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[EN] It is impossible to conceive of archaeology –the discipline that tells us of the societies of our history by studying their material remains– without the drawing. There is no area of archaeology –from fieldwork to technical and administrative reports and publications– in which the drawing does not play an active role. Based on two drawings of the Tower of the Scipios in Tarragona that are separated in time and concept, one by Mouliner and the other from the DAI, we reflect on the suitability of the archaeological drawing, its purpose and its functionality [ES] La arqueología, la disciplina que permite conocer las sociedades humanas históricas a partir de sus restos materiales, no se puede concebir sin el dibujo. No hay labor vinculada a ella que no implique una participación activa del dibujo, desde el trabajo de campo hasta la publicación, pasando por los informes técnicos y administrativos. A partir de dos dibujos, uno de Mouliner i el otro del DAI, sobre la Torre dels Escipions de Tarragona, separados en el tiempo y conceptualmente diferentes se realiza una reflexión sobre cual tendría que ser el concepto de bondad del dibujo arqueológico, a que sirve y cual tiene que ser su funcionalidad

Se puede afirmar que hay una crisis conceptual de la arqueología. Y el dibujo arqueológico no es ninguna excepción, al contrario, ya que la irrupción de nuevas tecnologías de captura de la realidad (SMCD) y de su representación han evidenciado las carencias históricas de las que ha adolecido. En este artículo pretendemos mostrar una situación que imaginamos paradójica; la implementación de las nuevas tecnologías de documentación en un entorno con grandes carencias conceptuales. Y mostrar los riesgos que observamos así como las potencialidades que mostrarían una correcta aplicación de las nuevas tecnologías en la Documentación Gráfica de la Arquitectura en arqueología. The concept of archaeology is in crisis, and archaeological drawing is no exception. The emergence of new technologies to capture and represent reality graphically (SMCD) clearly reveal the historical deficits. This article focuses on exposing an apparent paradox, namely, the advent of new recording technologies in an environment characterized by strong conceptual deficiencies. Moreover, the study aims at identifying the challenges and potential of correctly applying the new graphic technologies to record archaeological architecture.

This paper presents the study of a complex architectonical area within the so-called provincial forum of Tarraco. The analysis of the architectonical stratigraphy and of the construction processes has been a fundamental tool to understand an area characterized by a complicated urban evolution, showing the development of the building project of such a vast construction as it is the provincial forum. Unfortunately, the absence of data provided by archaeological excavations limits the definition of a precise absolute chronology. The process of transforming the top of Tarraco’s hill into a monumental area started, according to historical and numismatic sources, during the Julio-Claudian era was completed in the Flavian one by ending this monumental complex distributed in three platforms. The area here analysed, placed close to the circus, belongs to a system of substructiones which commonly features those forum and sacred complexes organized in platforms at different levels.El artículo presenta el estudio de un área arquitectónicamente compleja, integrada dentro del denominado Foro Provincial de Tarraco. El análisis de la estratigrafía arquitectónica y de los procesos de construcción, ha representado un instrumento fundamental para la interpretación de un área caracterizada por una compleja evolución urbanística, poniendo en evidencia el desarrollo del proyecto constructivo de una obra de gran envergadura como la del Foro Provincial. Desafortunadamente, la ausencia de datos procedentes de las excavaciones arqueológicas, ha limitado la definición de una cronología absoluta exacta. El proceso de monumentalización de la cima de la colina tarraconense iniciado, según las fuentes históricas y numismáticas, en época julio-claudia, culminó en época Flavia con la finalización del complejo monumental distribuido en tres terrazas. El sector que se examina, situado junto al circo, se encuadra dentro de un sistema de substructiones que a menudo caracterizan los conjuntos forense y sacro organizados en terrazas.

“Be Live 3D” — A Triple Layer Networked Semantic Modeling e project aims to build a HPW (High Power Web) framework, enforced with semantic and computational processors, able to harvest, analyze, modelize, semantically annotate 3D complex objects, and assorting them into a networked catalogue of built environments, fully explorable and cooperatively hackable through a suite of professional and consumer applications. e framework will be built within 3 different coexistent layers, accessible concurrently through 3 distinguished profiles, in order to be co-used by: #1. Researchers and technical experts in the field of archeological / architectural 3D modeling, predictive modeling, models building, large or short scale regional analysis; #2. Professionals creatives, CCIs and creative-labs; #3. users, visitors and a wide target of customers. Given the (triple) multi-tiered structure, the framework will offer an integrated ecosystem made of 3 different layers, each one offering a distinct paradigm of uses/needs: (a) an environment for capturing reality and real time 3D reproducing models and / or interior spaces, deep analysis, high-fidelity modeling, expert semantic annotation [1st level: professionals in archeology, architecture, built heritage; researchers, scholars and academics]; (b) a toolbox for experimental playing (i.e. "Creative Suite"), devoted to design approach, creative modeling and reuse of 3D models and spaces, expert crowd cataloguing and catalogue enrichment, expert semantic annotation, cooperative representation of deep and solid shapes, specialized professionals in the aesthetic evaluation and critics of heritage works [2nd level: creatives, critics, lecturers, industries’ entrepreneurs]; (c) an end-users high performative online service, allowing to experiment 3D information, simulating natural diving into archeological sites, simulating paths and itineraries through NLP queries (in Natural Language), also connecting to VR and AR devices through platform-independent graphical user interface (PIGUI), sharing co-experiences, co-understanding and co-interactions. e final triple integrated ecosystem [(a)+(b)+(c) = researcher and pro + creatives and pedagogues / academics + users and explorers] will offer a bottom-up paradigm approach and a user-driven process of ecosystem growth, driven by consumers’ demands, who will massively use the environment, exploring and requiring additional areas to visit, increased level of details, and a running procurement of “experiences”. In terms of system dynamics, at the level 1 the mentioned framework will run urgent computation instances, harvesting and processing huge amounts of coherent data from high-fidelity devices (scanners, digital cameras, etx.) and remote/ distributed providers; thus the complex system refers to the typical dynamics of Big Data processing and urgent computation (super computation, cloud - distributed computing). Moreover, at the level 2, the catalogue at the basis of the proposed framework will run on high-refined clustering process, ontology-driven information mining / retrieval, predictive model markup language, spatial learning / mapping similarities and differences throughout pan-European archaeological / architectural sites. e resulting catalogue will consist of an extremely rich and dense encyclopedic structure. At the level 3 — the end-customers one — the HPW framework will result in a worldwide networked layer of 3D archaeo-/architectural-entertainment spaces, playing a increasingly growth of breathtaking places and representations: starting from historical sites, the “Be live 3D” will evolve in a creative, suggestive and futuristic global scenery that will eventually make necessary and urgent the 3D demand from the end-users, who yearn to build additional layers of 3D creativity on the root levels of the historical basis of our culture. Basing on this paradigm, it will be easy, then, to properly address the supply of the users’ demand through creative models built on the historical European environments, enhancing their intrinsic value; as alive and kicking exhibits, a lush and swarm creativity will meet the needs of young people, researchers, and creatives — finally, stimulating the industrial production of additional modules, intrinsically linked to our cultural development.