3D models have gained great popularity for their capability to open a realistic view on the former, ancient image of archaeological sites. Virtual reconstructions, virtual anastilosis, 3D animations, still images of the original shapes of towns and their main monuments became widespread inside museums, interpretation centres and exhibitions. Those kind of 3D models are used for diffusion, dissemination practices and are in general built by means of common computer graphic applications, characterized by effective polygonal modelling tools, state of the art mapping/texturing, and robust lighting and material/surface simulation algorithms (radiosity, global illumination, unbiased render engines, etc.). The aim of these models is not so far from being a geometrically simplifi ed representation of the reconstructive hypothesis (in other words, low polygonal models), where the role of textures, reproducing the aspects of masonry walls, frescos, mosaics, is fundamental to let visitors and tourists understand the formal appearance of ancient monuments or urban realities. 3D assets and items of this kind are the same of those used inside real-time applications (videogames) or broadcast and cinematographic animations; the methodology used for their creation is almost standardized and in general does not deal with the aims of a scientific documentation of the built heritage; at the contraryarchaeologists and architects make their drawings, photos, sketches and surveys (made traditionally or with technological devices such as laser scanners or Structure From Motion applications, SFM) with a different focus, where quantitative aspects (not just visual appearance) are the main purposes. The purpose of this paper is to open a view on the current state of the art on a proper use of 3D models in archaeology in order to provide useful 2D/3D representations for documentation and dissemination of scientific results.
THE USE OF REALITY BASED MODELS FOR THE INTERPRETATION OF ANCIENT ARCHITECTURE: EXPERIENCES OF REVERSE MODELLING AT MASADA
FANTINI, FILIPPO
2013
Abstract
3D models have gained great popularity for their capability to open a realistic view on the former, ancient image of archaeological sites. Virtual reconstructions, virtual anastilosis, 3D animations, still images of the original shapes of towns and their main monuments became widespread inside museums, interpretation centres and exhibitions. Those kind of 3D models are used for diffusion, dissemination practices and are in general built by means of common computer graphic applications, characterized by effective polygonal modelling tools, state of the art mapping/texturing, and robust lighting and material/surface simulation algorithms (radiosity, global illumination, unbiased render engines, etc.). The aim of these models is not so far from being a geometrically simplifi ed representation of the reconstructive hypothesis (in other words, low polygonal models), where the role of textures, reproducing the aspects of masonry walls, frescos, mosaics, is fundamental to let visitors and tourists understand the formal appearance of ancient monuments or urban realities. 3D assets and items of this kind are the same of those used inside real-time applications (videogames) or broadcast and cinematographic animations; the methodology used for their creation is almost standardized and in general does not deal with the aims of a scientific documentation of the built heritage; at the contraryarchaeologists and architects make their drawings, photos, sketches and surveys (made traditionally or with technological devices such as laser scanners or Structure From Motion applications, SFM) with a different focus, where quantitative aspects (not just visual appearance) are the main purposes. The purpose of this paper is to open a view on the current state of the art on a proper use of 3D models in archaeology in order to provide useful 2D/3D representations for documentation and dissemination of scientific results.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
