The fortified settlement of Rocca Montis Dragonis (Caserta-Italy) is located on the top of Mount Petrino, between the river Liri-Garigliano to the north, and the river Volturno to the south. From 2001 until now, archaeological... more
The fortified settlement of Rocca Montis Dragonis (Caserta-Italy) is located on the top of Mount Petrino, between the river Liri-Garigliano to the north, and the river Volturno to the south. From 2001 until now, archaeological investigations discovered a big part of the entire settlement, known on written sources from 12th century, which is a big size hilltop site, characterized by a complex group of structures hierarchically distributed in three different areas. The main focus of this work is to produce friendly communication tools, aimed to develop storytelling, by Virtual Reality methods, concerning the results of recent archaeological excavations, and in particular those aspects from which generates the phenomenon of “incastellamento”. The methodology used in this research runs from detailed observations of the artefacts evidence and from the study of low scale settlement dynamics, to the general interpretations concerning the architecture of the Rocca Montis Dragonis and the social and economic aspects referred to the building opera. On what concerns these aspects we could define this method an “inductive” one, from which originates every scientific result. The main targets of this paper have been the use of the huge archive deriving from the archaeological activities, interesting one of the most important medieval castle of northern Campania (Italy), to reconstruct with new technologies the original shape and the life of this settlement. Moreover the application of 3D virtual technology is aimed to the best promotion, knowledge, protection and conservation of this particular item of cultural medieval heritage.
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Despite the large number of monumental tombs discovered over the years in Taranto, only a few among them are open to the public for in situ visits. Actually, in most cases the visit is precluded because the sites are placed below private... more
Despite the large number of monumental tombs discovered over the years in Taranto, only a few among them are open to the public for in situ visits. Actually, in most cases the visit is precluded because the sites are placed below private buildings or urban roads. However, as often happens, they are affected, for various reasons, by another inevitable trouble: the artefacts preserved inside them until the discover, have been subsequently brought into some museums whereas the monumental structures have been restored, in most cases with provisional works, in order to prevent their collapse. The consequence of this moving, is the de-contextualization of the grave goods and the lack of valorisation of monumental archaeological contexts. An effective solution for these issues could be achieved from the use of technologies that allow a virtual enjoyment of these monuments and the virtual set-up of the grave goods in their original contexts. Based on these premises, thanks to the project CNR-IBAM "Marta Racconta. Storie Virtuali di Tesori Nascosti", co-financed by the Fondazione Cassa di Risparmio di Puglia, the National ARchaeological Museum of TAranto (MARTA) will be soon equipped with the installation of a Virtual Platform. This will make 'accessible' ancient monuments from the Greek Taras (the ancient Taranto) currently closed to visitors. In particular, three very interesting monuments have been identified in close cooperation with the Superintendent and with the direction of the Museum of Taranto. The first one is the so-called Tomb of the Festoons, that was found in Via Crispi at the beginning of the last century. At present, it is placed inside a private apartment under the ground floor of a building. The second one, called the Hypogeum of the Gorgons, was discovered some years ago in Via Otranto, but it is now placed below a road pavement. The archaeological and archaeometric studies carried out on these monuments made it possible to develop a wide path of knowledge ranging from funerary rituals to construction techniques.
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This paper elucidates a virtual archacology project, undertaken by a team of scholars or the IBAM-CNR and The Arcadia University - TCGS, aimed to the digital reconstruction of Ortigia, the core district of the Greek Syracuse. The main... more
This paper elucidates a virtual archacology project, undertaken by a team of scholars or the IBAM-CNR and The Arcadia University - TCGS, aimed to the digital reconstruction of Ortigia, the core district of the Greek Syracuse. The main goal of this exercise has been the production of the 3D documcntary 'Siracusa 3D reborn', that represents an original advance in the knowledge of the Greek background of the city. In this perspective, we have chosen to produce 'passive' tools embedded with communicational and emotional components did not affected the scientific accuracy with which the reconstructive process has been carried out. Therefore, the visitor can learn those peculiar architectural and urban features of the Greek city, without disregarding those characters who played 'key roles' in the diffusion of Greek culture in the Mediterranean. Main monuments of Ortigia are described and analyzed in the context of a full 3D stercoscopic representation employing techniques of modern cinema industry for explaining its historical and archaeological characteristics. Emphasis is also given to reconstruction of war machines and some unique inventions conceived by Archimedes, the most brilliant mind of Greek era. The reconstructive workflow followed a meticulous methodological plan, based on the published data and aimed to define a previously unavailable topographic profil of the city, portrayed in two main chronological phases, Archaic and Late Classical. After this initial moment of research and historical interpretation or the ancient context, a story board with an intentional didactic narrative has been arranged for recpresenting the diachronic development of urban transformations together with main events that marked the history of the city. The stereoscopic production has allowed us to develop an efficient system for the tracking or the scenes along xyz axes, the compositing or nested scenes and post effects which provides color grading, and particle effects.
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Come spesso accade, dopo la scoperta i monumenti antichi sono soggetti, per diverse ragioni, ad un destino quasi inevitabile: gli oggetti fino ad allora in essi custoditi vengono conservati nei musei e le strutture architettoniche vengono... more
Come spesso accade, dopo la scoperta i monumenti antichi sono soggetti, per diverse ragioni, ad un destino quasi inevitabile: gli oggetti fino ad allora in essi custoditi vengono conservati nei musei e le strutture architettoniche vengono sottoposte ad un primo restauro, spesso consistente in opere provvisionali che ne impediscano il crollo. La conseguenza di questo è una de-contestualizzazione dei corredi ed una mancata valorizzazione dei contesti monumentali. Una soluzione certamente non definitiva, ma di sicura efficacia, potrebbe essere rappresentata dall'uso di tecnologie che consentano di visitare i monumenti e ricollocare gli oggetti di corredo nei loro contesti originali. Il presente lavoro illustra il progetto "Marta Racconta. Storie Virtuali di tesori nascosti", realizzato dal CNR IBAM (Lecce, Italy) e cofinanziato dalla Fondazione Cassa di Risparmio di Puglia. Obiettivo principale del progetto è stato quello di dotare il Museo Nazionale Archeologico di Taranto (MARTA) di una Piattaforma di Realtà Virtuale attraverso la quale sono stati resi 'accessibili' alcuni monumenti della città antica di Taranto attualmente non visitabili. Sono stati restituiti alla fruizione tre complessi monumenti della necropoli: le Tombe Gemine di via Sardegna, L'Ipogeo dei Festoni di via Crispi e l'Ipogeo delle Gorgoni di via Otranto. Dal punto di vista tecnologico è stata sviluppata una piattaforma di fruizione Real Time 3D stereoscopica, immersiva, in cui è stato implementato un sistema di navigazione con "interfaccia naturale" dove i comandi sono eseguiti con semplici gesti delle mani. Attraverso questa tecnologia il visitatore del Museo ha la possibilità di attivare un percorso di conoscenza integrata, dai contenuti eterogenei, che permette la fruizione di dati storico-archeologici, archeometrici e spaziali in un ambiente di navigazione iper-realistico dove è possibile interagire con le strutture tridimensionali, interrogare il DataBase interno ed esplorare interattivamente gli oggetti di corredo.
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Questa esperienza si inquadrata nel più ampio contesto del restauro del Villino Florio a Palermo parzialmente distrutto nel 1962 in seguito ad un incendio. Costruito per volere dalla ricca famiglia Florio dall'architetto Ernesto Basile e... more
Questa esperienza si inquadrata nel più ampio contesto del restauro del Villino Florio a Palermo parzialmente distrutto nel 1962 in seguito ad un incendio. Costruito per volere dalla ricca famiglia Florio dall'architetto Ernesto Basile e realizzato tra il 1899 e il 1902 è questa una delle prime opere architettoniche in stile Liberty d'Italia e viene considerato uno dei capolavori dell'Art Nouveau anche a livello europeo. Il restauro, condotto dalla Soprintendenza di Palermo ha interessato anche lo scalone monumentale, con il complesso ramage floreale che ne decorava il soffitto. La mancanza di riferimenti progettuali relativi alla sezione del ramage e di cui esiste solo una documentazione fotografica in bianco e nero, ha portato alla necessità di approfondire la problematica della sua ricostruzione seguendo metodi scientifici nuovi ed avanzati. Il modello 3D del ramage, realizzato dall'ITLab del CNR IBAM di Lecce, costituisce la base informativa necessaria alla successiva realizzazione dell'oggetto reale, eseguita con l'ausilio di macchine a controllo numerico su moduli in legno di rovere, assemblati e rifiniti così come apparivano nelle foto d'epoca. Grazie all'approccio numerico è stato possibile controllare l'intero processo di lavorazione e predisporre adeguate opere di rinforzo strutturale atte a sostenere il notevole peso del soffitto.
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Il presente contributo si propone di affrontare uno studio aggiornato sulla mutatio Valentia, una statio romana con balneum collocata nella Puglia meridionale a metà strada fra Brindisi e Lecce, sul prolungamento della via Traiana.... more
Il presente contributo si propone di affrontare uno studio aggiornato sulla mutatio Valentia, una statio romana con balneum collocata nella Puglia meridionale a metà strada fra Brindisi e Lecce, sul prolungamento della via Traiana. Partendo dai dati di scavo editi e dall'analisi delle strutture ancora conservate, si è cercato di individuare gli elementi utili a delineare una proposta ricostruttiva più accurata, anche in base al confronto con altre simili e coeve strutture presenti nella regione e, in particolare, con il balneum di Malvindi.
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This paper illustrates some results obtained by the ITLab (Information Technologies Lab of IBAM CNR Institute) within two PON (National Operational Program) projects called: "DiCet" and "Siracusa Energia", both financed by national funds.... more
This paper illustrates some results obtained by the ITLab (Information Technologies Lab of IBAM CNR Institute) within two PON (National Operational Program) projects called: "DiCet" and "Siracusa Energia", both financed by national funds. These two projects pursue the objective of defining and producing innovative models, processes, and tools for the sustainable development of a smart territory by capitalizing on its cultural assets and environmental resources, to promote their tourism offer. From this standpoint, some procedures were developed to compile technical models for an efficient management of 3D and 2D resources, and to define best practices and methodical protocols for quality certification and process standardization, capable of fostering cross-sector dialogue. The sites were identified as a function of a supply-and-demand analysis with regard to a placement on the market of innovative models and services based on the creation of hyper-realistic digital models and virtual scenarios. Particular attention was given to those uses that permit greater visibility, protection, and conservation of cultural assets characterized by difficult access, vulnerability, seismic risk, hydro-geological risk, etc. In view of this, innovative models and tools were designed and developed for capitalizing on and exploiting cultural heritage, understood as an integrated and complex system conceived as a holistic model strongly based on the use of ICT technologies. Virtual enjoyment is understood here as a form of representing reality that accelerates and strengthens cognitive capacities, which is to say it becomes capable of generating extremely sensitive, "virtuous virtual" learning processes based on metaphors of the real world, and thus easy to use and understand. Operationally, our working group has made some Augmented Reality solutions available; these enable the interactive display - directly in situ and especially on mobile devices - of archaeological monuments integrated within the urban fabric. A simple solution allows the user to display an interactive 3D reconstruction directly on the real site, using the latest-generation gyroscope function. In addition to this, certain inaccessible monuments of the cities of Lecce and Siracusa have been virtualized, chiefly using image-based technologies and ultra-realistic laser scanning, to allow them to be visited remotely both via smartphone and on large virtual theatres.
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The Graeco-Roman theatre of Catania stands in the heart of the historic centre, on the southeastern slopes of the hill of Montevergine. The building visible today was built during the Julio-Claudian period as part of a programme that saw... more
The Graeco-Roman theatre of Catania stands in the heart of the historic centre, on the southeastern slopes of the hill of Montevergine. The building visible today was built during the Julio-Claudian period as part of a programme that saw the rebuilding of the monument, which probably used structures and materials from the earlier Greek theatre. The work undertaken over more than fifty years, involving expropriation, demolition, excavation, and restoration, has, on the whole, made it possible to bring to light the surviving parts of the theatre, improving the comprehension of this monument, despite the fact that some sectors have been irreparably compromised. Resumen: El teatro greco-romano de Catania se encuentra en el corazón del centro histórico, en las laderas del sureste de la colina de Montevergine. visibles en la actualidad el edificio fue construido durante el período Julio-Claudia como parte de un programa que vio la reconstrucción del monumento, lo que probablemente utiliza estructuras y materiales del teatro griego anterior. El trabajo realizado durante más de cincuenta años, la participación de la expropiación, demolición, excavación y restauración, tiene, en general, hecho posible sacar a la luz las partes sobrevivientes del teatro, la mejora de la comprensión de este monumento, a pesar del hecho de que algunos sectores han sido irremediablemente comprometido.
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The use of cognitive metaphors for the transmission of historical and cultural content is now an indispensable condition in the process of revamping the forms of museum communication. In this project for setting up the new Museo Egizio in... more
The use of cognitive metaphors for the transmission of historical and cultural content is now an indispensable condition in the process of revamping the forms of museum communication. In this project for setting up the new Museo Egizio in Turin, the cultural message has been entrusted to three specific filmed segments in 3D computer graphics, aimed at introducing the subjects dealt with in the rooms dedicated to queen Nefertari, the chapel of the painter Maya, and the tomb of Kha. These are archaeological settings of extraordinary importance for studying and learning about the art and culture of ancient Egypt. In these filmed segments, passive viewing is offset by an emotional approach that engages visitors in an information path where, despite the inactive mode of fruition, they are in some way participants, because they are emotionally involved. The film itself is conceived as a showcase of changeable, heterogeneous digital content, capable of offering a concise, preparatory overview of the finds present in the museum spaces. This passive and "self-explanatory" approach will allow the visitor to understand the relationships between various objects - some not directly visible - like the mummy of Kha and of his consort Merit; to reconstruct the tombs virtually in their original context; but above all, thanks to the techniques of virtual archaeology, to visit these settings as they appeared at the moment they were unearthed. All this was made possible thanks to the use of integrated technologies for rendering and representation, capable of bringing virtualization to a level of verisimilitude that can foster a hyper-realistic "participatory" vision. The high degree of realism of the virtual reconstructions, the visual effects, and the techniques of cinematographic representation add emotion to the scientific content, making a positive contribution towards the visitors "losing themselves" between the real and the virtual dimension.
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This article presents some results achieved by the IBAM CNR for the reconstructive study of the Greco-Roman theater of Taormina, aimed at the realization of a CG film presented at the G7 summit (26-27 May 2017). The reconstruction is... more
This article presents some results achieved by the IBAM CNR for the reconstructive study of the Greco-Roman theater of Taormina, aimed at the realization of a CG film presented at the G7 summit (26-27 May 2017). The reconstruction is currently presented to visitors on display inside one of the two basilicas at the entrance to the theater. The work was commissioned by the archaeological park of Naxos-Taormina and proposes the ancient monument in its original appearance in two distinct phases. The first phase, dating back to the first quarter of the 2nd century AD, involves an impressive renovation, with the expansion of the seating capacity and the construction of an external ambulatory, in addition to the reconstruction of the whole frons scaenae. The second phase is ascribable to the 3rd century, and changes the theater building and the orchestra, with the transformation of the orchestra area into an arena, a testimony to the tendency to replace theatrical performances with gladiatorial games and venationes. Our reconstruction uses rapid 3D relief methodologies based on drone and ground photogrammetry, together with the interpretative potential offered by the 3D modeling environment. This approach has led to some unpublished solutions, such as the solution of the connection of the velarium with the hill supported only by ropes. However, the main objective of this work is linked to understand the architectural of the monument in an overview that places it in its original context and that allows visitors to appreciate the various elements of its originality.
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This paper reports the results of the integrated geophysical surveys performed inside the Monastery of St Chiara in Nardó in southern Italy. Ground-penetrating radar (GPR) and electrical resistivity tomography (ERT) investigations were... more
This paper reports the results of the integrated geophysical surveys performed inside the Monastery of St Chiara in Nardó in southern Italy. Ground-penetrating radar (GPR) and electrical resistivity tomography (ERT) investigations were carried out to find the tomb of Sister Chiara D'Amato, whose location has been lost over the centuries. Sister Chiara Isabella D'Amato was a charismatic and holy figure. She died in 1693. She was buried inside the monastery but her body has never been found. The data acquisition was performed along with a series of closely spaced lines for GPR and using a non-standard array for ERT. Data were processed and visualised as two-dimensional vertical sections and depth slices or three-dimensional volumes (GPR and ERT) to allow an integrated interpretation of the geophysical results. The analysis of the geophysical data sets revealed a series of anomalies that could be ascribed possible archaeological structures, probably related to the earliest ages of the sacred building as well as other anomalies (bedrock, fractures) of presumable natural origin. In particular, one geophysical anomaly was suspected of being connected to burial and consequently further investigated with the use of a video endoscope. The results reveal the presence of a void but it has not yet been clarified whether it is the burial of Sister Chiara or not as it is awaiting the excavation.
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This paper demonstrates how low cost 3D visualization techniques can be easily used for the transmission of historical and cultural content in museum communication strategy. Specifically, we used computer 3D animation graphics to present... more
This paper demonstrates how low cost 3D visualization techniques can be easily used for the transmission of historical and cultural content in museum communication strategy. Specifically, we used computer 3D animation graphics to present information about Queen Nefertari, the Maya chapel and the tomb of Kha in the specific exhibition in the Egyptian Museum of Turin. Movie documentaries support the thematic itineraries of the rooms and offer a virtual trip to the places where the goods displayed were found. The same approach was used for the virtual reconstruction of two Pompeian contexts: the House of the Golden Bracelet and the House of Octavius Quartio. Our research allowed us to create an accurate representation of gardens, statues, architectural spaces, and pools with fountains and frescoed rooms, all virtually reproduced in their original context, using communication methods that combine technology with a synthetic and emotional approach. Techniques of close range photogrammetry made it possible to conduct a 3D survey of sixteen statues and other architectural elements; lost artefacts were reconstructed and areas destroyed by the eruption of 79 AD were evoked. The eruption was partially represented, with fluid dynamic simulations and computer graphics effects in order to transmit accurate scientific information in a simple and immediate language developed by lengthy technical experiments. The synthesis imposed by the short duration of the movie required matching all this information with a self-explanatory approach, which allows the visitor to understand the characteristics of the archaeological goods displayed in the exhibition in a general view that repeats colours, sounds and suggestions of the environments destroyed two thousand years ago.
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The extraordinary organization and technical competence of the ancient Romans in several building fields enabled them to design and build numberless monuments and facilities in order to satisfy any military, civil, religious and... more
The extraordinary organization and technical competence of the ancient Romans in several building fields enabled them to design and build numberless monuments and facilities in order to satisfy any military, civil, religious and entertaining need. Among these structures, the monumental road network and the numerous bridges built along it had a primary role since it permitted to move all over the Empire. This study analizes the construction tecniques adopted at the beginning of the II century A.C. to build the Roman bridges along the Via Traiana, the materials and their architectural caracteristics.
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The church of Santa Maria della Lizza is one of the most important examples of medieval architecture in the Salento Peninsula in south Italy. In order to understand the extension and layout of the crypts, integrated ground-penetrating... more
The church of Santa Maria della Lizza is one of the most important examples of medieval architecture in the Salento Peninsula in south Italy. In order to understand the extension and layout of the crypts, integrated ground-penetrating radar (GPR) prospections and laser scanner surveys were undertaken in the church and in the surrounding areas. The analysis of the GPR measurements revealed many anomalies that could be ascribed to unknown structures (crypts), as well as other anomalies related to the old church. The GPR data were supported by the laser scanner data establishing the spatial relationship between the surface and the level below the church.
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The main aim of this study is to enable the public to enjoy the results of archaeological and archaeometric research, via the web or stand-alone products, and to “virtually visit” the monuments using RealTime 3D visiting systems. The... more
The main aim of this study is to enable the public to enjoy the results of archaeological and archaeometric research, via the web or stand-alone products, and to “virtually visit” the monuments using RealTime 3D visiting systems. The navigation platform allows the user to visualise complex scenes and DVR-based knowledge models in “full-screen mode” even on desktop computers. As well as showing the current state of the monuments, the visit includes reconstructions of previous phases in their history and virtual restorations of the Byzantine paintings. All the textures were obtained by processes of photomodelling and were applied to the geometrical forms in accordance with the radiosity algorithm, with lights and shadows of the ‘area’ type. The result is extremely life-like, almost indistinguishable from reality.
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This work originated from a simple question: is it possible to reconstruct a destroyed architectural decorative element starting from documents that describe its details, shape and constitutive materials? An important limitation in the... more
This work originated from a simple question: is it possible to reconstruct a destroyed architectural decorative element starting from documents that describe its details, shape and constitutive materials? An important limitation in the past was the lack of technologies and materials that could replicate an object like this in detail. Only a few years ago technology was not yet able to ensure accurate reconstruction characterized by an adequate formal aesthetic level both in terms of materials and finishes. Nowadays, this gap has been filled thanks to the development of Computer Numerical Control machines (CNC) in production processes. In this contribution, we present part of the restoration of Villino Florio in Palermo, built by the architect Ernesto Basile on behalf of the Florio family between 1899 and 1902 and partially destroyed by a fire in 1962: it is one of Italy's first architectural works in the Art Nouveau style, and is considered a masterwork within the European panorama. The restoration, directed by the Soprintendenza BB.CC.AA. di Palermo, also involved the monumental staircase, with a complex wooden floral pattern ("ramage") used to decorate the ceiling. Starting from the relief of the environment and from the old photographic documents, a 3D model of the ramage was retrieved. This formed the basis of information necessary for the subsequent reproduction of the subject with CNC machines on oak modules, assembled and finished just as they appeared in the photographs before the fire. A numerical approach made it possible to control the entire process by adopting structural solutions to avoid overloading the ceiling with excessive weight.
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In the present project for the setting of the new Museo Egizio of Turin the "cultural message" has been charged to make a few specific 3D computer graphic (CG) movies, and aims to introduce the topics dealt with the rooms dedicated to... more
In the present project for the setting of the new Museo Egizio of Turin the "cultural message" has been charged to make a few specific 3D computer graphic (CG) movies, and aims to introduce the topics dealt with the rooms dedicated to queen Nefertari, the chapel of the painter Maia and the tomb of Kha, respectively. In these movies, the passivity of viewing is counteracted with an emotional approach that involves the visitor within an informative path where, despite of the inactive kind of interaction, the viewer is somehow involved in the events because he or she is emotionally invested in them. Thanks to this passive and "self-explaining" approach, the visitor will be enabled to understand the relations between different objects, some of which are not directly visible. Moreover, the visitor will be able to virtually insert the tombs within their original context and above all will have the possibility to visit them as they appeared at the moment of their discovery. This has been made possible thanks the use of integrated technologies of representation, able to enhance the virtualization process to a verisimilar level allowing a hyper-realistic and "participative" vision. The high level of realism of the virtual reconstruction, the visual effects and the cinematographic representation, with added emotions to the scientific contents, positively contribute to the "dreamlike displacement" of the visitor between the real and the virtual dimensions.
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The paper illustrates the results of the research carried out by PON In-Cul.Tu.Re. Project (INnovation in CULture, TUrism and REstoration) on the church of Santo Stefano in Soleto (Lecce, Italy). A multidisciplinary study has been carried... more
The paper illustrates the results of the research carried out by PON In-Cul.Tu.Re. Project (INnovation in CULture, TUrism and REstoration) on the church of Santo Stefano in Soleto (Lecce, Italy). A multidisciplinary study has been carried out in order to increase the knowledge of the church, through non-invasive diagnostic tests, and to monitor the state of conservation of the building. An Augmented Reality virtual tour has been created through the use of Information and Communications Technologies in order to enhance the church knowledge and make it more accessible to the public.
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This paper describes a complete path of research, which, starting from analysis and restitution 3D, gets to the virtual exploration of Hypogeum Palmieri in Lecce, a monument of Messapian age (4th century BC) currently not visible by... more
This paper describes a complete path of research, which, starting from analysis and restitution 3D, gets to the virtual exploration of Hypogeum Palmieri in Lecce, a monument of Messapian age (4th century BC) currently not visible by tourists, as it is located in the garden of a private home. This project is developed under the DICET, an Italian National Operative Program, that aims to define and produce innovative models, processes, and tools for the sustainable development of a smart territory by capitalizing on its cultural and environmental resources, and marketing their touristic offerings. The instrumental survey of the Palmieri hypogeum was executed using two different methods, laser scanner and digital photogrammetry, in order to get a high metric control of the monument and high-resolution textures for the sculpted friezes. The two different survey methods allowed a perfect porting on different outputs: the 3D real time visit on the web and virtual visit on portable devices. A stereoscopic animation, installed at the museum MUST (Historic Museum of Lecce) Lecce, provides an easy diffusion of the cultural message. The richness of the textures and the resolution of the models has allowed the study of the monument from a morphological and structural point of view. The virtual reconstruction contributes to read an unpublished part of monumental tombs in Messapian age. Thanks to a cinematic approach with a great scientific rigor, the historical competence of an ordinary visitor is now largely formed on information coming from these media, thus creating a great increase in the demand for products with a high technological content and popularising historical re-evocations and reconstructions of the past.
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One of the main activities of MAIER - Italian Archaeological Mission at Hierapolis - has been the development of a research line aimed at the virtual restoration and the three-dimensional restitution of ancient buildings in the roman city... more
One of the main activities of MAIER - Italian Archaeological Mission at Hierapolis - has been the development of a research line aimed at the virtual restoration and the three-dimensional restitution of ancient buildings in the roman city of Hierapolis of Phrygia, in Turkey. The project, named "Virtual Hierapolis," has gradually articulated in the last three seasons of excavation (years 2007-2009) and developed from early experiences of Virtual Reality conducted on the same site during previous years. The research, coordinated by the Director of the italian mission, prof. F. D'Andria, and conducted within the Information Technologies Lab (ITLab) of the IBAM-CNR in Lecce, involves heterogeneous research units engaged in field work, restoration and interpretation of data.
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Lo studio ricostruttivo di un monumento antico risente fortemente di lacune informative, errata trascrizione delle fonti, errata traduzione o peggio ancora, di interpretazioni soggettive che possono compromettere drasticamente il... more
Lo studio ricostruttivo di un monumento antico risente fortemente di lacune informative, errata trascrizione delle fonti, errata traduzione o peggio ancora, di interpretazioni soggettive che possono compromettere drasticamente il risultato finale, portando a ricostruzioni anche notevolmente diverse tra di loro. Questo lavoro vuole presentare i risultati di uno studio ricostruttivo condotto filologicamente su alcuni monumenti di Siracusa in età greca, cercando di evidenziare il contributo specifico dell'archeologia virtuale nei processi interpretativi, al fine di proporre una presentazione efficace rivolta ad un target specifico di turisti. Seguendo questo approccio sono stati ricostruiti il Tempio di Apollo, il complesso monumentale di piazza Duomo ed il Teatro greco, cercando di fornire output di visualizzazione che fossero adeguati ad una consultazione da smartphone e coerenti alle finalità generali del progetto "PON Energia Smart City". Questo progetto prevede un approccio "smart" alla visita di Siracusa, privilegiando principalmente logiche di fruizione efficiente on-site grazie all'adozione di tecnologie basate sulla Realtà Aumentata, la visione dei monumenti da punti inusuali e la visita virtuale multimodale dei punti di interesse. Emerge da questo studio la nuova fisionomia di quei monumenti che, per motivi diversi, sono stati rappresentati negli anni in forme e modi del tutto differenti, tali da rendere a volte irriconoscibili le diverse ricostruzioni dello stesso oggetto. Grazie alle tecnologie di restituzione 3D basate sull'immagine è stato possibile integrare le parti mancanti di alcuni elementi architettonici e scultorei che, ricollocati virtualmente nella posizione originaria, permettono una lettura dinamica che combina l'aspetto reale con quello virtuale.
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As often happens, many monuments are affected, for various reasons, by an inevitable trouble: the artefacts preserved inside them until the discover have been brought into some museum, because (e.g.) the monumental structures had to be... more
As often happens, many monuments are affected, for various reasons, by an inevitable trouble: the artefacts preserved inside them until the discover have been brought into some museum, because (e.g.) the monumental structures had to be restored (in most cases with provisional works) in order to prevent their collapse. One consequence of this moving is the de-contextualization of the grave goods and the nonvalorisation of monumental archaeological contexts. An effective solution for these issues can be achieved from the use of technologies that allow the virtual enjoyment of these monuments and the virtual set-up of the grave goods in their original contexts. This paper presents the project “Marta Racconta. Storie Virtuali di Tesori Nascosti”, co-financed by the Fondazione Cassa di Risparmio di Puglia, carried out by CNR-IBAM (Lecce, Italy) in order to provide the installation of a Virtual Platform in the National Archaeological Museum of Taranto (MARTA). The main purpose of this project is to make ‘accessible’ ancient monuments from the Greek Taras (the ancient Taranto) currently inaccessible to visitors. These are: the Tomb of the Athlete of Taranto, Tomb of the Festoons, and the Hypogeum of the Gorgons, was discovered some years ago in Via Otranto. From a technological point of view, we have developed a Real Time 3D platform for a stereoscopic immersive visit, in which a navigation system with ‘natural interface’ was implemented, where the commands are executed with simple hand gestures. Through this technology, the visitor will have the opportunity to follow a path of integrated knowledge starting from heterogeneous contents, which will allow the access to historical and archaeological data, the archaeometric analyses and the spatial navigation within a hyperrealistic environment where it will be possible to interact with the three-dimensional structures, to query the Database and to explore, interactively, the funerary finds.
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This paper describes the results obtained in two different projects for museum communication aimed at digital restoration and enjoyment at a distance of some artworks of Giovanni Todisco form Abriola. The first project was promoted in the... more
This paper describes the results obtained in two different projects for museum communication aimed at digital restoration and enjoyment at a distance of some artworks of Giovanni Todisco form Abriola. The first project was promoted in the year 2005 by the Municipality of Abriola (Potenza, Italy) and the Basento Camastra Local Action Group as part of the "Cammini d'Europa" project (Asse Il Cooperazione transnazionale). It was conducted in collaboration with Officina Rambaldi, an international team of professionals headed by Carlo Rambaldi, Oscar winner for special effects. The objective of this study is basically museographical, Le. to promote knowledge and virtual exhibition of the works of two great artists of the 16th and 17th centuries, Giovanni and Girolamo Todisco da Abriola. The starting point of this knowledge itinerary is the Sanctuary of Monteforte, in Abriola, virtually reconstructed in 3D using image-based technologies with particular reference to photomodelling which were integrated into a navigation engine for Real Time 3D content. The overall management of the data on a web-based platform enables the distance viewing of works and places, including the Sanctuary and its geographical context. It also gives access to a pool of heterogeneous information (interactive spherical panoramas, texts, videos, Flash and Shockwave animation, etc.). The use of accurate 3D models enables highly realistic three-dimensional navigation, which is made even more convincing and engaging by the adoption of stereoscopic viewing systems. The project was officially presented to the public only in February 2011, demonstrating the continuing validity and communicative effectiveness of this by-now consolidated technology in terms of both communication and distance viewing of contexts of historical and archaeological interest. The second project regarding the virtual reconstruction of the pictorial cycles located in the monastery of Santa Maria di Orsoleo in Sant'Arcangelo (Potenza) detached from their original context in 1973 for protection purpose. The extraordinary frescoes that were found along the walls of the cloister depict stories the life of the Virgin and Christ, allegorical scenes, episodes from the life of St. Francis and greatest triumphs of life and death. The virtual development is part of the project for conversion of the monastery in Scenographic Museum of the spirituality. The reconstruction process is aimed at re-contextualization of the frescoes through a three-dimensional restitution of cloister using image-based techniques and camera mapping texture mapping. The result has allowed us to view the complete cycles in the original context, and the visitors to understand all the extraordinary expressive force of this artist, symbol of the Lucan Renaissance.
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Founded in Sicily by the Corinthians in 733 BC, Siracusa was the birthplace of poets and thinkers as Epicharmus and Archimedes, visited by many prominent figures of Greek culture as Pindar, Aeschylus and Plato, and over centuries it... more
Founded in Sicily by the Corinthians in 733 BC, Siracusa was the birthplace of poets and thinkers as Epicharmus and Archimedes, visited by many prominent figures of Greek culture as Pindar, Aeschylus and Plato, and over centuries it became one of the most prominent cities of the Greek Mediterranean. Nonetheless, regardless the historical background and the imposing visible remains of that past emerging everywhere in the actual urban area, Siracusa, since 2005 World Heritage site, has never played the role of quintessential archetype of Greek city in the mainstream. Against this scenario a proper action of historical revisionism over all the media should be undertake for recovering the neglected heritage of ancient Siracusa in order to restitute to this once splendid archetype of Greek culture the deserved role of key-site. This paper elucidates a virtual archaeology project, undertaken by a team of scholars of the IBAM-CNR and The Arcadia University - TCGS, aimed to the digital reconstruction of Ortigia, the core district of the Greek Syracuse. The main goal of this exercise has been the production of the 3D documentary ‘Siracusa 3D reborn’, that represents an original advance in the knowledge of the Greek background of the city. In this perspective, the choice of providing ‘passive’ cognitive tools embedded with communicational and emotional components did not affected the scientific accuracy with which the reconstructive process has been carried out. Main monuments of Ortigia are described and analyzed in the context of a full 3D stereoscopic representation employing techniques of modern cinema industry for elucidating and explaining its historical and archaeological characteristics. The reconstructive workflow followed a meticulous methodological plan based on the published data and aimed to define a previously unavailable topographic profile of the city, portrayed in two main chronological phases, Archaic and Late Classical.
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With ancient monuments, it often happens that following their discovery components of them have to be moved, albeit temporarily, to museums in order to carry out restoration work. In the case of funerary contexts, a consequence of this is... more
With ancient monuments, it often happens that following their discovery components of them have to be moved, albeit temporarily, to museums in order to carry out restoration work. In the case of funerary contexts, a consequence of this is the de-contextualization of grave goods and furnishings, making it impossible to convey the significance of the archaeological monument as a whole. An effective solution to this problem can be achieved by using technology to provide virtual experiences in which the grave goods, for example, are virtually restored to their original contexts. This paper presents the "Marta Racconta. Storie Virtuali di Tesori Nascosti" project, co-financed by the Fondazione Cassa di Risparmio di Puglia, undertaken by CNR-IBAM (Lecce, Italy) in order to install a virtual platform in the National Archaeological Museum of Taranto (MARTA). The project aims to make 'accessible' ancient monuments from the Greek Taras (the ancient Taranto), such as the Twin Tombs Monumental Complex, the Tomb of the Festoons, and the Hypogeum of the Gorgons, discovered some years ago in Via Otranto. The first two of the these monuments are closed to the public, while the third was filled in and is currently located below a road. From a technological point of view, a real time 3D platform for immersive stereoscopic visiting was developed, with a navigation system using a 'natural interface' and commands executed with simple hand gestures. Using this technology, visitors will be able to follow an integrated knowledge itinerary based on heterogeneous content including historical and archaeological data and the results of archaeometric analyses. This involves spatial navigation within a hyper-realistic environment where it will be possible to interact with the 3D structures, to query the database and to interact with the grave goods.
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The methodology described in this article was developed in connection with two different projects and entails texture mapping by time-of-flight laser scanner. In order to verify its operational effectiveness and applicability to other... more
The methodology described in this article was developed in connection with two different projects and entails texture mapping by time-of-flight laser scanner. In order to verify its operational effectiveness and applicability to other contexts, sites with extremely different morphological characteristics were studied. The basic rationale of this simple method derives from the need to obtain different types of mapping - including RGB real colour images, infra-red images, false colour images from georadar scans, etc. - from the same scanned surface. To resolve this problem, we felt that the most appropriate step was to obtain a UVW mapping based on the high resolution real colour images and then use the same coordinates to rapidly map the false colour images as well. Thus we fitted a device to the camera to determine its trajectory (similar to a gunsight); when scanned by the laser scanner in the same context as the monument, it makes it possible to know the exact coordinates of the viewpoint.
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The ignorance or the mis-knowledge of the archaeological background of a modern city can affect its economy and cultural growth, limiting attractivity and spreading erroneous or distorted messages over media. The case of Syracuse (Sicily,... more
The ignorance or the mis-knowledge of the archaeological background of a modern city can affect its economy and cultural growth, limiting attractivity and spreading erroneous or distorted messages over media. The case of Syracuse (Sicily, Italy) is emblematic. Founded by the Corinthians in 733 BC, birthplace of poets and thinkers as Epicharmus and Archimedes, visited by many prominent figures of Greek culture as Pindar, Aeschylus and Plato, Syracuse over centuries became one of the most beautiful, influential and wealthy among the Greek cities of the Mediterranean basin, as the majestic temples testified. Nonetheless, regardless the historical background and the imposing visible remains of that past emerging everywhere in the actual urban area, Syracuse, since 2005 World Heritage site, has never played the role of quintessential archetype of Greek city both in the scientific literature and the mainstream. Against this scenario a proper action of historical revisionism over all the media should be undertake for restoring the neglected heritage of ancient Syracuse. A starting point is represented by a virtual archaeology project, undertook by a team of scholars of IBAM-CNR and Arcadia University-TCGS, aimed to the overall digital reconstruction of Ortigia, the core district of the Greek Syracuse, and to the production of a 3D documentary entitled ‘Siracusa 3D reborn’, that represents a pivotal advance in the knowledge of the Greek background of the city in terms of communication. This paper aims to present the frame of open issues related to knowledge, local perception, presentation to public and interpretation of the Greek heritage of Syracuse and to explain how the ‘Siracusa 3D reborn’ can give a significant contribution to start up new developmental policies.
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The Messapian necropolis of Monte D’Elia is related to one of the most important ancient settlements in the Salento Peninsula (in south Italy). In order to understand the extension and layout of this necropolis in the various periods of... more
The Messapian necropolis of Monte D’Elia is related to one of the most important ancient settlements in the Salento Peninsula (in south Italy). In order to understand the extension and layout of this necropolis in the various periods of its use, a ground-penetrating radar (GPR) prospection was undertaken in some important sample areas by a team of the Institute for Archaeological and Monumental Heritage of the National Research Council of Italy. The analysis of the GPR measurements revealed many anomalies that could be ascribed to archaeological structures (tombs), as well as other anomalies of presumable natural origin or referable to modern features. The data collected were georeferenced in the digital archaeological map of the site and integrated with a virtual reconstruction of the surveyed area.
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San Cataldo (Lecce, Italy) is located on the Adriatic sea coast, about 10 km east from Lecce, in Apulia (Puglia) region. Since ancient times it was an important departure and landing place for trades and travels between the two shores of... more
San Cataldo (Lecce, Italy) is located on the Adriatic sea coast, about 10 km east from Lecce, in Apulia (Puglia) region. Since ancient times it was an important departure and landing place for trades and travels between the two shores of the Adriatic Sea. A clear evidence of it is the presence of a Roman pier, whose remains are currently partially visible. They were studied by recent multidisciplinary researches, outlining their technical construction features and the ancient topography of the surrounding area. Starting from the analysis of San Cataldo coastal landscape in ancient ages, this contribution is firstly focused to illustrate the evolution of the port in medieval times, when the resuming of long-haul commercial traffic led the port to be an important landing place for the Adriatic routes again. At this time, the old Roman pier was restored and protected by a coastal tower. After a long period of abandon, the document analyses the transformations occurred between the 19th and 20th centuries, when it was built: a lighthouse, a new pier, close to the old one, a tramway. This ensured a fast connection between Lecce and its seashore. In the second half of the 20th century, a new tourist vocation finally replaced the commercial one for San Cataldo, leading to overbuilding events that characterise the current coastal landscape.
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This article presents some results achieved by the IBAM CNR for the reconstructive study of the Greco-Roman theater of Taormina, aimed at the realization of a CG film presented at the G7 summit (26-27 May 2017). The reconstruction is... more
This article presents some results achieved by the IBAM CNR for the reconstructive study of the Greco-Roman theater of Taormina, aimed at the realization of a CG film presented at the G7 summit (26-27 May 2017). The reconstruction is currently presented to visitors on display inside one of the two basilicas at the entrance to the theater. The work was commissioned by the archaeological park of Naxos-Taormina and proposes the ancient monument in its original appearance in two distinct phases. The first phase, dating back to the first quarter of the 2nd century AD, involves an impressive renovation, with the expansion of the seating capacity and the construction of an external ambulatory, in addition to the reconstruction of the whole frons scaenae. The second phase is ascribable to the 3rd century, and changes the theater building and the orchestra, with the transformation of the orchestra area into an arena, a testimony to the tendency to replace theatrical performances with gladiatorial games and venationes. Our reconstruction uses rapid 3D relief methodologies based on drone and ground photogrammetry, together with the interpretative potential offered by the 3D modeling environment. This approach has led to some unpublished solutions, such as the solution of the connection of the velarium with the hill supported only by ropes. However, the main objective of this work is linked to understand the architectural of the monument in an overview that places it in its original context and that allows visitors to appreciate the various elements of its originality.
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Questo articolo presenta alcuni risultati conseguiti dall'IBAM CNR per lo studio ricostruttivo del teatro greco-romano di Taormina, finalizzato alla realizzazione di un film di CG presentato al vertice del G7 (26-27 maggio 2017). La... more
Questo articolo presenta alcuni risultati conseguiti dall'IBAM CNR per lo studio ricostruttivo del teatro greco-romano di Taormina, finalizzato alla realizzazione di un film di CG presentato al vertice del G7 (26-27 maggio 2017). La ricostruzione è attualmente presentata ai visitatori su display all'interno di una delle due basiliche all'ingresso del teatro. L'opera è stata commissionata dal parco archeologico di Naxos-Taormina e propone l'antico monumento nel suo aspetto originale in due fasi distinte. La prima fase, risalente al primo quarto del II secolo d.C., interessa una imponente ristrutturazione, con l'ampliamento della capacità ricettiva e la costruzione di un ambulacro esterno, oltre alla ricostruzione di tutti i frons scaenae. La seconda fase ascrivibile al III secolo apporta modifiche all'edificio teatrale e all'orchestra, con la trasformazione dell'area dell'orchestra in arena. Testimonianza questa di una tendenza a sostituire le rappresentazioni teatrali con giochi gladiatori e venationes. La nostra ricostruzione utilizza metodologie speditive di rilievo 3D basate su fotogrammetria da drone e da terra, insieme alle potenzialità interpretative offerte dall'ambiente di modellazione 3D. Questo approccio ha portato ad alcune soluzioni inedite. L'obiettivo principale di questo lavoro è comunque legato alla comprensione delle caratteristiche architettoniche del monumento, in una visione d'insieme che lo inquadri nel contesto originario e che consenta ai visitatori di apprezzarne gli elementi di originalità.
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The Santa Maria dellʼAlto tower in Nardò (Lecce, Italy) represents one of the many types of coastal towers of the ancient Terra dʼOtranto province. It was built between 1568 and 1569 becoming part of the defensive system of the Ionian... more
The Santa Maria dellʼAlto tower in Nardò (Lecce, Italy) represents one of the many types of coastal towers of the ancient Terra dʼOtranto province. It was built between 1568 and 1569 becoming part of the defensive system of the Ionian coast of Salento against the Turkish threat. The architectural survey ad analysis of the tower allowed us to investigate constructive elements, wall discontinuities, additions, subtractions and functional modification in order to understand the phases and the change of the structure over the centuries. Digital photogrammetry and infrared photography have been useful to elaborate a mapping of all the surface degradation and of the different construction materials. The information collected will be used for a restoration and environmental qualification project in order to offer new features to a building abandoned for years. The final phase of the work involved the creation of contributions in 3D Computer Graphics to offer a graphic and documented visualization of the achieved results.
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The Monastery of S. Chiara of Nardò, the oldest in southern Italy, was erected in 1256, only three years after the birth of St. Chiara in heaven. It was Tommaso Gentile, Count of Nardò, who opened the doors of the medieval city walls to... more
The Monastery of S. Chiara of Nardò, the oldest in southern Italy, was erected in 1256, only three years after the birth of St. Chiara in heaven. It was Tommaso Gentile, Count of Nardò, who opened the doors of the medieval city walls to receive the first Clarisse nuns. Following the example of Mother St. Chiara, many young women over the centuries have consecrated their lives at the service of the Lord and of the brothers in the cloister, generous and holy souls among whom Sister Chiara Isabella D'Amato of Seclì, who died in the concept of holiness. A study was undertaken in some areas inside of the Monastery to investigate the buried archaeological structures. The ground-penetrating radar analysis showed them to be anomalies likely associated with archaeological remains.
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In this contribution, a multidisciplinary investigation regarding the Roman Amphitheatre in Lecce, southern Italy, is be proposed. In particular, GPR prospecting combined to passive seismic measurements and with a virtual reconstruction... more
In this contribution, a multidisciplinary investigation regarding the Roman Amphitheatre in Lecce, southern Italy, is be proposed. In particular, GPR prospecting combined to passive seismic measurements and with a virtual reconstruction of the monument allows deducing some important features of the monument, unknown before. In particular, this is a monument only partially brought to light, and part of it lies under the current Saint Oronzo's Square. We have investigated about the part still undiscovered of the amphitheatre.
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The paper presents the results of the studies carried out on the Roman baths of Malvindi in the Mesagne (Br) countryside, a site only partially investigated but that offers interesting historical, topographic and constructive data for its... more
The paper presents the results of the studies carried out on the Roman baths of Malvindi in the Mesagne (Br) countryside, a site only partially investigated but that offers interesting historical, topographic and constructive data for its exceptional state of conservation. The first information on the presence of the structure dates back to the late 19th century, but the first archaeological investigations were carried out in the second half of the 80s by the Archaeological Superintendence of Puglia. A frigidarium with its small pool and two hot rooms, a tepidarium and a sudatoriwn, were brought to light and freed from the fragments of the vaults. The technical analysis of the structures, together with the archaeological finds documented during the excavations, shows the presence of different phases of use and the elaboration of a reconstructive proposal aims to highlight the changes with their relative internal paths. The study also aims to arise new attention on a neglected site, to stimulate the planning of urgent restoration and excavation interventions in the remaining portions of the complex, and to have new data both for a better understanding of the architectural development of the Roman bath, and for a more precise definition of the role played in the context of a territory rich of archaeological evidence.
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Il contributo illustra gli studi condotti sulla latrina occidentale delle terme centrali della città romana di Aquinum, scoperta nell’estate del 2012 nel corso della IV campagna di indagini archeologiche. Di notevole interesse è stato il... more
Il contributo illustra gli studi condotti sulla latrina occidentale delle terme centrali della città romana di Aquinum, scoperta nell’estate del 2012 nel corso della IV campagna di indagini archeologiche. Di notevole interesse è stato il prezioso rinvenimento di numerosi frammenti marmorei delle sellae pertusae durante lo scavo del canale fognario interno. Il dettagliato rilievo dei singoli elementi ha consentito di ricomporre parte delle sedute originali, di ricostruire il sistema di fissaggio e infine di pianificarne il restauro e il ricollocamento nell’ambiente. L’elemento decorativo che contraddistingue la latrina è il suggestivo mosaico pavimentale figurato in tessere bianche e nere (metà del II sec. d.C.), che ritrae una scena nilotica con symplegma. Tutti i dati raccolti hanno avuto una loro sintesi nell’elaborazione di una proposta ricostruttiva dell’ambiente, in grado di offrire una visione verosimile dell’originario aspetto dell’antica latrina.
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The pier of San Cataldo (Lecce, Italy) is located along the Adriatic coast about 10 km east-northeast of the ancient city of Lupiae, (today's Lecce), and is the best-preserved port structure of the Roman Age in Apulia. It was researched... more
The pier of San Cataldo (Lecce, Italy) is located along the Adriatic coast about 10 km east-northeast of the ancient city of Lupiae, (today's Lecce), and is the best-preserved port structure of the Roman Age in Apulia. It was researched between 2004 and 2007 by the Laboratory of Topography and Photogrammetry (LabTAF) of the University of Salento, who produced a detailed analysis of the remain and a survey of the portion still visible on the mainland. At the same time, aerial surveys and the study of historic aerial photos from the 1940s and 50s supported a topographic study of the site. Since 2013, within the activities of the LabTAF, the structure has been the subject of an excavation campaign where a further portion of the pier was discovered in the mainland, and the underwater remains were documented. This contribution aims to emphasise the importance of collecting complete metric and historical-archaeological data for a proper three-dimensional (3D) reconstruction of the structure. On this occasion a photogrammetric survey was conducted and a 3D image-based model created that has become the starting point of the reconstruction hypothesis of the pier and its topographical context. The final model represents a reasonable synthesis of the interpretation of the collected data, and serves as a starting point for tackling the future integration or modification of the structure.
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The pier of San Cataldo (Le), located along the Adriatic coast about 10 Km from the ancient city of Lupiae, is the best preserved port structure of the Roman Age in Apulia. An initial survey, conducted between 2004 and 2007 by the... more
The pier of San Cataldo (Le), located along the Adriatic coast about 10 Km from the ancient city of Lupiae, is the best preserved port structure of the Roman Age in Apulia. An initial survey, conducted between 2004 and 2007 by the Laboratory of Topography and Photogrammetry of University of Salento, allowed a direct analysis of the remains and the elaboration of a detailed survey of the visible portion on the mainland. Since 2013, the structure has been the subject of an excavation campaign: a further portion of the pier about 20 m longer was discovered at the end on the mainland, and, the underwater remains were revealed for a linear length of about 70 m. The use of aerial photography was very helpful for archieving the expected result of the exhaustive and complete research: the creation of a photogrammetric survey and the realization of a 3D Image-Based model for a through understanding of the monument.
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The fast evolution of digital technologies and techniques of data recording have had a great impact on archaeological research. The first effect of this revolution was an increased number of strongly technologically oriented projects and... more
The fast evolution of digital technologies and techniques of data recording have had a great impact on archaeological research. The first effect of this revolution was an increased number of strongly technologically oriented projects and applications. Among all available solutions, the use of 3D models is particularly relevant for the reconstruction of sites and monuments poorly preserved, often destroyed by natural causes or human action. These digital replicas are, at the same time, a virtual environment that can be used as a tool for the interpretative hypotheses of archaeologists and an effective medium for a visual description of the cultural heritage as it crosses linguistic barriers. In this paper, methodology, aims and outcomes of a virtual reconstruction of the ancient harbour at St. Cataldo (Lecce, south Italy) carried out by Portus Lupiae Project of the University of Salento, are offered as case study for a virtual reconstruction of a long maritime activity. The use of 3D technologies for teaching and research as well as the post-processing and implementation of data generate a new digital workflow for sharing local culture.
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I tragici eventi che caratterizzarono gli anni della 1a Guerra Mondiale, lasciarono segni indelebili nella storia italiana ed europea, che ancora oggi - a poco più di un secolo di distanza - appaiono tangibili nei numerosissimi monumenti... more
I tragici eventi che caratterizzarono gli anni della 1a Guerra Mondiale, lasciarono segni indelebili nella storia italiana ed europea, che ancora oggi - a poco più di un secolo di distanza - appaiono tangibili nei numerosissimi monumenti ai caduti presenti nelle piazze di piccole e grandi città. Il centenario della Guerra del 1915-1918, celebrato in Italia con varie iniziative di carattere commemorativo e culturale, è stata l'occasione per accendere una nuova luce sulle dinamiche storiche di un periodo - in parte adombrato dal successivo evento bellico mondiale - che ebbe pesantissime ripercussioni sociali. In occasione dei 100 anni dall'inaugurazione del monumento ai caduti di Alezio, che si compì il 1° luglio 1922, si è voluto affrontare una ricerca storica che andasse a ripercorrere, esaminandole nel dettaglio, le tappe che scandirono quel processo di elaborazione della memoria e del lutto della comunità aletina, in cui venne per la prima volta a realizzarsi un cerimoniale di ricordo collettivo. Esso viene analizzato non solo nelle sue peculiarità, ma anche all'interno di un contesto più ampio, confrontando e definendo le forme con le quali le varie cittadinanze giunsero a codificare metodi e retoriche funzionali all'elaborazione condivisa del lutto.
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La ricerca di questo contributo mira a definire il contesto storico, economico e sociale nel quale sono nate, sviluppate ed evolute le due fiere storiche di Gallipoli, quella di Sancto Petro et Paulo allestita il 29 giugno nei pressi... more
La ricerca di questo contributo mira a definire il contesto storico, economico e sociale nel quale sono nate, sviluppate ed evolute le due fiere storiche di Gallipoli, quella di Sancto Petro et Paulo allestita il 29 giugno nei pressi della chiesa di S. Pietro dei Samari e quella di Sancta Maria de mezo agosto del 15 agosto che si svolgeva nello spiazzo antistante la chiesa di S. Maria della Lizza. Presenti entrambe nel territorio sin dalla tarda età medievale, le fiere intrapresero percorsi differenti che portarono la prima a cambiare luogo, denominazione e data, e la seconda a rimanere sostanzialmente immutata nel corso dei secoli e tale da giungere dopo circa seicento anni sin ai nostri giorni, nel pieno della sua rinnovata vitalità.