3d Reconstructions in Archaeology

Upon visiting the megalithic site of Ħaġar Qim in Malta, one is immediately struck by the fine workmanship of the remaining façade. However, studies on remains of a model discovered in another local megalithic site which represents a megalithic façade, indicated that today’s Ħaġar Qim façade is none other than a fraction of what should have been the original façade. A previous study showed the virtual reconstruction of the original Ħaġar Qim façade in its original setting [1]. This paper represents the visualisation of computer simulations of various lighting conditions on this construction. The façade was exposed to natural sunlight at the earliest hours of the day, followed by mid day lighting conditions leading to dusk and sunset simulations. Further to this, a hypothetical artificial fire light was also simulated and represented at various positions.
Since this is the first virtual 3D model of the Ħaġar Qim façade, it is also the first occasion to be able to view this magnificent entrance way in various situations in which the real Ħaġar Qim façade could have been visualised around 5500 years ago but cannot be experienced today.

The will to recreate a graphic reconstruction of a lost architecture (as well as a transformed, or damaged, or never built one) asks to make logic investigations, putt ing together all the possible evidences. This process needs an accurate work of reading the project: the intents of the original designer. The actual digital 3D modelling tools allow to reconstruct and give communicative strength to just formulated hypothesis, but they must be clearly aimed to verify and test these ideas, in a sort of reverse design process, oriented to find back the choices of past architects and constructors.

Lighthouses are considered part of our industrial heritage in that they are an infrastructure at the service of navigation, an
indispensable nocturnal signalling system for navigators and a useful landmark for both maritime and air traffic.
The lighthouses in question belong to the Demanio Marittimo Militare, a department of the Italian Navy. They are still
relatively unknown and above all they are not easily accessible. For decades now numerous lighthouses, including the
buildings around them used by the lighthouse managers, have stopped working and have been completely decommissioned
and abandoned. For this reason it was considered useful to conduct a scientific study of this valuable form of heritage linked
to the navigation industry, in order to obtain first-hand knowledge of it and to highlight its true value.
The work focuses on the study of four lighthouses located in Puglia in the South-East of Italy, in the area formerly known as
Terra d’Otranto (covering the modern-day provinces of Lecce, Brindisi and Taranto). The lighthouses studied include those
of San Cataldo (near Lecce), Punta Palascìa (near Capo d’Otranto, the most easterly point of Italy), Capo Santa Maria di
Leuca and the island of Sant’Andrea near Gallipoli.
From the methodological point of view, the present study is an example of a low-cost approach to the problem of
documenting and promoting archaeological and architectural heritage items. Specifically, the aim is to create a DVR
(Desktop Virtual Reality) platform to enable the public to enjoy heterogeneous digital content at a distance, available both online
and off-line, derived from the study of architectural characteristics and the analysis of existing documentation on the
Terra d’Otranto lighthouses. The individual items under study were surveyed using Digital Photogrammetry (Photomodelling)
techniques and re-created in three dimensions. All the data available (archival, bibliographical, photographic,
iconographic, etc.) are connected to the three-dimensional object, which thus constitutes the informational basis of the entire
platform, conceived as a 3D DataBase.
The ultimate objective is to find a valid methodological framework for the creation of a virtual thematic museum, or
“Lighthouse Museum”, starting with the site on the island of Sant’Andrea near Gallipoli, home of a now decommissioned
lighthouse, but also a site of considerable historic, archaeological and environmental importance.

For diagnosing eye diseases the structure analysis of structure Optic Nerve Head (ONH) and registration of retinal images are very important. So this paper proposed the 3D construction and registration of retinal images. The previous reconstruction method states disparity map estimation as a depth cue to remove uncertainty of the relative positions and then by using guided filter final depth map can be obtained. The red cyan anaglyph can be computed by using this depth map and 3D structure of ONH can be constructed. After reconstruction we are going to find glaucoma detection. Early diagnosis and optimal treatment have been shown to minimize the risk of visual loss due to glaucoma. The glaucoma detection phase of work consist of feature extraction followed by calculation of performance parameters.

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.

Као једна од најважнијих установа културе на југу Србије, Народни музеј у Лесковцу је од првих пројеката израде 3Д архитектонских реституција појединих целина Царичиног града пружао поуздану логистику и подршку свим подухватима из те категорије, нарочито у време спровођења преломног пројекта Architectura Justinianica 2006–2007. године, када су резултати промовисани кроз истоимену изложбу и каснију публикацију (Ivstiniana Prima – Caričin Grad)  као и научним радовима у гласилу музеја, Лесковачком зборнику. Након готово две деценије праћења и промовисања пројеката 3Д реконструкције и дигитализације Царичиног града у мултимедији, Лесковачки зборник је дао простора за приказ пресека у достигнутом обиму и даљем управљању значајним корпусом израђене 3Д дигиталне документације. Тиме угледно гласило Народног музеја даје неспорни допринос отварању и развијању дискусије у ученој јавности о питањима која су последњих година веома актуелизована у свету а тичу се судбине оствареног огромног 3Д фонда у области споменичког наслеђа.
Одмакла употреба софтвера за мултимедију у бављењу споменичким наслеђем неспорно је донела и велики напредак у средствима и начинима на који се разматране споменичке целине данас анализирају и представљају научној и широј јавности. У том процесу, неизбежно је у први план код публике доспела атрактивност нових технологија и дигиталних алата којима се, у мањој или већој мери, постиже велика уверљивост представа споменика свих категорија и епоха. Међутим, озбиљан студијски приступ изради реституције или архитектонских реконструкција појавности грађевине подразумева и даље захтеван и мукотрпан процес широког спектра анализа евидентираних остатака споменика, његовог археолошког тумачења и смештања у исправан историјски оквир и, надасве, озбиљне архитектонске и грађевинске студије конструктивног склопа који, сам по себи, у највећој мери утиче на коначан исход студије. 3Д софтвери мултимедије дају свој допринос пре свега у омогућавању правилног просторног схватања концепта грађевине или агломерације више здања, а онда и сталних испитивања предложених решења у три димензије, како би се избегле недоследности које се често јављају у ауторским анализама архитектонских склопова у две димензије.
У последњих двадесетак година, фонд 3Д документације о историјским споменицима је нарастао до те мере да су се у последњим годинама актуелизовале расправе о начинима архивирања и дуготрајног руковања тим материјалом. Несразмера уложеног труда и финансија у израду комплексне и озбиљне научне архитектонске студије споменика огледа се у једнократности таквих пројеката, који су покретани махом ради илустровања изложби и других научних смотри, чиме је искоришћен само мали део потенцијала који садржи такав подухват. Такође се може отворити и питање континуитета пројеката 3Д архитектонских студија и реконструкција појавности споменика, односно увођења аутора више генерација у одржавање и наставак рада на једном започетом пројекту у оквиру матичних научних институција. Пројекат капиталне 3Д архитектонске студије Царичиног града, који се у континуитету развија од 2002. године, може послужити као пример дугорочно конципираног и спровођеног научног пројекта, који је од почетка био заснован на праћењу археолошких истраживања локалитета али и дигиталној ‘материјализацији’ и представљању резултата истраживања претходних генерација истраживача, у временима пре дигиталне технолошке револуције. 
Кључне речи: Царичин град, 3Д мултимедија, дигитална реконструкција, 3Д документација, споменичко наслеђе

This is a report of the interdisciplinary project between Humanities and Science departments within Tokai University to replicate the ancient Egyptian sulfur necklace. First, the author made typological observation of four types of sulfur beads, studied the parallels stored in the museums worldwide, and estimated that the beads were manufactured during Ptolemaic to early Roman periods. Next, Dr. Akiyama at the Department of Applied Chemistry made analysis on the actual remains, created 3D replicas and moulds of those beads. Then we could successfully make the exact copy of the beads by pouring molten sulfur into the mould. By gathering information of ancient sulfur usage archaeologically and by knowing the chemical behaviour of sulfur, we could achieve in presenting the reconstructed ancient sulfur necklace – a broad collar necklace- with replicated sulfur beads. This article is to show an example of how researchers in different fields could work together to study ancient material remains.

The application of 3D digital technologies in the archaeological research expands more and more during the last decades. 3D recording, visualisation, representation and reconstruction of archaeological sites, monu-ments and artefacts become almost a common trend in the archaeological work. Moreover, CAD reconstruc-tions, 3D simulation, computer animation and other uses of computer systems change the traditional work-flow. The archaeological experience, though, recognizes these tools more for the general public in order to offer a visualisation of the target object than as a mechanism that can offer new possibilities for the research itself.
The focus of this article is to take a look at some of the opportunities given to the research field of archaeology by 3D technologies. Specifically the article will look into technologies regarding the 3D recording, processing, visualisation and representation of archaeological data. Through the use of specific case studies we will investigate how applications can contribute to the understanding first and the interpretation later on of a certain archaeological object. Issues such as the types of questions and problems that can be faced and answered with these 3D technologies will be raised and discussed. The possibility to get an expansion of the archaeological research in new aspects, as it happens with other technological tools (e.g. databases), will be also examined. In addition to these, the disadvantages and limitations of the application of these 3D tech-nologies in the archaeological field will be also looked at, in order to accomplish a more complete view of its usage.

3D measurement using SfM/MVS (Structure from Motion/Multiview Stereo) and laser scanners has become increasingly popular in archaeology. Especially, the quality (i.e., precision and/or accuracy) of 3D models by SfM sometimes varies depending on target objects, measurers, and equipment, and so quality control is one of the important problems for SfM measurement. The aim of the present article is to compare different models acquired by two different methods, i.e., SfM and laser scanners using human skulls from the Odake shell midden and Kuma-nishioda site and examine the quality of 3D models by SfM under certain conditions. We conclude that, although not significantly different, there are advantages and disadvantages with both kinds of 3D models.

In questo volume vengono esposte in maniera organica e quanto più completa possibile le tecniche che, anche se non nate propriamente per la SAR, sono state utilizzate nel settore con ottimi risultati. I temi trattati hanno come filo conduttore il loro utilizzo per progettare l'edutainment, consentendo così di avere un potente strumento di comunicazione plasmabile su ogni tipo di superficie. Ciò implica una grande responsabilità in termini di messaggio, qualità e scientificità finali, soprattutto quando ad essere cinvolto è il bene culturale. Video proiettare significa comunicare ma è ovvio che per farlo correttamente è necessario conoscere gli strumenti che abbiamo a disposizione così da averne chiari i relativi limiti e potenzialità. A tal proposito il libro vuole essere una sorta di laboratorio dal quale il lettore possa far proprie le esperienze dell'autore, attingere nozioni e approfondire argomenti. Un laboratorio che ponga delle solide basi per poi progettare il proprio intervento. Effetti video, stereoscopia, HP Reveal, Resolume Arena 6, MadMapper, controller esterni, la proposizione di un visore pseudo-olografico ed infine la stampa 3D sono alcuni dei temi trattati. Infine, visto che il successo di un'installazione multimediale non può prescindere dalla progettazione del suono, uno specifico capitolo su questo tema è stato curato dal sound designer Luca Canciello che introdurrà il lettore nell’affascinante mondo del Sound Design.

This project explored the potential of the Unreal Engine for recreating Conisbrough Castle and the impact of Specific Learning Differences in digital archaeology. Digital archaeology and 3D modelling software was critically appraised along with similar projects to evaluate the most appropriate tool which combines the specialisms of games developers and archaeologists. Computer games featuring historical settings were analysed to give insight into computer games as an educational tool to passively educate and engage people with heritage. The castle was constructed successfully and used primary and secondary research to inform the process, where information was missing, case studies of other castles informed a degree of artistic licence to allow a full, detailed 3D reconstruction. Civilian Housing was included as it is often overlooked in archaeology but integral to the form and function of the castle and so was included. The author used self-reflection to document the strengths and challenges presented by SpLDS. The literature review discussed the deficit-laden current research on dyslexia, dyspraxia and ASD; additionally, it collated limited material on gifts and strengths. This research proposes people with SpLDs are capable of excelling in specialised fields such as digital archaeology, when supported with individual training and encouragement to use their neurodiverse gifts. The author found this process possible and successful but time-consuming and requiring a high level of effort and determination. Future research should focus on how to train and support people with SpLDs and ASD to enter the work force in skilled professions which realise their potential.

U današnje vrijeme, moderna tehnologija se često mijenja i brzo napreduje. Korištenje 3D modela u arheologiji, mnogi smatraju  kao nešto što nam je tehnologija omogućila tek unazad nekoliko godina, no njihova primjena u arheologiji postoji od 80-ih godina 20. st.
Razvoj računala i računalne grafike, promijenio je izgled 3D modela, ali i omogućio njihovu širu primjenu u arheologiji. Tako danas u arheologiji možemo razlikovati dvije vrste 3D modela; 3D digitalizaciju i 3D rekonstrukciju.
3D digitalizacija, koja se provodi uz pomoć laserskih skenera i modeliranja temeljenog na fotografijama, stvara digitalne replike nalaza ili nalazišta, koje pomažu u izradi arheološke dokumentacije.
S druge strane 3D rekonstrukcije najčešće se koriste za prezentaciju arheoloških nalazišta, njegovih dijelova ili nalaza.
Uz navedene primjere, 3D modeli u arheologiji mogu se koristiti na mnogo drugih načina koji imaju svoje prednosti u usporedbi sa starijim arheološkim metodama, no uz njihovu primjenu, vežu se i neki nedostatci.  

Статья посвящена проблеме взаимодействия гуманитарного образования с инженерно-техническим. Раскрываются особенности взаимовлияния и взаимозависимости предметов гуманитарного цикла (истории) в основной общей школе с математическими дисциплинами (информатика). Показаны перспективы реализации межпредметных, межкурсовых связей через новые формы обучения на основе использования 3D-печати.

Lecture in the Metropolitan Museum of Art (New York, november 14, 2010). Updated english version of: SUÁREZ OTERO, J. (1999), La Tumba de Santiago, entre la Fe y la Arqueología, in VV.AA., Compostela na Historia. Redescubrimento- rexurdimento (Santiago), 15- 22."

Ce petit fascicule fait suite à une formation menée en autodidacte, combinant la photogrammétrie et des objets archéologiques – en particulier des statues de l'Antiquité. Il est destiné à toutes personnes, novices à experts,
désirant apprendre ou garder une trace écrite.

Le mode d'emploi ci-présent propose de suivre pas à pas l'utilisation du logiciel de photogrammétrie, Agisoft Metashape. Ce logiciel permet l'acquisition numérique d'une partie d'un objet, d'un objet, d'éléments architecturaux avec un appareil photo, ou encore de monuments et de terrains avec un drone. La technique de photogrammétrie repose sur une numérisation tridimensionnelle d'une surface réelle au moyen de photographies (N > 2).

The concept of a visualscape was introduced less than a decade ago as a generic term with the aim of unifying and extending within a GIS the ideas and scope of current analyses of ‘human’ visual space, independently of their scale or context (Llobera 2003, 30). This chapter firstly starts with acknowledging that generic notions which make explicit the conceptual affinities of current visual analyses have the potential to encourage methodological innovation, and precipitate a fuller understanding of the interplay between humans and their surroundings. It then reviews recent works on three-dimensional visibility analysis found in the fields of geography, urban studies and archaeology, and discusses their conceptual contribution to the study of visual space. Focusing on these new developments it is argued that the visualscape could prove a more powerful and useful operational concept, if it is associated more broadly with the full range of technological possibilities used currently to describe the visual structure of landscapes and built spaces, rather than tied specifically to GIS applications.

"Towards a Scientific Model for Visual Reconstruction of Extinct Architectural Heritage" PhD. Thesis (in Arabic language with English Summary) Despite the value of monuments and historic buildings, they are subject to be destroyed or totally vanished. Conservation projects can protect them from deterioration, but, according to Venice Charter, it's not acceptable to reconstruct a whole extinct monument. So, instead of reconstructing them physically, artists and researchers tend to visualize their thoughts about lost monuments in the form of paintings, graphics, physical models, digital models, 3D animated movies or virtual environments. Those reconstructions are usually made for cultural, touristic, educational, scientific, entertainment or conservational purposes. This field is generally called "Visual or Graphical Reconstruction of Lost Architectural Heritage" and in digital era "Virtual or Digital Reconstruction / Reconstitution". But the problem of these reconstructions is that they may be used - intentionally or unintentionally - to disseminate false interpretations or misconceptions about the lost heritage, due to lack of information, human mistakes, bias or prejudice, especially in digital revolution era. So the objective of this research is to create a theoretical model to make and evaluate such reconstructions on an objective basis, and indicate the reliability degree of each part of them. The dissertation is consisted of ten chapters. The 1st. Chapter deals with the basic concepts of lost architectural heritage and conservation strategies related to it. It explains the importance of visual reconstructions and shows some worldwide examples. It ends with a literature review. The 2nd. Chapter discusses the different types of information sources related to vanished monuments, such as: ruins, architectural remains, historical accounts, texts, old documents, photographs, paintings, drawings, historical inscriptions, engravings, coins, sculptures, ancient maps and archaeological survey. The 3rd. Chapter focuses on criticism and investigation of sources. There are two types of criticism: external and internal. External criticism attempts to determine the authenticity, validity, or trustworthiness of the source. Internal criticism tries to determine the accuracy and the best architectural interpretation of the information extracted from the source. The 4th. Chapter discusses how to compare and synthesize that information to make a primary reconstruction and indicate its data gap (the unknown parts which have no data). This gap can be completed by studying similar buildings of the same style and applying logical inference methods, such as deduction, induction and analogy. If this gap is still unknown after that, it should be abstracted or avoided in the final reconstruction, but imagination is unacceptable. The 5th. Chapter is concerned with building the suggested theoretical model and the criteria of evaluation, depending on results of the previous chapters. This model should be tested to check its efficiency, by applying it to reconstruct an extinct monument and assess its reliability degree. It is chosen to reconstruct the Madrasa of al-Salih Najm al-Din Ayyub, in Bayn al-Qasrayn region, at Islamic Cairo. The 6th. Chapter is the case study introduction. It contains the reasons for choosing this Madrasa and some basic data about it. The 7th. Chapter analyzes the architectural remains of it. The 8th. Chapter analyzes the other information sources, like historical accounts, photographs and old drawings. The 9th. Chapter focuses on comparison between sources, synthesis of information, specifying the data gap and attempts to complete it by logical inference. At the end of this chapter the final reconstruction is represented in the form of plans, elevations, sections, exteriors and interiors, with an analysis of reliability degree of each part. The 10th. Chapter includes the conclusion and recommendations about developing and utilizing the suggested model. https://drive.google.com/file/d/1ghDpX2RjLFcyBNDJJW0_FwAOkWXoZPCp/view?usp=sharing

Στις 25 Ιουνίου 2014 εγκαινιάστηκε το «Μουσείο των Μαριανών Αδελφών και του Λεοντείου Λυκείου» (Musée des Frères Maristes & du Lycée Léonin) στο κτήριο του Λεοντείου Λυκείου Πατησίων .
Βασική πτυχή των στόχων του μουσείου, όπως αυτοί τέθηκαν από την υπεύθυνη μουσειολόγο, ήταν η σύνδεση των εκθεμάτων και των εγκαταστάσεων, αφενός με τον ίδιο τον μικρόκοσμο του σχολείου και αφετέρου με την ιστορία και την εξέλιξη της αστικής -και όχι μόνο- Αθήνας .
Στο πλαίσιο της κατασκευής του μουσείου προτάθηκε από τον γράφοντα η προσθήκη στο οπτικό υλικό, τριών βίντεο με αναπαραστάσεις των εγκαταστάσεων των τριών κτηριακών συγκροτημάτων που στέγασαν και στεγάζουν το Λεόντειο Λύκειο. Αυτό κρίθηκε απαραίτητο, καθώς η ιστορία ενός σχολείου συνδέεται άρρηκτα με τις εγκαταστάσεις και τα βιώματα των μαθητών μέσα σε αυτά.
Σε αυτό εδώ το κείμενο θα ασχοληθούμε με ένα από τα τρία βίντεο, το σχετικό με την αναπαράσταση του Λεοντείου Λυκείου «Άγιος Διονύσιος» της οδού Σίνα, το οποίο, σε αντίθεση με τα άλλα δύο συγκροτήματα, δεν υφίσταται πλέον, καθώς κατεδαφίστηκε τη δεκαετία του 1970.
Στις επόμενες παραγράφους θα αναλυθούν οι τρόποι και η μεθοδολογία που ακολουθήθηκε για την πραγματοποίηση μιας ψηφιακής αναπαράστασης ενός κτηρίου που δεν έχει αφήσει κανένα φυσικό κατάλοιπο ή ίχνος, με τη χρήση αρχειακού υλικού.
Επιπροσθέτως, με την ευκαιρία δημοσίευσης αυτού του έργου, θα γίνει μία παράθεση νέων ιστορικών στοιχείων για το σχολικό αυτό συγκρότημα, τα οποία ήρθαν στο φως κατά τη διάρκεια της έρευνας για τη δημιουργία της αναπαράστασης.
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In June 25th 2014 the “Museum of the Marist Brothers and the Lycée Léonin” (Musée des Frères Maristes & du Lycée Léonin) was inaugurated in the school complex of the Leonteio Lykeio Patision in Athens.
The key aspect of the Museum's objectives -as these were set by the responsible museologist- was the connection of the exhibits and the school facilities, both with the microcosm of the school itself, but also with the history and development of bourgeois (and not only) Athens.
Within the framework of the Museum’s preparation, the author proposed an addition to the visual material, consisting of videos with representations of the three school complexes which housed and house the Lycée Léonin. This was considered necessary, as the history of a school is inextricably linked with the facilities and the students’ experiences within them.
Here in this text, we will deal with one of the three videos, the one concerning the school complex of “Lycée Léonin St. Denis” of Sina street, which, unlike the other two complexes, no longer exists as it was demolished the 1970s. We will analyze the ways and the methodology used to carry out a digital represen-tation of a building which has left no physical remains, by the use of archival material.
In addition, the publication of this work will present new historical facts about this school complex, which came to light during the research for this recostruction.

Tutti i sistemi di visualizzazione computer-based devono essere essenzialmente trasparenti, ad esempio verificabili da altri ricercatori o professionisti, dato che la validità - e quindi la finalità - delle conclusioni prodotte da tali visualizzazioni dipenderà in gran parte dalla capacità degli altri di confermare o rifiutare i risultati ottenuti (Principio N.7 della Carta di siviglia).

Le passage de l'analogique au numérique est la grande révolution technique de la deuxième moitié du xx e siècle dans l'histoire de l'humanité. Ce passage a été rendu possible par l'invention de l'ordinateur qui a imposé la notation binaire, le développement de l'industrie des composants électroniques à partir des années 1960 fournissant les constituants des équipements pour la numérisation des phénomènes et des objets à étudier (processeurs, mémoires, capteurs) et enfin, à partir des années 1980, la croissance exponentielle de la capacité de transmission des télécommunications par différents médias (liaison hertzienne, fils torsadés, fibre optique) et réseaux.
Après avoir passé en revue dans l'histoire des techniques depuis l'Antiquité, les passages de l'analogique eau numérique, l'article détaille le cas de la photogrammétrie. Puis est abordé le thème central, celui de l'évidence d'une révolution méthodologique en archéologie. Enfin, la question des freins sociologiques à cette révolution est discutée.

Nul ne doute plus aujourd'hui du rôle majeur qu'ont joué les couleurs et l'or dans la structuration des sociétés grecques antiques, au long des siècles. Tout suggère une passion grecque pour la couleur étendue à tout type de production (vêtements, vaisselle, cosmétiques, statues, édifi ces etc.) sur tout support, dans tous les domaines de la vie, funéraire compris. Mais que savons-nous réellement des arts de la couleur eux-mêmes, des matériaux et des savoir-faire qui ont fait son succès ? Peut-on en apprécier l'impact économique et social ? N'est-il pas urgent à présent de mesurer aussi les conséquences esthétiques d'une telle révolution polychrome ? L'incolore y trouvait-il malgré tout sa place ? Les couleurs étaient-elles fi lles d'illusion, y compris sur le plan politique ? L'ouvrage aborde ces questions en toute liberté d'investigation interdisciplinaire. Il réunit pour cela spécialistes venus de tout horizon scientifi que, archéologues, architectes, chimistes, conservateurs de musées, historiens, historiens de l'art, restaurateurs. Pour éclairer cette expérience grecque unique de la couleur, on a souhaité aussi la mesurer aux expressions qu'en ont explorées d'

RESURRECTING THE SPIRIT OF ANCIENT SERDICA
Yulii Farkov and  Dobrina Zheleva-Martins

In early 2018, following the completion of the restoration of the ancient cultural and communication complex "Serdika", The Council of Ministers granted to the Sofia Municipality its socialization and management. All scientific, cultural, educational and tourist activities are to be carried out by Sofia History Muzeum.
The goal we set out in this report is to help ensure the quality of these activities.
First of all, we briefly present a concept developed and approved in 2013, wich  includes a thematic and exhibition plan for the functional reasoning of the ancient Serdika complex.
We then perform a critical analysis of the condition of the three zones of the complex as it is today - two years after it became operational, where the positive and negative findings are specifically indicated and illustrated.
On the basis of the analysis, we have outlined the problems and proposed the necessary and recommended measures that need to be taken by the responsible institutions, including RHM-Sofia. These measures and recommendations are in line with the guidelines for the management of public archeological complexes adopted by ICOMOS in the last 2017.
It is especially necessary, in our opinion, to develop a Multi-Annual Sustainable Management Plan, as well as an Interpretative Plan, to achieve a successful socialization of the complex.
We offer our vision of the latest technologies for interpreting architectural and archaeological texts, which are currently being successfully applied at home and abroad.
Specific examples are given for introducing various multimedia and digital techniques to cultural heritage such as video projections, virtual reconstruction, visualization and animation of 3D models, projection mapping, virtual, augmented and hybrid reality, making it more accessible , more interesting, more understandable and attractive. It is shown how, thanks to the latest information technology, the monuments of culture are resurrected, how through them the history and the culture are experienced by the visitors.
Finally, we propose general recommendations addressed to RHM-Sofia about its work on conservation of archeological, architectural and artistic cultural values of Sofia.

Keywords: ancient complex "Serdika"; critical analysis; measures and recommendations; Multi-annual plan for sustainable management; Interpretive plan for successful socialization; technologies of interpretation of the architectural and archeological text; multimedia and digital exposure techniques; video projections, virtual reconstruction, visualization and animation of 3D models, projection mapping, virtual, augmented and hybrid reality;

This article presents the origins and evolution of midrange terrestrial laser scanning (TLS), spanning primarily from the 1950s to the time of publication. Particular attention is given to developments in hardware and software that document the physical dimensions of a scene as a point cloud. These developments include parameters for accuracy, repeatability, and resolution in the midrange—millimeter and centimeter levels when recording objects at building and landscape scales up to a kilometer away. The article is split into two parts: Part one starts with early space and defense applications, and part two examines the survey applications that formed around TLS technologies in the 1990s. The origins of midrange TLS, ironically, begin in space and defense applications, which shaped the development of sensors and information processing via autonomous vehicles. Included are planetary rovers, space shuttles, robots, and land vehicles designed for relative navigation in hostile environments like space and war zones. Key people in the midrange TLS community were consulted throughout the 10-year period over which this article was written. A multilingual and multidisciplinary literature review—comprising media written or produced in Chinese, English, French, German, Japanese, Italian, and Russian—was also an integral part of this research.

Closely following the invention of photography in the mid-1800s, stereophotogrammetry emerged as the science of extracting metric data from pairs of still photographs. Although commonly employed and developed by governments for civil and military purposes (often using aerial photographs), it was not until the 1970s that archaeological publications employing pho-togrammetry became routine. Early applications in archaeology often featured specialized pairs of fixed-base cameras with precise calibration to take stereopairs of photographs, although individual cameras could also be moved to achieve similar ends. Early applications of stereophotogrammetry both facilitated the display of archaeological findings and aided in analysis. Subjects of study ranged in scale from engravings to monument complexes, and allowed linear and volumetric measurements to be made. Despite its acknowledged potential, in its earlier form the technology did not see widespread use by archaeologists; stereoscopic equipment was expensive and highly specialized, costing over six figures in the 1970s, and required a skilled operator. Some of these concerns were mitigated with increasing use of computers in analysis, although photogrammetry remained a relatively specialized tool into the early 2000s. While originally clumsy and inaccessible , early developments established both the conceptual and technological foundation for modern photogrammetry to progress.