Prosthetic Visualizations for a Smart Heritage

1970

Compeer Grop/wca Ia6, Fac^Z(i/ of 7m ^ar^en g, ^^00 Fermm, Giovan Battista Aleotti represents one of the most versatile personalities of his time. Engineer, architect, scenographer; the essence itself of his work still remains not understood, probably for its multidimensionality. During a series of studies, promoted by regional and national organisations, the Computer Graphic Lab of the School of Architecture at the University of Ferrara, instead of another archival research, conducted by historians, has proposed the alternative approach of reading Aleotti 's work trough a multimedial representation. The model, here presented today, is just the first prototype of a more ambitious and complex project that prefers the knowledge of the transformations of an image to the acquisition of simple data or the measurement to make a compilation. In this kind of work that privileges the dynamic to the static aspect, the evolutive to the immediate one, the capacity of revelation to the cryptic metabolism of traditional figuration, the interactivity to the passive assimilation (pregnant part of an enchanting way that guides little by little world of images toward imperceptible virtual frontiers), the use of computer models is determinant and unreplaceable. This technology, now familiar to architects, is still often indomitable, and wandering under the impulse of an evident technical jubilation but without a baptism of an aesthetical judgement. So much frequently, then, admirable reconstruction with tridimensional models of lost realities are lacking in qualification to demonstrate themeselves. They don't explain process and data which are made of, much more than traditional representation. A deeper consideration on methods and system is now necessary. The subject of our work is to explain how photocopies, originals or models, extracted from the oblivion -a static and numberless world -could be a dynamic and numerable body, demonstrable through the selection, the reproduction and the choice. Born in Argenta (Ferrara) in 1546, Giovan Battista Aleotti was architect and engineer. He worked mostly in Ferrara, where he built Santa Barbara and S. Carlo

Virtual twinning between museography and innovative technologies

International Conference IDEA – Investigating Design in Architecture, 2023

El Arquitecto, de la Tradicion al Siglo XXI (pp. 385-394), 2016

Aim of the paper is to present how new technologies favor the " Graphical Analysis " process, i.e. the historical critical study of the architectural heritage through its representation .. The growth of digital technologies has affected disciplines involved in architectural studies, and computer based visualization has found in digital modeling an interpretative instrument for architectural heritage study and representation. 3D models can support a renewal of the graphical analysis and, from an educational point of view, the development of critical skills for understanding and communication of architectural characteristics. Background: The Concept of Graphical Analysis Vincenzo Fasolo, teacher of Drawing from the first decade of the twentieth century, and professor of " History and Styles of Architecture " at the School of Architecture of Rome from 1925, in 1954 published his essay titled " Guida metodica per lo studio della storia dell'architettura " [Methodological guide for the study of architectural history] (Fasolo 1954). In this book drawing plays an essential role, implicitly intended as a methodological tool for the analysis, comparison, and interpretation of the architectural characteristics and values of historical buildings. He opens his book with the following words: «The publication of the summary of the subject of the Courses of History and Styles of Architecture aims to guide young architects in reordering the graphic notes in which, according to the method adopted during the course, their observations, bibliographical research, interpretation are concretized» (p.5). He highlights how sketches and drawings made tangible the students' reflections and understanding; also the bibliographical research seems to be based on graphical notes, i.e. on the representation of buildings. And he points out how the graphical language is the way for the visualization and communication not only of geometric characteristics, but of architectural values. He lists the following values: «Harmonic, modular, geometric, mathematical values; geometrical synthesis; linear, two-dimensional (relationship between solid and voids), three-dimensional (volumes – masses) values; interpenetration of previous systems; spatial values (light – colors); the fourth dimension: time and perspective view; decorative spaces; elements of harmony: unity, rhythm, eurhythmics, symmetry, dissymmetry, contrast – opposition» (p.10-11). We don't aim to comment on this list, but we underline how Fasolo wanted to train students to look critically at the architecture, and to understand its values. To reach this purpose, drawing is intended as an ineludible tool. And he adds: «[…] Observation and interpretation of monumental characteristics is entrusted to the young architect through a graphical summary. We demand that he practically translates into drawings those that are the elements or characteristic and essential factors and of the architecture that he is studying. Not " copies " more or less brilliantly and nicely drawn from photographic models, like the real, as at the first time one is tempted to do, for a bad interpretation of the goals of these drawn observations, instead they have to show how much and what part in the study of the program the young student has had» (p.11): Nowadays we – in CAD used – should say: Models not only to realize photorealistic copies, but to achieve analytical, critical, and thematic visualizations.

Cultural Heritage is always a project (even in reference to the past) and could be specifically expressed in the form and manner of the use of display interfaces for the visualization and documentation located by heritage sites. in fact, well-established techniques of visual representation in the history of visual media are part of our Cultural Heritage as well: from drawings to movies, and including the form of iconographic atlases. The legacy of these practices of representation can be embodied by augmented reality devices in the heritage sites: this approach requires a visual interface -and the order of its interactions- to be organized through subsequent levels of spatial, morphological and semantic competence of its final user. Here we propose some guidelines for the design of an integrative display device conceived in connection with the case study of the cité de l' architecture et du patrimoine in Paris, France.

Transitions. Proceedings of the 44th International Conference of Representation Disciplines Teachers., 2023

La ricerca proposta è parte del progetto SMART BETHLEHEM-Sistema di Monitoraggio Ambientale e Rinnovamento Tecnologico nella città di Betlemme, cofinanziato da AICS-Agenzia Italiana per la Cooperazione allo Sviluppo, volto a promuovere uno sviluppo urbano e territoriale sostenibile e resiliente nell'area della Municipalità di Betlemme. Il progetto, di cui è capofila la Provincia di Pavia, ha un partenariato composto da enti per il governo del territorio, ONG, Università, fondazioni, aziende e associazioni territoriali. Tra gli obiettivi principali, si prevede una rifunzionalizzazione sostenibile della città su diversi livelli, dalla pianificazione urbana all'analisi delle pratiche costruttive nel territorio, fino alla predisposizione di un piano di Smart Mobility nel centro storico. Il contributo presenta una metodologia per la progettazione di un museo cittadino all'interno del Peace Center, edificio situato nel cuore del centro storico in prossimità della Basilica della Natività. L'obiettivo della proposta è la rivitalizzazione del sistema museale della città attraverso la predisposizione di un nuovo polo culturale dedicato all'esplorazione del territorio e della storia di Betlemme. Una commistione di tecniche di disegno e modello è stata impiegata per la definizione di un linguaggio di narrazione delle diverse fasi del processo progettuale a partire dai dati del rilievo metrico digitale e attraverso procedure di Scan-to-HBIM e Real-time Rendering. Parole chiave Scan-to-HBIM, physically based rendering, Betlemme, museo, memoria collettiva Photobashing del processo progettuale del percorso museale. Elaborato grafico delle autrici. of Representation Disciplines Teachers Congress of Unione Italiana per il Disegno

SCIRES-IT : SCIentific RESearch and Information Technology, 2012

En With the arrival of digital technologies in the field of architectural documentation, many tools and methods for data acquisition have been considerably developed. However, these developments are primarily used for recording colorimetric and dimensional properties of the objects processed. The actors, of the disciplines concerned by 3D digitization of architectural heritage, are facing with a large number of data, leaving the survey far from its cognitive dimension. In this context, it seems necessary to provide innovative solutions in order to increase the informational value of the representations produced by strengthen relations between "multiplicity" of data and "intelligibility" of the theoretical model. With the purpose of answering to the lack of methodology we perceived, this article therefore offers an approach to the creation of representation systems that articulate the digital instance with the geometric/semantic model. It Grazie all’introduzione d...

eCAADe proceedings

This paper presents an interactive apparatus to didactically explore Alberti's treatise on architecture, De re aedificatoria, as generative design systems, namely shape grammars. This apparatus allows users to interactively explore such architectonical knowledge in both appealing and informal ways, by enabling them to visualize and manipulate in real-time different design solutions. The authors identify the difficulties on encoding the architectural knowledge of a parametric design model into an interactive apparatus to be used by laypeople. At last, the authors discuss the results of a survey conducted to users that interacted with the prototype in order to assess its ability to communicate the knowledge of an architectural language.

2015

While 3-dimensional visualisation methods are now employed in a wide range of humanities contexts to assist in the research, communication and preservation of cultural heritage, it is increasingly recognized that, to ensure that such work is intellectually and technically rigorous, and for its potential to be realised, there is a need both to establish standards responsive to the particular properties of 3D visualisation, and to identify those that it should share with other methods. Numerous articles, documents, including the AHDS Guides to Good Practice for CAD (2002) and for Virtual Reality (2002) and initiatives, including the Virtual Archaeology Special Interest Group (VASIG) and the Cultural Virtual Reality Organisation (CVRO) have underlined the importance of ensuring that 3D visualisation methods are applied with scholarly rigour, and that the outcomes of visualisation-inclusive research should accurately convey to users the status of the knowledge that they represent. There remains, however, a significant gap between theory and practice. Last February, therefore, as part of an AHRC-funded project, King's Visualisation Lab, King's College London, convened a Symposium, jointly sponsored by the AHRC ICT Methods Network and the EU Framework 6 Network of Excellence, EPOCH (Excellence in Processing Open Cultural Heritage), during which over 50 international delegates debated approaches to the issue of "transparency". A smaller expert group then debated a discussion document on which the first draft of The London Charter for the use of 3dimensional visualisation in the research and communication of cultural heritage was subsequently based. "Cultural heritage" domains here encompass museums, art galleries, heritage sites, interpretative centres, cultural heritage research institutes, arts and humanities subjects within higher education institutions, the broader educational sector, and tourism. It is hoped that the Charter, currently in its first draft and being discussed by an international panel of experts, may be adopted as an EU and international benchmark. The Charter aims to define the fundamental objectives and principles of the use of 3D visualisation methods in relation to intellectual integrity, reliability, transparency, documentation, standards, sustainability and access. It does not aim to prescribe specific aims or methods, but rather to establish those broad principles for the use, in research and communication of cultural heritage, of 3D visualisation upon which the intellectual integrity of such methods and outcomes depend. The Charter attempts to establish principles that are sufficiently focussed to have an impact, but sufficiently abstract to remain current as methods and technologies evolve. Therefore, up-to-date guideline documents with specific recommendations about, e.g. technologies, standards, and methodologies, will be needed at subject community level.

ISPRS Archives, 2023

The project for the second competition for the Parliament of the Kingdom of Italy, drawn up between 1888 and 1889 sees Ernesto Basile (Palermo 1857-1932) as winner ex aequo. Basile's project envisages the construction of a large monumental building (182.70 m by 171.40 m), in which the three halls, the Chamber, the Senate and the Royal Sessions Hall, develop around a large central courtyard; it will not be realized due to the fall of the Crispi government in 1891, but presents, in embryo, solutions adopted in the expansion of Palazzo Montecitorio (1903-1918), entrusted to Basile, in which the Chamber of Deputies, still existing today, is may consider "a sort of budding, from the organism of his second Parliament Building" (Mauro, Sessa 2000b). The original drawings are kept and cataloged in the Basile Endowment of the Scientific Collections of the Department of Architecture of the University of Palermo, edited by Professor Ettore Sessa (Mauro, Sessa, 2000a; Sessa, 2014, Mauro, Sessa, 2015). In a first phase, the conjectural reconstruction and digital modeling was carried out (Avella, 2020), and in a second phase, a first 3D printing model was created, limited to the main front, which involved the design of the decomposition and assembly according to criteria respectful of architectural parties (Avella, 2021). This work presents the progress of the work, extended to the bodies containing the Chamber of Deputies and that of the Senate and the integration with Augmented Reality systems, in view of the future permanent exhibition at the premises of the Basile Endowment. The integration with Augmented Reality visualization systems stems from the desire to allow the observer to visualize the external envelope of the physical model and the internal spaces of the parliamentary halls.