The initial focus of this research was on the development of a general workflow for the documenta... more The initial focus of this research was on the development of a general workflow for the documentation and monitoring of historical stained glass windows using structured light scanning. Therefore windows from different churches, time periods and with different corrosion and damage phenomena were scanned before and after conservation measures. To evaluate the execution of the restoration measures the data was compared using 3D inspection software to examine the differences in geometry between the two scans. Various problems had to be solved, for example, how to deal with heavily reflective surfaces and the extreme contrast between light and dark surfaces, as seen in the borders between 'Schwarzlot' painting and plain glass. The application of materials for matting the surfaces, such as Cyclododecane spray, was impossible due to the high accuracy of the surface measurement required for 3D inspection. Regarding the contrast differences of the surfaces, the creation of exposure fusions and the use of polarization filters to reduce reflections were tested. In addition to the general problems encountered when recording translucent surfaces, the historical glasses caused additional problems in calculating surface comparisons. For example, the windows have to be moved and turned around several times, both during the conservation process and while scanning, causing deformations of the geometry due to the flexible lead rods allowing a certain degree of movement.
The paper details the 3D structured light scanning used to record the surfaces of two columns in ... more The paper details the 3D structured light scanning used to record the surfaces of two columns in the Monastery of St. Naum in Northern Macedonia. These columns have Cyrillic and Glagolitic inscriptions etched into them; some of them hardly visible any more.
ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, 2018
Monitoring is an essential requirement for the planning, assessment and evaluation of conservatio... more Monitoring is an essential requirement for the planning, assessment and evaluation of conservation measures. It should be based on a standardized and reproducible observation of the historical surface. For many areas and materials suitable methods for long-term monitoring already exist. But hardly any non-destructive testing methods have been used to test new materials for conservation of damaged stone surfaces. The Nano-Cathedral project, funded by the European Union's Horizon 2020 research and innovation program, is developing new materials and technologies for preserving damaged stone surfaces of built heritage. The prototypes developed are adjusted to the needs and problems of a total of six major cultural monuments in Europe. In addition to the testing of the materials under controlled laboratory conditions, the products have been applied to trial areas on the original stone surfaces. For a location-independent standardized assessment of surface changes of the entire trial areas a monitoring method based on opto-technical, non-contact and non-destructive testing methods has been developed. This method involves a three-dimensional measurement of the surface topography using Structured-Light-Scanning and the analysis of the surfaces in different light ranges using high resolution VIS photography, as well as UV-A-fluorescence photography and reflected near-field IR photography. The paper will show the workflow of this methodology, including a detailed description of the equipment used data processing and the advantages for monitoring highly valuable stone surfaces. Alongside the theoretical discussion, the results of two measuring campaigns on trial areas of the Nano-Cathedral project will be shown.
Franz, Birgit und Vinken, Gerhard (Hrsg.): Das Digitale und die Denkmalpflege: Bestandserfassung – Denkmalvermittlung – Datenarchivierung – Rekonstruktion verlorener Objekte, Heidelberg: arthistoricum.net, 2017 (Veröffentlichungen des Arbeitskreises Theorie und Lehre der Denkmalpflege e.V., Band 26), 2017
English:
Over the past few years, the 3D documentation of cultural assets has developed into a ... more English:
Over the past few years, the 3D documentation of cultural assets has developed into a widely-used method. The accuracy, quality and value of the datasets produced is also increasing constantly, to the point where the 3D models themselves must now be recognized as independent and preservation-worthy objects of digital cultural heritage in their own right. But what exactly happens to the data after it has been produced and analyzed? How exactly is 3D data related to significant cultural assets to be conserved for future generations? National and international cultural portals are taking on the problem and making their data available to a broader public online. And yet museums, collections and state conservation authorities likewise have an obligation to protect and conserve digital cultural heritage for the long term. In the course of the high-resolution 3D documentation of Bamberg’s “Kaisergrab” (imperialtomb), an outstanding example of medieval sculpture by Tilman Riemenschneider, the 3D working group at the Bavarian State Conservation Authority (BLfD) defined a unified set of data formats and a standardized filing structure which will help to archive the 3D data on durable glass DVDs.
In this way, 3D data relating to important cultural assets, such as those already collected on the Bamberg Rider and the tomb of Pope Clement II, as well as other, newly-gathered data, can be archived at the BLfD in the future. These methods will also bring a significant reduction in the cost and labour-intensive work of data maintenance that is associated with current storage media, with their severely limited operating life.
Deutsch:
Die 3D-Dokumentation von Kulturgütern hat sich in den letzten Jahren zu einer gängigen Methode entwickelt. Messgenauigkeit, Qualität und Güte der Datensätze wachsen dabei stetig, so dass diese 3D-Modelle inzwischen als eigenständiges und schützenswertes digitales Kulturerbe eingestuft werden müssen. Doch was genau passiert mit den Daten nach ihrer Anfertigung und Auswertung? Wie genau erfolgt die Bewahrung der 3D-Daten bedeutender Kulturgüter für kommende Generationen? Nationale und internationale Kulturportale haben sich diesem Problem angenommen und stellen ihre Daten online einer breiten Öffentlichkeit zur Verfügung. Doch es stehen auch Museen, Sammlungen und Landesämter in der Pflicht das digitale Kulturerbe langfristig zu schützen und zu erhalten. Daher müssen Kopien der Datensätze in den Archiven der Einrichtungen dauerhaft aufbewahrt werden. Im Zuge der hochauflösenden, dreidimensionalen Dokumentation des Bamberger Kaisergrabs, einem herausragenden Meisterwerk mittelalterlicher Bildhauerkunst von Tilman Riemenschneider, wurden innerhalb der 3D-Arbeitsgruppe des Bayerischen Landesamts für Denkmalpflege (BLfD) einheitliche Datenformate und eine standardisierte Ablagestruktur definiert, mit deren Hilfe 3D-Daten auf langlebigen, gläsernen DVDs archiviert werden sollen. Auf diese Weise sollen künftig 3D-Daten bedeutender Kulturgüter, wie beispielsweise die bereits bestehenden Datensätze des Bamberger Reiters, des Grabmals Papst Clemens II. aber auch neu erfasste Daten am BLfD archiviert werden. Eine kosten- und arbeitsintensive Datenpflege, wie sie gängige Speichermedien aufgrund ihrer stark limitierten Lebensdauer erfordern, soll so künftig deutlich reduziert werden.
Sri Dalada Maligawa – the Temple of the Sacred Tooth Relic – is one of the most important pilgrim... more Sri Dalada Maligawa – the Temple of the Sacred Tooth Relic – is one of the most important pilgrim sites in Buddhist culture. It is the main part of the UNESCO World Heritage Site Sacred City of Kandy. Since the end of the 17 th century the temple has been keeping the sacred tooth of the Buddha. Until now an accurate documentation of the temple with all its rich decorations is missing. The Temple is built in an area vulnerable to environmental factors like earthquakes or monsoon rains and was the target of terrorist attacks. To help preserving this important cultural heritage a research project was carried out. Main part of the project was a 3D-documentation of the entire temple by using Terrestrial-Laser-Scanning (TLS) and the creating of CAD-Plans. In addition to the documentation of the architecture several details were taken in high resolution by Structured-Light-Scanning (SLS). All data will be part of the digital archive of the temple and were used as a base for a general site monitoring, especially to observe cracks. Next to the mere documentation a transfer of knowledge was another aim of the project. In future most of the analysis of the scan data can be done by local specialists.
Welches Baumaterial wurde auf den Hochflächen der Frankenalb zum Mauerbau verwendet und welche Re... more Welches Baumaterial wurde auf den Hochflächen der Frankenalb zum Mauerbau verwendet und welche Ressourcen wurden dafür genutzt? War außer den Steintürmen und -kastellen am Raetischen Limes auch die Grenzmauer verputzt? Und wie hat man sich die Bauabfolge von Palisade und Graben zur Limesmauer konkret vorzustellen? Diesem nach wie vor nur eingeschränkt geklärten Fragenkomplex widmeten sich die jüngsten Feldforschungen der Universität Bamberg in Kooperation mit der Römisch-Germanischen Kommission und dem Bayerischen Landesamt für Denkmalpflege bei Zandt im Landkreis Eichstätt.
The initial focus of this research was on the development of a general workflow for the documenta... more The initial focus of this research was on the development of a general workflow for the documentation and monitoring of historical stained glass windows using structured light scanning. Therefore windows from different churches, time periods and with different corrosion and damage phenomena were scanned before and after conservation measures. To evaluate the execution of the restoration measures the data was compared using 3D inspection software to examine the differences in geometry between the two scans. Various problems had to be solved, for example, how to deal with heavily reflective surfaces and the extreme contrast between light and dark surfaces, as seen in the borders between 'Schwarzlot' painting and plain glass. The application of materials for matting the surfaces, such as Cyclododecane spray, was impossible due to the high accuracy of the surface measurement required for 3D inspection. Regarding the contrast differences of the surfaces, the creation of exposure fusions and the use of polarization filters to reduce reflections were tested. In addition to the general problems encountered when recording translucent surfaces, the historical glasses caused additional problems in calculating surface comparisons. For example, the windows have to be moved and turned around several times, both during the conservation process and while scanning, causing deformations of the geometry due to the flexible lead rods allowing a certain degree of movement.
The paper details the 3D structured light scanning used to record the surfaces of two columns in ... more The paper details the 3D structured light scanning used to record the surfaces of two columns in the Monastery of St. Naum in Northern Macedonia. These columns have Cyrillic and Glagolitic inscriptions etched into them; some of them hardly visible any more.
ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, 2018
Monitoring is an essential requirement for the planning, assessment and evaluation of conservatio... more Monitoring is an essential requirement for the planning, assessment and evaluation of conservation measures. It should be based on a standardized and reproducible observation of the historical surface. For many areas and materials suitable methods for long-term monitoring already exist. But hardly any non-destructive testing methods have been used to test new materials for conservation of damaged stone surfaces. The Nano-Cathedral project, funded by the European Union's Horizon 2020 research and innovation program, is developing new materials and technologies for preserving damaged stone surfaces of built heritage. The prototypes developed are adjusted to the needs and problems of a total of six major cultural monuments in Europe. In addition to the testing of the materials under controlled laboratory conditions, the products have been applied to trial areas on the original stone surfaces. For a location-independent standardized assessment of surface changes of the entire trial areas a monitoring method based on opto-technical, non-contact and non-destructive testing methods has been developed. This method involves a three-dimensional measurement of the surface topography using Structured-Light-Scanning and the analysis of the surfaces in different light ranges using high resolution VIS photography, as well as UV-A-fluorescence photography and reflected near-field IR photography. The paper will show the workflow of this methodology, including a detailed description of the equipment used data processing and the advantages for monitoring highly valuable stone surfaces. Alongside the theoretical discussion, the results of two measuring campaigns on trial areas of the Nano-Cathedral project will be shown.
Franz, Birgit und Vinken, Gerhard (Hrsg.): Das Digitale und die Denkmalpflege: Bestandserfassung – Denkmalvermittlung – Datenarchivierung – Rekonstruktion verlorener Objekte, Heidelberg: arthistoricum.net, 2017 (Veröffentlichungen des Arbeitskreises Theorie und Lehre der Denkmalpflege e.V., Band 26), 2017
English:
Over the past few years, the 3D documentation of cultural assets has developed into a ... more English:
Over the past few years, the 3D documentation of cultural assets has developed into a widely-used method. The accuracy, quality and value of the datasets produced is also increasing constantly, to the point where the 3D models themselves must now be recognized as independent and preservation-worthy objects of digital cultural heritage in their own right. But what exactly happens to the data after it has been produced and analyzed? How exactly is 3D data related to significant cultural assets to be conserved for future generations? National and international cultural portals are taking on the problem and making their data available to a broader public online. And yet museums, collections and state conservation authorities likewise have an obligation to protect and conserve digital cultural heritage for the long term. In the course of the high-resolution 3D documentation of Bamberg’s “Kaisergrab” (imperialtomb), an outstanding example of medieval sculpture by Tilman Riemenschneider, the 3D working group at the Bavarian State Conservation Authority (BLfD) defined a unified set of data formats and a standardized filing structure which will help to archive the 3D data on durable glass DVDs.
In this way, 3D data relating to important cultural assets, such as those already collected on the Bamberg Rider and the tomb of Pope Clement II, as well as other, newly-gathered data, can be archived at the BLfD in the future. These methods will also bring a significant reduction in the cost and labour-intensive work of data maintenance that is associated with current storage media, with their severely limited operating life.
Deutsch:
Die 3D-Dokumentation von Kulturgütern hat sich in den letzten Jahren zu einer gängigen Methode entwickelt. Messgenauigkeit, Qualität und Güte der Datensätze wachsen dabei stetig, so dass diese 3D-Modelle inzwischen als eigenständiges und schützenswertes digitales Kulturerbe eingestuft werden müssen. Doch was genau passiert mit den Daten nach ihrer Anfertigung und Auswertung? Wie genau erfolgt die Bewahrung der 3D-Daten bedeutender Kulturgüter für kommende Generationen? Nationale und internationale Kulturportale haben sich diesem Problem angenommen und stellen ihre Daten online einer breiten Öffentlichkeit zur Verfügung. Doch es stehen auch Museen, Sammlungen und Landesämter in der Pflicht das digitale Kulturerbe langfristig zu schützen und zu erhalten. Daher müssen Kopien der Datensätze in den Archiven der Einrichtungen dauerhaft aufbewahrt werden. Im Zuge der hochauflösenden, dreidimensionalen Dokumentation des Bamberger Kaisergrabs, einem herausragenden Meisterwerk mittelalterlicher Bildhauerkunst von Tilman Riemenschneider, wurden innerhalb der 3D-Arbeitsgruppe des Bayerischen Landesamts für Denkmalpflege (BLfD) einheitliche Datenformate und eine standardisierte Ablagestruktur definiert, mit deren Hilfe 3D-Daten auf langlebigen, gläsernen DVDs archiviert werden sollen. Auf diese Weise sollen künftig 3D-Daten bedeutender Kulturgüter, wie beispielsweise die bereits bestehenden Datensätze des Bamberger Reiters, des Grabmals Papst Clemens II. aber auch neu erfasste Daten am BLfD archiviert werden. Eine kosten- und arbeitsintensive Datenpflege, wie sie gängige Speichermedien aufgrund ihrer stark limitierten Lebensdauer erfordern, soll so künftig deutlich reduziert werden.
Sri Dalada Maligawa – the Temple of the Sacred Tooth Relic – is one of the most important pilgrim... more Sri Dalada Maligawa – the Temple of the Sacred Tooth Relic – is one of the most important pilgrim sites in Buddhist culture. It is the main part of the UNESCO World Heritage Site Sacred City of Kandy. Since the end of the 17 th century the temple has been keeping the sacred tooth of the Buddha. Until now an accurate documentation of the temple with all its rich decorations is missing. The Temple is built in an area vulnerable to environmental factors like earthquakes or monsoon rains and was the target of terrorist attacks. To help preserving this important cultural heritage a research project was carried out. Main part of the project was a 3D-documentation of the entire temple by using Terrestrial-Laser-Scanning (TLS) and the creating of CAD-Plans. In addition to the documentation of the architecture several details were taken in high resolution by Structured-Light-Scanning (SLS). All data will be part of the digital archive of the temple and were used as a base for a general site monitoring, especially to observe cracks. Next to the mere documentation a transfer of knowledge was another aim of the project. In future most of the analysis of the scan data can be done by local specialists.
Welches Baumaterial wurde auf den Hochflächen der Frankenalb zum Mauerbau verwendet und welche Re... more Welches Baumaterial wurde auf den Hochflächen der Frankenalb zum Mauerbau verwendet und welche Ressourcen wurden dafür genutzt? War außer den Steintürmen und -kastellen am Raetischen Limes auch die Grenzmauer verputzt? Und wie hat man sich die Bauabfolge von Palisade und Graben zur Limesmauer konkret vorzustellen? Diesem nach wie vor nur eingeschränkt geklärten Fragenkomplex widmeten sich die jüngsten Feldforschungen der Universität Bamberg in Kooperation mit der Römisch-Germanischen Kommission und dem Bayerischen Landesamt für Denkmalpflege bei Zandt im Landkreis Eichstätt.
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Papers by Max Rahrig
Over the past few years, the 3D documentation of cultural assets has developed into a widely-used method. The accuracy, quality and value of the datasets produced is also increasing constantly, to the point where the 3D models themselves must now be recognized as independent and preservation-worthy objects of digital cultural heritage in their own right. But what exactly happens to the data after it has been produced and analyzed? How exactly is 3D data related to significant cultural assets to be conserved for future generations? National and international cultural portals are taking on the problem and making their data available to a broader public online. And yet museums, collections and state conservation authorities likewise have an obligation to protect and conserve digital cultural heritage for the long term. In the course of the high-resolution 3D documentation of Bamberg’s “Kaisergrab” (imperialtomb), an outstanding example of medieval sculpture by Tilman Riemenschneider, the 3D working group at the Bavarian State Conservation Authority (BLfD) defined a unified set of data formats and a standardized filing structure which will help to archive the 3D data on durable glass DVDs.
In this way, 3D data relating to important cultural assets, such as those already collected on the Bamberg Rider and the tomb of Pope Clement II, as well as other, newly-gathered data, can be archived at the BLfD in the future. These methods will also bring a significant reduction in the cost and labour-intensive work of data maintenance that is associated with current storage media, with their severely limited operating life.
Deutsch:
Die 3D-Dokumentation von Kulturgütern hat sich in den letzten Jahren zu einer gängigen Methode entwickelt. Messgenauigkeit, Qualität und Güte der Datensätze wachsen dabei stetig, so dass diese 3D-Modelle inzwischen als eigenständiges und schützenswertes digitales Kulturerbe eingestuft werden müssen. Doch was genau passiert mit den Daten nach ihrer Anfertigung und Auswertung? Wie genau erfolgt die Bewahrung der 3D-Daten bedeutender Kulturgüter für kommende Generationen? Nationale und internationale Kulturportale haben sich diesem Problem angenommen und stellen ihre Daten online einer breiten Öffentlichkeit zur Verfügung. Doch es stehen auch Museen, Sammlungen und Landesämter in der Pflicht das digitale Kulturerbe langfristig zu schützen und zu erhalten. Daher müssen Kopien der Datensätze in den Archiven der Einrichtungen dauerhaft aufbewahrt werden. Im Zuge der hochauflösenden, dreidimensionalen Dokumentation des Bamberger Kaisergrabs, einem herausragenden Meisterwerk mittelalterlicher Bildhauerkunst von Tilman Riemenschneider, wurden innerhalb der 3D-Arbeitsgruppe des Bayerischen Landesamts für Denkmalpflege (BLfD) einheitliche Datenformate und eine standardisierte Ablagestruktur definiert, mit deren Hilfe 3D-Daten auf langlebigen, gläsernen DVDs archiviert werden sollen. Auf diese Weise sollen künftig 3D-Daten bedeutender Kulturgüter, wie beispielsweise die bereits bestehenden Datensätze des Bamberger Reiters, des Grabmals Papst Clemens II. aber auch neu erfasste Daten am BLfD archiviert werden. Eine kosten- und arbeitsintensive Datenpflege, wie sie gängige Speichermedien aufgrund ihrer stark limitierten Lebensdauer erfordern, soll so künftig deutlich reduziert werden.
Over the past few years, the 3D documentation of cultural assets has developed into a widely-used method. The accuracy, quality and value of the datasets produced is also increasing constantly, to the point where the 3D models themselves must now be recognized as independent and preservation-worthy objects of digital cultural heritage in their own right. But what exactly happens to the data after it has been produced and analyzed? How exactly is 3D data related to significant cultural assets to be conserved for future generations? National and international cultural portals are taking on the problem and making their data available to a broader public online. And yet museums, collections and state conservation authorities likewise have an obligation to protect and conserve digital cultural heritage for the long term. In the course of the high-resolution 3D documentation of Bamberg’s “Kaisergrab” (imperialtomb), an outstanding example of medieval sculpture by Tilman Riemenschneider, the 3D working group at the Bavarian State Conservation Authority (BLfD) defined a unified set of data formats and a standardized filing structure which will help to archive the 3D data on durable glass DVDs.
In this way, 3D data relating to important cultural assets, such as those already collected on the Bamberg Rider and the tomb of Pope Clement II, as well as other, newly-gathered data, can be archived at the BLfD in the future. These methods will also bring a significant reduction in the cost and labour-intensive work of data maintenance that is associated with current storage media, with their severely limited operating life.
Deutsch:
Die 3D-Dokumentation von Kulturgütern hat sich in den letzten Jahren zu einer gängigen Methode entwickelt. Messgenauigkeit, Qualität und Güte der Datensätze wachsen dabei stetig, so dass diese 3D-Modelle inzwischen als eigenständiges und schützenswertes digitales Kulturerbe eingestuft werden müssen. Doch was genau passiert mit den Daten nach ihrer Anfertigung und Auswertung? Wie genau erfolgt die Bewahrung der 3D-Daten bedeutender Kulturgüter für kommende Generationen? Nationale und internationale Kulturportale haben sich diesem Problem angenommen und stellen ihre Daten online einer breiten Öffentlichkeit zur Verfügung. Doch es stehen auch Museen, Sammlungen und Landesämter in der Pflicht das digitale Kulturerbe langfristig zu schützen und zu erhalten. Daher müssen Kopien der Datensätze in den Archiven der Einrichtungen dauerhaft aufbewahrt werden. Im Zuge der hochauflösenden, dreidimensionalen Dokumentation des Bamberger Kaisergrabs, einem herausragenden Meisterwerk mittelalterlicher Bildhauerkunst von Tilman Riemenschneider, wurden innerhalb der 3D-Arbeitsgruppe des Bayerischen Landesamts für Denkmalpflege (BLfD) einheitliche Datenformate und eine standardisierte Ablagestruktur definiert, mit deren Hilfe 3D-Daten auf langlebigen, gläsernen DVDs archiviert werden sollen. Auf diese Weise sollen künftig 3D-Daten bedeutender Kulturgüter, wie beispielsweise die bereits bestehenden Datensätze des Bamberger Reiters, des Grabmals Papst Clemens II. aber auch neu erfasste Daten am BLfD archiviert werden. Eine kosten- und arbeitsintensive Datenpflege, wie sie gängige Speichermedien aufgrund ihrer stark limitierten Lebensdauer erfordern, soll so künftig deutlich reduziert werden.