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The Venetian galea (galley), dominating the Mediterranean Sea for almost 1000 years, is one of the most emblematic and fascinating objects in the history and culture of the Serenissima Republic of San Marco, the official name of ancient Venice. This boat has changed according to the needs and developments that have taken place over the centuries, proving versatile and powerful in military and commercial use.Unfortunately, no complete specimen has been received, and everything that can be known about galleys derives from paintings made in different eras, in models and in some original parts, kept inside the Naval Historical Museum of Venice.Another source are some manuscripts, where part of the traditional shipbuilding knowledge is handed down. To understand a galley it is necessary to understand which techniques were used by the proti (directors of the ancient shipyard) which differ substantially from the current design.These techniques were the synthesis of knowledge handed down from person to person and which did not make use of design drawings such as are used today. To obtain the reconstruction of a galley, lacking complete original drawings, we collected and analyzed different documentation that testified the ancient forms.The presented work aims to reconstruct a digital model of a galea starting from the photogrammetric and laser scanning survey of a wooden model of the hull of half of a 25-bench galley of the mid-seventeenth century. The surveyed maquette and brought back to the real scale was integrated by some artifacts present at the Naval History Museum of Venice, surveyed with photogrammetric techniques and laser scanning too.In this way a hypothetical configuration was reconstructed (by synthesis of collected and historical data) which shows the shape that this boat could reasonably have had. The result is a digital model, then printed to the scale, obtained by three-dimensional modeling starting from the point clouds of the maquette and the original artifacts. This final model has been compared with all the iconographic and documentary sources for its historical validation.The results obtained were used for a set-up aimed at enhancing the museum, because it was intended for a large audience.

[EN] Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15th century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18th -19th centuries inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses., [ES] ¿Podemos preservar el patrimonio cultural y, por consiguiente, la memoria del pasado? Para responder a esta pregunta, es necesario examinar la revolución digital que ha experimentado el mundo en las últimas décadas y analizar la compleja relación dialéctica entre el patrimonio cultural y las nuevas tecnologías. Gracias a estas, son posibles reconstrucciones precisas de los sitios arqueológicos y de los monumentos históricos. Las réplicas digitales son fundamentales para experimentar el patrimonio cultural de forma innovadora; de ellas destaca también que juegan un papel importante en la comprensión del patrimonio cultural, y que poseen complejas y dinámicas relaciones con los objetos originales. Este artículo de investigación destaca la importancia y la validez científica de las réplicas digitales destinadas a comprender, mejorar y proteger el patrimonio cultural. El estudio se centró en la reconstrucción virtual de las fases constructivas, desde mediados del siglo XV hasta la actualidad, de uno de los edificios gótico-renacentistas más emblemáticos de la ciudad de Milán (Italia): el convento de Santa María de las Gracias, famoso en todo el mundo por ser la sede de la pintura mural de la Última Cena de Leonardo da Vinci. Este sitio demostró ser un caso de estudio ideal debido a su problemática y poco conocida historia que llevó a numerosos cambios a lo largo de los siglos. Gracias a un enfoque metodológico basado en el análisis de las fuentes documentales y en la modelización tridimensional (3D), fue posible esbozar la sucesión cronológica de las transformaciones; se trabajó desde las intervenciones armoniosas y orgánicas del renacimiento, hasta alcanzar las adiciones desiguales e incompatibles de los siglos XVIII y XIX. Por último, la investigación se completó con el mapeado de los modelos 3D sobre la base de las fuentes utilizadas y sus diferentes niveles de precisión. Los modelos 3D se han convertido así en un instrumento válido para comprobar y verificar las hipótesis reconstructivas.

In the last decades, the awareness of what cultural heritage is, as well as its definition, has changed and broaden its horizon. Important international institutions such as ICOMOS and UNESCO, which represent the reference points for documentation and protection, have revised the definition of cultural heritage to include not only the elements of historical-artistic relevance and the testimonies of a civilization but also the environment around them. In other words, the meaning of cultural heritage has been extended to the concept of cultural landscape. This article tries to meet this last definition of cultural heritage: through an extensive 3D survey of the ancient city of Sarmizegetusa (National Historical Monument), it presents a new perspective for the documentation and representation of cultural landscape that includes not only the structures of the city but also the areas that have not been excavated yet, and the surrounding natural environment. The term “digital replica” is presented to define this new perspective. The article deals in detail with the whole digitization process and the tools used to obtain a digital replica of a Roman city deepening the integration between photogrammetry and computer graphics. The detailed description is intended to make the workflow reproducible by the scientific community. Besides, as a final remark, experimented optimization procedures and navigation tools designed to manage and explore large three-dimensional datasets will be illustrated.

The paper is focused on research activities on documentation, analysis and representation of Modernist Heritage in Latin America. The research is part of a broad project developed by the Department of Architecture of the University of Ferrara following the main aim of documentation for knowledge, enhancement and preservation of cultural heritage. In addition to several on site projects developed in cooperation with local institutions, mainly in Brazil, and based on historical analysis, documentation, survey, modelling and diagnostic assessment, the research has then opened up to an in-depth study of Modernist architecture. The field of investigation has been extended to Latin America, through the analysis of the main architectures of the iconic figures of Modernism, in order to collect a database of models as support for different research avenues. The methodological process is based on the “survey of the project”, an analysis of documentation as the starting point for the representation in BIM environment from which to extract conventional representations and different levels of interpretation.

Carleton Immersive Media Studio (Carleton University);GEOMAX Srl;Microgeo Srl;STONEX Srl, 2nd International Conference of Geomatics and Restoration, GEORES 2019 -- 8 May 2019 through 10 May 2019 -- 147691, The photogrammetry enables to getting high accuracy measurement with low-cost and easy application in documentation of historical structures. The object details are signified with lines in cultural heritage documentation by photogrammetry. The combination of all the lines create 3D wireframe model of the measurement object. In addition, patch surfaces of the wireframe are mapped with the texture from the images for more realistic visualization. On the other hand, the progress on computer vision and image processing techniques is allowing automatically perform the photogrammetric process. A large number of points that are called dense point cloud can be measured from coverage area of multi view images. The dense point cloud represents the object shape with small space measured points while the wireframe photogrammetry is representing the object with lines. In this study these two photogrammetric methods were evaluated with respect to visualization, cost, labour and measurement time through 3D modelling of historical structures of Sultan Selim Mosque and Yusuf Aga Library. © 2019 Authors.

This paper presents the most recent developments in a project aimed to the documentation, storage and dissemination of the cultural heritage. The subject of the project are more than 70 Baroque atria in Turin, recognized by critics for their particular unitary vaulted systems Our research team is currently working on digitizing documents and studying ways to enhance and share these results through ICT. In particular, we want to explore possibilities for recognizing and tracing three-dimensional objects in augmented reality (AR) applications connected to the collected data. Recent developments in this field relate to the technology available on widespread mobile devices such as tablets and smartphones, allowing for real-time 3D scanning. Using software prototypes, we want to introduce some problems involved in integrating this technology into digital archives.

The Building Information Modeling (BIM) in the Architectural Heritage field is constantly proving to be a fertile ground for the experimentation of innovative systems for the enhancement and management of cultural heritage. Regarding to the management of the entire process, the building field is increasing in efficiency from the construction to the management phase; conversely, the approach to historical buildings opens up interesting and heterogeneous scenarios, according to different levels of complexity. The presented work is the result of a collaboration between the Politecnico di Torino and the Escuela Técnica Superior de Arquitectura of Granada: the main scope was to create an historic building information model (H-BIM) of the building that today hosts the Faculty of Architecture (ETSAG), taking into account its historical past from the sixteenth century up to the present day, as the result of many modifications, extensions and different use classifications over time. According to this, the BIM methodology can be considered as a bridge between the archive documentation and the digital model, proving to be an effective tool as a data repository, semantically oriented, not only constituted by geometry, but also by alpha-numerical attributes, improving in effectiveness if it is directly related to formal language object oriented.

The paper analyses the procedure to create a 3D model of a neogothic family chapel situated in Castellón de la Plana (Spain). The characteristics of the case study make it an emblematic case of Building Information Modeling (BIM) applied to Cultural Heritage (Historic BIM). The paper explores the workflow used to create the model and how the difficulties encountered have been addressed. The key motivations for this research project are: (i) local authority needs and objectives (restoration works for the conservation of architecture; necessity to monitor the asset after restoration); (ii) the intrinsic peculiarities of the small building (vast diversity of materials, richness and diversity of decorative elements); (iii) the creation of a pilot project for future applications in similar architectures. The chosen workflow tries to tackle the principal issues shared by the academic world with respect to 3D and HBIM models, e.g. the difficulty in reconstructing complex architectures without time-consuming processes, the reliability and high detail in the rendering of colours and textures, the insertion of detailed information for each element. The experiments carried out have made this case study interesting because of its complexity despite its reduced dimensions.

Rebuilding the past of cultural heritage through digitization, archiving and visualization by means of digital technology is becoming an emerging issue to ensure the transmission of physical and digital documentation to future generations as evidence of culture, but also to enable present generation to enlarge, facilitate and cross relate data and information in new ways. In this global effort, the digital 3D documentation of no longer existing cultural heritage can be essential for the understanding of past events and nowadays, various digital techniques and tools are developing for multiple purposes.In the present research the entire workflow, starting from archive documentation collection and digitization to the 3D models metrically controlled creation and online sharing, is considered. The technical issues to obtain a detail 3D model are examined stressing limits and potentiality of 3D reconstruction of disappeared heritage and its visualization exploiting three complexes belonging to 1911 Turin World’s Fair.

International audience; The Bronze Age cave “Les Fraux” at Saint-Martin-de-Fressengeas (Dordogne, France) has been discovered in 1989. This site made of a network of galleries of several hundred meters, is a field of investigation for several researchers. This paper will focus on three dimensional contact free measurement techniques for a full 3D-documentation of the structural elements of the cave with some focus on cave art details. In this cave, most of the art is etched in the clay and follows linear, schematic and geometric designs. There are indeed several manmade depictions on the walls and other valuable remains of activity all around the cave. For the archaeologists, the documentation and recording started in 2008 should: - contribute to the accurate indexing of the surveys and images of the remains and collections as well as structural elements and sculptures; - guarantee the indexing compatibility of the data between the different groups of researchers involved in the excavation; - ensure the georeferencing of any type of object in the different parts of the cave. Different techniques based on Terrestrial Laser Scanning (FARO Photon 80), Digital Photogrammetry (CANON EOS 5D images) and Spatial Imaging System (Trimble VX) have been used. The aim of the documentation work is to generate a geometric and photorealistic 3D model from the combination of point clouds and photogrammetric images, for both visualization and accurate documentation purposes. The underground tunnels of the cave are linked to the above terrain with surveying techniques for an accurate georeferencing. The workflow from the raw data to the final PDF-3D model will be discussed. Emphasis will also be given to the deliverables, since the huge amount of data is not directly usable by the archaeologists.

[EN] Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15th century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18th -19th centuries inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses. [ES] ¿Podemos preservar el patrimonio cultural y, por consiguiente, la memoria del pasado? Para responder a esta pregunta, es necesario examinar la revolución digital que ha experimentado el mundo en las últimas décadas y analizar la compleja relación dialéctica entre el patrimonio cultural y las nuevas tecnologías. Gracias a estas, son posibles reconstrucciones precisas de los sitios arqueológicos y de los monumentos históricos. Las réplicas digitales son fundamentales para experimentar el patrimonio cultural de forma innovadora; de ellas destaca también que juegan un papel importante en la comprensión del patrimonio cultural, y que poseen complejas y dinámicas relaciones con los objetos originales. Este artículo de investigación destaca la importancia y la validez científica de las réplicas digitales destinadas a comprender, mejorar y proteger el patrimonio cultural. El estudio se centró en la reconstrucción virtual de las fases constructivas, desde mediados del siglo XV hasta la actualidad, de uno de los edificios gótico-renacentistas más emblemáticos de la ciudad de Milán (Italia): el convento de Santa María de las Gracias, famoso en todo el mundo por ser la sede de la pintura mural de la Última Cena de Leonardo da Vinci. Este sitio demostró ser un caso de estudio ideal debido a su problemática y poco conocida historia que llevó a numerosos cambios a lo largo de los siglos. Gracias a un enfoque metodológico basado en el análisis de las fuentes documentales y en la modelización tridimensional (3D), fue posible esbozar la sucesión cronológica de las transformaciones; se trabajó desde las intervenciones armoniosas y orgánicas del renacimiento, hasta alcanzar las adiciones desiguales e incompatibles de los siglos XVIII y XIX. Por último, la investigación se completó con el mapeado de los modelos 3D sobre la base de las fuentes utilizadas y sus diferentes niveles de precisión. Los modelos 3D se han convertido así en un instrumento válido para comprobar y verificar las hipótesis reconstructivas.

The work presented here focuses on the analysis of the potential of spherical images acquired with specific cameras for documentation and three-dimensional reconstruction of Cultural Heritage. Nowadays, thanks to the introduction of cameras able to generate panoramic images automatically, without the requirement of a stitching software to join together different photos, spherical images allow the documentation of spaces in an extremely fast and efficient way. In this particular case, the Nikon Key Mission 360 spherical camera was tested on the Tolentini’s cloister, which used to be part of the convent of the close church and now location of the Iuav University of Venice. The aim of the research is based on testing the acquisition of spherical images with the KM360 and comparing the obtained photogrammetric models with data acquired from a laser scanning survey in order to test the metric accuracy and the level of detail achievable with this particular camera. This work is part of a wider research project that the Photogrammetry Laboratory of the Iuav University of Venice has been dealing with in the last few months; the final aim of this research project will be not only the comparison between 3D models obtained from spherical images and laser scanning survey’s techniques, but also the examination of their reliability and accuracy with respect to the previous methods of generating spherical panoramas. At the end of the research work, we would like to obtain an operational procedure for spherical cameras applied to metric survey and documentation of Cultural Heritage.

WOS: 000444747700002, Cultural assets constitute the bridge between our past and future in the geography we live. Protecting the artifacts that survived until today and bear the experiences of history and, more importantly, passing these down to future generations are of great importance for our country. Protecting and sustaining cultural assets are duties of mankind for the sake of ownership of universal values. Therefore, documenting all cultural assets in the geography we live in is a necessity. To this end, documentation practices for cultural assets bear great significance in terms of both historical development and contributing to the world cultural heritage. This article discusses the 3D photogrammetric modelling of Hasbey Dar'ulhuffaz (madrasa for training hafiz) from the Karamanids era, which is located in Ayine Street, Mucellit Neighborhood, Meram District in Konya Province. Within this scope, firstly, four control points that cover the aforementioned cultural asset were established in the study. The coordinates for these points were determined with a Topcon FC-250 GPS. Then, photographs of the cultural asset were captured with Nikon D90 camera and aerial photographs were taken with DJI Phantom 4 unmanned aerial vehicle. DJI Go 4 and Pix4Dcapture mobile applications were used to capture photographs using the unmanned aerial vehicle. All data obtained were evaluated via Agisoft PhotoScan and Netcad software, and a 3D model of the artifact was acquired. Documentation of the 3D models for artifacts in question contribute greatly to the world cultural heritage. At the same time, the 3D model obtained constitutes a substantial and accurate resource to pass down the artifacts to future generations. The most important point is to provide an opportunity for a faithful restoration in case of any potential damage to this historical artifact from physical intervention and natural disasters. It is foreseen that this model will also offer solutions to the problems of many professional disciplines today.

[EN] The research presented here puts together different direct and/or physical operations all aimed to enhance the knowledge and produce advanced dissemination of the very last ship from the “Mosquitos’ Fleet” which operated during the World War I and in some operations even during the World War II. The exploration of the valuable remains along the Thames River in London, the intervention with archaeology strategy, the use of digital survey procedures, the investigation of the references about the fleet, the digital modelling and drawing and the final online sharing of the 3D model, brought together to a specific digital heritage creation of an element with a high risk of getting lost. An international team worked together on the poor shipwreck of the Eothen (the last name assigned to this ship by its last owner). The intervention was operated in very odd operative conditions, with the hull invaded by the mud, the very wet environment and the daily flood of the area, such a mix of difficult conditions were a special challenge for the survey operations, which were optimized and accurately planned to allow the best and efficient result in terms of coverage and level of details. The following post-processing aimed to the production of a classic set of 2D drawings and an interactive 3D model, accessible in a real-time visualization from the sketchfab.com platform creates an excellent base for a possible following restoration/musealisation intervention, or, at least, allow digital preservation of a rich dataset of the remains of this interesting piece from the naval history of the first half of the 20th century., [ES] La investigación que aquí se muestra reúne diferentes operaciones directas y/o físicas, todas orientadas a mejorar el conocimiento y producir una puesta en valor del último barco de la “Flota de Mosquitos” que operó durante la Primera Guerra Mundial y en algunas operaciones incluso durante la Segunda Guerra Mundial. Presentamos la exploración de los valiosos restos a lo largo del río Támesis en Londres, la intervención con estrategia arqueológica, el uso de procedimientos de levantamiento digital, la investigación de las referencias sobre la embarcación, el modelado y dibujo digital, y el intercambio final en línea del modelo 3D, reunidos en una aportación de patrimonio digital específico de un elemento con alto riesgo de perderse. Un equipo internacional , trabajaron juntos en el naufragio del Eothen (nombre asignado a este barco por su último propietario). La toma de datos se realizó en condiciones operativas muy complejas, con el casco invadido por el limo del rio, el entorno muy húmedo y la inundación diaria de la zona; esta mezcla de condiciones difíciles fueron un desafío especial para llevar a cabo las operaciones de levantamiento, las cuales fueron optimizadas con el objetivo de obtener el mejor y más eficiente resultado en términos de cobertura y nivel de detalle. El siguiente posprocesamiento estuvo dirigido a la obtención de un conjunto clásico de dibujos 2D, así como de un modelo 3D interactivo, accesible en una visualización en tiempo real desde la plataforma Sketchfab.com. Así se ha creado una base excelente para una posible intervención posterior de restauración/musealización, o, al menos, para obtener la preservación digital de un rico conjunto de datos de los restos de esta interesante pieza de la historia naval, de la primera mitad del siglo XX.

The production of reliable documentation of small finds is a crucial process during archaeological excavations. Range cameras can be a valid alternative to traditional illustration methods: they are veritable 3D scanners able to easily collect the 3D geometry (shape and dimensions in metric units) of an object/scene practically in real-time. This work investigates precisely the potentialities of a promising low-cost range camera, the Structure SensorTM by Occipital, for rapid modelling archaeological objects. The accuracy assessment was thus performed by comparing the 3D model of a Cipriot-Phoenician globular jug captured by this device with the 3D model of the same object obtained through photogrammetry. In general, the performed analysis shows that Structure Sensor is capable to acquire the 3D geometry of a small object with an accuracy comparable at millimeter level to that obtainable with the photogrammetric method, even though the finer details are not always correctly modelled. The texture reconstruction is instead less accurate. In the end, it can be concluded that the range camera used for this work, due to its low-cost and flexibility, is a suitable tool for the rapid documentation of archaeological small finds, especially when not expert users are involved.

The experience on a 10-11th century AD cargo of amphoras of the shipwreck of Cape Stoba, in the island of Mljet, in Croatia could be considered an important example to describe the progress of documentation and survey on a shipwreck. In the first part of the paper, we describe some of the used feasible methods of documentation and their advantages and disadvantages. In the second part, we introduce the three-dimensional reconstruction of the items recovered during the archaeological excavation and how these elements could be integrated to the different types of documentation: bi-dimensional plans, three-dimensional coordinates and multi-image photogrammetry.3D reconstruction allows to decrease and optimize time and work during the excavation and to obtain a complete range of data for post-excavation study, permitting to better document, represent and investigate the position of the cargo. Furthermore, 3D modelling offers an attractive display for the public, who can better appreciate cultural heritage and archaeological evidence.

The task of documentation and conservation of Cultural Heritage defines the challenges that geomatics techniques have to overtake in order to provide different solutions that combine the automation of processes with accurate results. The employment of integrated technologies allows improving the documentation of Cultural Heritage from a quantitative and qualitative point of view. The use of range and image-based techniques ensures the possibility to completely record articulated structures such as building with underground environments. The latter present often problematic survey conditions that imposed well planned and appropriate solutions. In this context, the paper presents the results of a 3D survey of the underground “Sybil hypogeum” and the related overhead church located in the Archaeological Park of Lilibeo (Marsala, Southern Italy). An integrated survey was planned in order to combine laser scanning technology with terrestrial-based and Unmanned Aerial Vehicle (UAV)-based photogrammetry to acquire the three-dimensional data of the whole complex (underground environments and overhead church). The aims of the work are related to test a topographic approach by a traverse method for scans registration and to archive a complete and detailed 3D model of the whole area. This model could be used to prevent the risk of information’s loss and to improve the knowledge of the site.

In ancient Rome, damnatio memoriae was a practice of erasing the memory of condemned persons from historical records after their death. This practice was usually addressed by the Senate to Roman elites and emperors who were declared enemies of the State, in order to preserve the honour of Rome. This condemnation usually included practices such as, for example, the erasure of names sculpted on inscriptions and the destruction or reworking of statues and of any other image of the person. Emperor Nero, for example, was condemned to this practice immediately after his death and a wide iconographic repertoire on him was therefore destroyed or deeply damaged. This lack of information can actually be improved thanks to the possibilities of virtual restoration and reconstruction offered by 3D digital technologies.The aim of this paper is to show how the possibility to acquire 3D reality-based data from archaeological finds allows to build 3D digital models that can be analysed and managed in a virtual environment and can be relocated, assembled or restored in order to suggest or graphically support archaeologists’ interpretations and reconstructions. The paper shows the methodology developed for the virtual restoration of the statue of Nero starting from the 3D digitization of the torso that was found 500 years ago by the Roman theatre of Bologna, Italy, the ancient Bononia.

Preparing digital documentation of historical buildings is a form of protecting cultural heritage. Recently there have been several intensive studies using non-metric digital images to construct realistic 3D models of historical buildings. Increasingly often, non-metric digital images are obtained with unmanned aerial vehicles (UAV). Technologies and methods of UAV flights are quite different from traditional photogrammetric approaches. The lack of technical guidelines for using drones inhibits the process of implementing new methods of data acquisition. This paper presents the results of experiments in the use of digital images in the construction of photo-realistic 3D model of a historical building (Raphaelsohns’ Sawmill in Olsztyn). The aim of the study at the first stage was to determine the meteorological and technical conditions for the acquisition of aerial and ground-based photographs. At the next stage, the technology of 3D modelling was developed using only ground-based or only aerial non-metric digital images. At the last stage of the study, an experiment was conducted to assess the possibility of 3D modelling with the comprehensive use of aerial (UAV) and ground-based digital photographs in terms of their labour intensity and precision of development. Data integration and automatic photo-realistic 3D construction of the models was done with Pix4Dmapper and Agisoft PhotoScan software Analyses have shown that when certain parameters established in an experiment are kept, the process of developing the stock-taking documentation for a historical building moves from the standards of analogue to digital technology with considerably reduced cost.

Digital tools as 3D (three-dimensional) modelling and imaging techniques are having an increasing role in many applicative fields, thanks to some significative features, such as their powerful communicative capacity, versatility of the results and non-invasiveness. These properties are very important in cultural heritage, and modern methodologies provide an efficient means for analyzing deeply and virtually rendering artworks without contact or damage. In this paper, we present two laser scanner prototypes based on the Imaging Topological Radar (ITR) technology developed at the ENEA Research Center of Frascati (RM, Italy) to obtain 3D models and IR images of medium/large targets with the use of laser sources without the need for scaffolding and independently from illumination conditions. The RGB-ITR (Red Green Blue-ITR) scanner employs three wavelengths in the visible range for three-dimensional color digitalization up to 30 m, while the IR-ITR (Infrared-ITR) system allows for layering inspection using one IR source for analyses. The functionalities and operability of the two systems are presented by showing the results of several case studies and laboratory tests.

[EN] This article aims to critically examine the entire methodology of very large scale (1:1) surveying and documentation of mosaic surfaces. The term ‘survey’ should be read in its broadest and most complete and sense, including the phases of measurement and data processing as well as management and use of these data for the purposes of preservation and maintenance. The case study presented here took place at St Mark’s Basilica (Basilica di San Marco), in Venice, where mosaic flooring, wall and vault decorations have been surveyed on two separate occasions. These two experiences shared a common goal (a full-scale survey of the mosaic decorations) but differed in terms of the methodologies used, chiefly due to the technological developments of recent years. All this, therefore, lends itself to a methodological reflection and critique of the ways in which surveying technology has evolved over time. It enables to conduct surveys that would, just a few years ago, have been inconceivable due to their size and complexity. This article describes in detail current surveying processes, which includes the use of a multi-scale “image-based” approach, “re-topology” methods such as non-uniform rational B-spline (NURBS) and a tailor-made Building Information Modeling (BIM) system. This system allows the direct use of a three-dimensional (3D) model of the Basilica within the maintenance process of the monument itself with the options to georeferencing information, extract basic metric data and catalogue all its mosaics., [ES] Este artículo examina de forma crítica la metodología completa de levantamiento y documentación a gran escala (1:1) de superficies con mosaicos. El término ‘levantamiento’ tiene que ser entendido en su significado más completo y amplio, que incluye tanto la fase de medición como el procesamiento de los datos y también la gestión y el uso de los propios datos para fines de conservación y de mantenimiento. El caso de estudio presentado es el de la Basílica de San Marcos (Basilica di San Marco) en Venecia, donde en dos fases temporales distintas se han levantado el piso de mosaico y todo el programa decorativo de las paredes y bóvedas. Las dos experiencias, aunque tienen un objetivo común (el levantamiento a escala real del mosaico), difieren en las metodologías utilizadas, principalmente debido a la evolución tecnológica de los últimos años. Todo esto se presta a una reflexión y una disertación crítica de tipo metodológico sobre cómo han evolucionando las tecnologías de medición a lo largo del tiempo y cómo han hecho posible levantamientos hace unos años impensables por extensión y complejidad. El artículo describe más detalladamente el actual proceso de medición que implica el uso de procedimiento “basado en imagen” multi-escala, métodos de “retopología” tipo B-splines racionales no uniformes (NURBS)y un sistema de Modelado de Información para la Construcción (BIM)creado ad hoc. Este sistema permite el uso directo del modelo tridimensional (3D) de la Basílica en el proceso de mantenimiento del monumento propiamente dicho con tal de georreferenciar información, extraer información métrica de base y catalogar todos los mosaicos.

3D surface scanning is a technique brought forward for wound documentation and analysis in order to identify injury-causing tools in legal medicine and forensic science. Although many case reports have been published, little is known about the methodology employed by the authors. The study reported here is exploratory in nature, and its main purpose was to get a first evaluation of the ability of an operator, by means of 3D surface scanning and following a simple methodology, to correctly exclude or associate an incriminated tool as the source of a mock wound. Based on these results, an assessment of the possibility to define a structured methodology that could be suitable for this use was proposed. Blunt tools were used to produce 'wounds' on watermelons. Both wounds and tools were scanned with a non-contact optical surface 3D digitising system. Analysis of the obtained 3D models of wounds and tools was undertaken separately. This analytical phase was followed by a qualitative and a quantitative comparison. Results showed that in more than half of the cases, we obtained a correct association but the prevalence of wrong association was still high due to mark deformation and other limitations. Even if the findings of this exploratory study cannot be generalised, they suggest that the simple and direct comparison process is not reliable enough for a systematic routine application. The article highlights the importance of an analysis phase preceding the comparison step. Limitations of the technique, ensuring needs and possible paths for improvement are also expounded.

[EN] Morocco has a vernacular architectural heritage of recognized value, which constitutes an indissoluble part of its cultural legacy. In the south of the country, specifically in the High Atlas mountain range and the pre-Saharan oases, we mainly find earth constructions of an incomparable landscape integration and plasticity. However, the political and social changes of the last decades are favoring the abandonment of these constructions, placing many of them at risk of disappearing. The objective of this contribution is to reveal the characteristics and weaknesses that the new constructions present today. The method used has consisted in analyzing the preservation actions that are being carried out, both by the Moroccan public administration and by private individuals, including those developed by the authors through documentation, cataloging, virtualization, and restoration., The research project carried out in the Outat Valley and the research project carried out in the Ferkla Oasis "Arquihabitat" were funded by the Polytechnic University of Valencia, Spain.