to the lower face. The state of post‐traumatic remodelling indicated survival of about 2 months (between more than 6 weeks and less than 3 months).

The 3D reconstruction of the mandible and the maxilla contributed additional information about the injury, its cause, and treatment. This permitted pretraumatic reconstruction of the viscerocranium and mandible through the application of two new techniques: virtual osteotomy and virtual bone transplant from another individual and perform an approximation of the face (to recreate the soft tissues) of this unidentified soldier using anthropological facial approximation in three dimensions software. These results highlight the use of 3D methods in paleopathology and forensic anthropology to reconstruct traumatic facial injuries and the pretraumatic facial appearance.

L'archiviazione digitale, sebbene renda istantanea e infinitamente riproducibile l'informazione, è obbiettivamente più fragile di qualsiasi supporto analogico. Nessun dato oggi dimostra che i “cultural data” garantiranno la protezione dei dati nei secoli così come avvenuto per i libri, pergamene. Ma soprattutto a chi appartengono?

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Articolo della Rubrica 404 Error ideata e curata dallo Studio Glowarp basata sulla celebre frase di M. McLuhan: E' soltanto la visione critica che può mitigare il processo non ostacolato dell'automatismo.

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Structure from Motion is one of the image-based methods for 3D reconstruction. This technique coupled with
Dense Multi-View Matching can provide an accurate and dense point cloud from texture-full objects. Although
the procedure in these techniques is now fully automatic, capturing images of the object in suitable position is
difficult, especially when the object is texture-less and needs projectors to provide a pattern on the object. Even
though the images can be captured, the processing time in Dense Matching software is directly related to the
number of images. A package including hardware and software is presented in this paper for solving these
issues. Regarding the hardware, a low-cost and portable system for 3D modelling of texture-less objects is
proposed. This system includes a rotation table designed and developed by using a stepper motor and a light
circular plate. The system also has eight laser light sources with very dense and strong beams which provide a
relatively appropriate pattern on texture-less objects. Regarding the software, Imaging Network Designer (IND),
recently developed by the first author, was adjusted to be exploited by the proposed system. IND can both design
a complete imaging network and cluster and select vantages images in a dense imaging network. In this system,
regarding to the step of stepper motor, images are semi automatically taken by a digital camera. The images
were imported in Structure From Motion (SFM) procedures implemented in Agisoft Photoscan to align images
and provide a rough model. IND then used this information, to cluster and select vantage images for dense image
matching. The comparison between normal procedure and using IND in the proposed system showed the
importance of IND in reducing the elapsed time by 30 percentages. To evaluate the accuracy of the proposed
system, two dark objects were considered and the point clouds of these objects were obtained by both the
proposed system and a structured light system called GOM ATOS Compact Scan 2M laser scanner with an
accuracy of 0.02 mm. The comparison between point clouds in three different tests showed the ability of the
proposed system in delivering a 3D model for the texture-less objects with an accuracy of 0.3 mm.