Virtual Reconstruction

This paper discusses the construction of a virtual archive of the medieval city of Barcelona, Spain.  An analysis was made of the existing architectural features of the city and, with the aide of historical drawings, archival texts, CAD, photogrammetry and 3-D visualization software, a model of one section of the city, the maritime port, was reconstructed. 
The project is intended to serve as a model of a method of preserving the architectural record and will be presented to the public as a virtual archive of historical documents and as an educational tool.  The virtual model invites questions regarding how this new media technology can transform the methods of research, publication and teaching in architectural history.

Stamped vessels made in the Mediterranean and Asia Minor in the first millennium BC are
one of the most informative categories of archaeological finds and are widely represented at
the sites of the Northern Black Sea region. However, a significant part of the amphora stamps
found in excavations cannot be used for dating archaeological compounds due to the state
of preservation, which makes them difficult to read and identify. The sequence of methods
described in the article can significantly improve the reliability of identification of amphora
stamps by introducing digital documentation and using mathematical surface visualization
algorithms to create contrasting images. In addition, the article details approaches to
creating a modern digital corpus of amphora stamps, which can significantly simplify the
identification and introduction of stamps into scholarly use, their publication in print and
online, and in the future become a tool for mass statistical analysis.

The Basilica Iulia Project addresses the challenge of integrating heterogeneous archaeological data through a collaborative digital ecosystem based on the Extended Matrix (EM) framework and s3Dgraphy ontology. By transforming traditional disconnected workflows into an integrated environment designed for alignment with CIDOC-CRM standards, the project enables seamless collaboration across architectural, archaeological, and conservation domains. The implementation demonstrates how open-source tools developed through a project-driven approach can create sustainable "Living Lab" environments for complex archaeological sites. Key innovations include the development of formal languages for process documentation and intuitive interfaces for multidisciplinary teams. The resulting framework, currently under validation through the Basilica Iulia case study, provides a scalable model for digital archaeology that maintains scientific rigor while fostering cross-domain collaboration.

Great advances have been made in the field of archaeology by researchers using virtual reality to reconstruct and preserve the record of past cultures. Despite the common research objectives and methodologies shared by scholars in archaeology and architectural history, relatively few architectural historians have investigated the potential of this new media technology for their discipline.  The virtual environment can greatly enhance our means of conducting research, preserving the historical record, publishing scholarly work and teaching. A virtual archive of the medieval architecture of Barcelona, Spain, will illustrate a number of ways in which this new media technology can be used to advance the discipline.

Escavações arqueológicas na Necrópole de Gulpilhares (Vila Nova de Gaia) (campanhas de 1979 e 1980). Escavações arqueológicas na Estação arqueológica da Chã de Arefe, Durrães (Barcelos) (campanhas de 1979, 1980, 1986 e 1987). Escavações arqueológicas no Forno romano de Canelas (Vila Nova de Gaia).

Vous avez l'autorisation de reproduire cet article dans les limites des conditions d'utilisation de Cairn.info ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement. Détails et conditions sur cairn.info/copyright. Sauf dispositions légales contraires, les usages numériques à des fins pédagogiques des présentes ressources sont soumises à l'autorisation de l'Éditeur ou, le cas échéant, de l'organisme de gestion collective habilité à cet effet. Il en est ainsi notamment en France avec le CFC qui est l'organisme agréé en la matière.

This  paper  investigates  the  ethical  and  philosophical  implications  related  to  the  analysis  and  interpretation  of  historical  sources of cultural heritage through the use of digital technologies. The latter are not neutral tools; rather, they actively shape heritage narratives, influencing how we perceive and represent the past. As  such,  the  reconstruction  of  the  past  through heritage fragments cannot be objective or universally accepted, as it is inherently shaped by contemporary social, cultural, and political contexts. The past, therefore, can only be analysed from the unique perspective of the present. In this regard, the American historian David Lowenthal suggests “the past is a foreign country,” and therefore, its language, customs,  and  traditions  cannot  be  fully  understood.  Since  heritage  is  irreconcilable  with  the  past,  or  more  precisely  —quoting  Lowenthal  again — since  heritage  is  a  “distortion”  of  the  past,  cultural  heritage  studies  should  combat  those  simulacra that define the past as objective, unambiguous, and unquestionable — definitions that academia often protects. Taking the Monastery of Nossa Senhora da Rosa of the Order of São Paulo da Serra de Ossa (Caparica, Portugal) as a case study, this paper represents an opportunity to reflect on the ambiguity implicit in the reading of historical sources, which always involves a certain interpretive and creative component. Borrowing the semiotic concept of translation, it is possible to say that reading any source is comparable to translating a document from an obscure and mysterious language, that of the past, to the contemporary world language. However, during the process of transferring the meaning of words from one language to another, many nuances inevitably end up being twisted, lost, or otherwise altered. Consequently, “translating” the drawing into the real building (as well as into a virtual replica) is, to use a famous analogy dating back to the 16th century, a sort of “betrayal,” a departure from the initial idea represented on the sheet. This is particularly pertinent when the artefact no longer exists, as is the case with the Monastery of Nossa Senhora da Rosa. What are the limits of interpretation, its criteria, and the freedom that the "reader/interpreter" can take? What is the role of digital technologies in this theoretical framework? This research, rather than extolling the photorealistic results of digital heritage visualisations and their uniqueness, focuses on the process that led to certain interpretations, emphasising their subjective and context-dependent aspects.

This paper discusses the work-in-progress of the reconstruction of the two Rucellai chapels of the ex-Florentine church of San Pancrazio, which now survives as the Museo Marino Marini. Suppressed in the nineteenth century, San Pancrazio suffered numerous structural interventions across the centuries that drastically and permanently altered the configuration of this sacred space. Textual and visual primary sources, together with data gathered from surveys, allow us to create an informed and interrogable digital model adapted for both a scholarly and a museum environment.

A particular highlight of the complex was Leon Battista Alberti’s surviving fifteenth-century marble burial tempietto for Giovanni Rucellai; the sepulchre chapel sat adjacent to a second Rucellai chapel that housed Filippino Lippi’s c.1485 altarpiece of the Virgin and Child with Saints Dominic and Jerome, now at the National Gallery in London. Questions regarding the recontextualization of these objects and the relationships between these spaces provide a test case for the refinement of the working methods already adopted by the Florence4D team for previous reconstructions of Santa Maria degli Innocenti and the camera terrena of Palazzo Medici. Our aim is to address and improve the efficiency of collaboration for the integration of documentary research and digital expertise, which are both fundamental to such visualisation work. Custom extensions for our main software applications seek to clarify interpretative decisions and to streamline and optimise the modelling process, allocating more time to research rather than technical setup.

We discuss our development of the Florence4D workflow and its current focus on improving collaborative working and data management, modular approaches, and the improved linkage of the 3D model to the underpinning research data. Compared to previous approaches, our workflow utilises a more versatile modelling framework, which grants the researcher greater control in assembling individual objects into a 3D reconstruction; this facilitates their work of interpretation and increases the possibility of more nuanced decisions and comparisons between alternative layouts before reaching a polished outcome. A greater digital proficiency is demanded of all team members, as well as repurposable digital skills to be adapted to different use-case scenarios.

Opera distribuita con licenza Creative Commons Attribuzione -Non commerciale -Non opere derivate 3.0 Italia e diffusa in modalità open access (CC BY-NC-ND 3.0 IT) Work published in open access form and licensed under Creative Commons Attribution -NonCommercial -NoDerivatives 3.0 Italy (CC BY-NC-ND 3.0 IT)

Abstract
This study examines the deterioration issues affecting the distinctive stone facades characteristic of the architecture from the French Mandate period (1920-1946) in Damascus. The investigation focuses on the Ain Al-Kourch quarter, a representative area of residential expansion developed during that era.
The research is structured into four chapters. Chapter One provides a contextual background, analyzing the urban and architectural development of Damascus under the French Mandate. It reviews the urban plans and building regulations enacted during this period, while also considering the preceding late Ottoman era and the conditions that facilitated the emergence of the Mandate's architectural style.
Chapter Two presents the case study of the Ain Al-Kourch quarter within the Sarouja district. It delves into the historical, economic, social, urban, and architectural evolution of this sector. This chapter investigates the factors that influenced the internal and external configuration of these buildings and conducts a comparative analysis with structures built immediately after independence in 1946.
Chapter Three involves a detailed selection of specific buildings from the Mandate period within the case study area. It documents the current state of their facades, comparing them with the original designs submitted in the building permits. Furthermore, it analyzes the traditional craftsmanship and the most significant architectural details employed in these facades. The data collected in Chapters Two and Three were analyzed using graphical charts and the SPSS statistical software package, employing necessary statistical standards with the assistance of a statistical expert from the Faculty of Mathematics at the University of Damascus.
Chapter Four identifies and assesses the various environmental and human-induced pathologies affecting the stone facades, including problems related to the stonework, openings, and balconies. This chapter evaluates these issues and proposes targeted treatment and rehabilitation strategies.
The research concludes with a set of findings and recommendations specific to the case study area and its stone building facades. Additionally, it provides broader recommendations pertinent to the preservation of the historical fabric of residential expansion areas dating from the French Mandate period.

Archaeologists are employing a variety of digital tools to develop new methodological frameworks that combine computational and experiential approaches which is leading to new multisensory research. In this article, we explore vision, sound, and movement at the ancient Maya city of Copan from a multisensory and multiscalar perspective bridging concepts and approaches from different archaeological paradigms. Our methods and interpretations employ theory-inspired variables from proxemics and semiotics to develop a methodological framework that combines computation with sensory perception. Using GIS, 3D, and acoustic tools we create multisensory experiences in VR with spatial sound using an immersive headset (Oculus Rift) and touch controllers (for movement). The case study simulates the late eighth and early ninth-century landscape of the ancient Maya city of Copan to investigate the role of landscape in facilitate movement, send messages, influence social interaction, and structure c...

Scientific practice relies on the rigorous documentation of procedures, methods, and outcomes, governed by principles like method verification, objectivity, and source disclosure. In the computer-based hypothetical 3D reconstruction of destroyed or never realised art and architecture, adhering to these principles faces challenges due to evolving software, methods, and data types, leading to a lack of standardised documentation and publication practices for 3D models. Consequently, the traceability, accessibility, and sustainability of research outcomes are compromised. Decades after the advent of computer-aided 3D visualisation in cultural heritage, there is a critical need to define applicable methodology and comprehensive documentation standards. Web-based platforms necessitate technical infrastructures and clear scientific methodologies to ensure understandable model creation and sustainable accessibility to 3D research data. The Scientific Reference Model proposes an accessible academic framework for this kind of 3D reconstruction, aiming to facilitate broad adoption. Developed and tested in research projects and educational contexts, this model aims to establish clear, accessible 3D models on the web, serving as foundational references for future research and knowledge dissemination.

Odnalezienie w trakcie prac archeologicznych prowadzonych na terenie należącym do pałacu w Wilanowie kafli dekorowanych granatowymi pasami stało się okazją do opracowania wirtualnej rekonstrukcji pieca kaflowego, którego opis znany był z inwentarza pałacowego z końca osiemnastego wieku. Wielotorowa analiza materiałów archi- walnych, zachowanych planów i obrazów przedstawiających pałac, a także znanych osiemnastowiecznych pieców w stylu pomorskim oraz kafli w pasy granatowe ze zbiorów Muzeum Warszawy umożliwiła odtworzenie wyglądu pieca. Opraco- wana na tej podstawie trójwymiarowa wizualizacja pozwala na pokazanie go w ówczesnym Pokoju Myśliwskim także w kontekście znanych z inwentarzy i zachowanych do dnia dzisiejszego elementów historycznego wyposażenia tego wnętrza.

The discovery of tiles decorated with dark blue stripes during archaeological excavations on the grounds belonging to the Wilanów Palace provided an opportunity to develop a digital reconstruction of a tile stove, the de- scription of which was known from the palace inventory dating from the end of the eighteenth century. A multi-faceted analysis of archival materials, surviving plans and paintings depicting the palace, as well as the existing eighteenth-century Pomeranian-style stoves and dark blue-striped tiles from the collection of the Museum of Warsaw facilitated the reconstruction of the appearance of the stove. The three-dimensional visualisation developed on this basis makes it possible to show the stove in the then Hunting Room also in the context of the elements of this interior’s historical furnishings, both those known from inventories and those preserved to this day.

Blink postfotografico. Teorie, pratiche e derive delle immagini ibride
a cura di Mauro Zanchi e i contributi di: Aurelio Andrighetto, Sara Benaglia, Rica Cerbarano, Rosa Cinelli, Irene Fenara, Sergio Giusti, Francesca Lazzarini, Marco Paltrinieri, Matteo Patelli, Carlo Sala, Alessandro Sambini, Andrea Tinterri e Carloalberto Treccani.

224 pp. 34 ill. a colori
isbn 9788874904303

This article is devoted to the peculiarities of the application of the latest technology of building information modeling (BIM) for the architecture monuments. BIM technology for the design and construction industry, but its application in historical and architectural work can fundamentally change and this type of activity. The work deals with the relationship of the components of the information model of the monument, especially in the creation of this model, the necessity and importance of developing libraries of elements for historic buildings. Separate attention is paid to the cultural context, through BIM of past eras and modern architecture.

Chronology of the Bronze Age in southeast Transylvania János Gábor Tarbay A looted 'hoard' from 'Szabolcs-Szatmár-Bereg County' Szilvia Joháczi -Bence Párkányi Same but different: A new possible scheme on late archaic black-figure vases Károly Tankó -András Kovács Celtic plough and land use based on agricultural tool finds from the oppidum of Velem-Szent Vid Csilla Sáró A brooch with a name stamp from Győr-Ménfőcsanak-Széles-földek (Pannonia, Hungary) Kata Dévai Roman head-shaped glass vessels from Hungary

construida en época flavia y que sufrió cambios significativos a finales del siglo III o comienzos del IV. Desde 2006 hemos acometido un proyecto de restitución virtual basado en los datos arqueológicos obtenidos (datos arquitectónicos, dimensiones y características de los materiales constructivos) cuyos principales resultados presentamos aquí, donde proponemos una modelización 3D de las diferentes fases del edificio desde su origen hasta comienzos del siglo V.

Architectures are always subject to transformation in time. When a historical building is seen by a tourist or by an occasional visitor, it appears like a complete and final artefact, showing its main characteristics like a clear example of a style or of an artistic phase. This interpretation may turn out to be mostly a simplification, while the building is often the result of a large set of interventions in time. It is the case of a large number of main and secondary architectures, changed according to the mutation of needs and tastes. In Fabriano, in central-eastern Italy, the St. Venanzio Church (later Cathedral) was subject to a significant transformation of the apse interiors during the XVII century, with the demolition of the original chapels’ asset and their replacement by a larger unitarian space behind the main altar. This intervention has afflicted all the frescos that were the decoration of those chapels, they were partially deleted by the new masonry works, covered by pa...

The representation of the city of L'Aquila, in the banner, the so called Gonfalone, painted in 1579 by Giovan Paolo Cardone, is
the oldest known view of the historic center. Contrary to what usually occurs in devotional representations, mostly symbolic, the
banner gives a surprisingly detailed image, where the numerous elements still recognizable today appear strongly corresponding.
The mountainous nature of the territory, even close to the city, allow to have points of view from above of the urban center that
offer sights similar to the one represented. The contribution, based on the reconstruction of the historical and cultural context, as
well as through a detailed analysis of the artifact and the critical comparison with the current panorama, proposes that a camera
obscura has been used to realize the view depicted in the gonfalone.

comptes rendus sur les ressources numériques 191 Truan, Elena, project dir. El corral del Príncipe: Reconstrucción 3D realizada en Los Sims 4. Salamanca: Universidad de Salamanca, 2022. Accessed 11 March 2024. youtube.com/watch?v=q-pyBDZFABE. Many kids of my generation, myself included, spent countless hours in the virtual world of The Sims video games, shaping alternative lives on the computer or television screen. Within this simulated universe we built homes, went to work, had families, partied, and even confronted the concept of mortality when we witnessed our Sims die. Time passed, and naturally I discovered myself engaging in similar activities in the real world. The Sims faded into childhood memory until recently when, in my real job, I learned about its application as a virtual tool for reconstructing seventeenth-century Spanish courtyard theaters known as corrales de comedias. Corrales were open-air rectangular structures with a central thrust stage and a versatile back wall adorned with alcoves. They served as venues where socially segregated audiences, encircling the stage space, watched plays, either standing or seated. This project, which has produced a paper and an interactive YouTube video, was developed by Elena Truan of the University of Salamanca in 2022. 1 Beyond evoking childhood nostalgia, I find Truan's approach noteworthy for several reasons, which I will delve into here. Truan's project primarily entails the development of a comprehensive 3D virtual and interactive model of the early modern Corral del Príncipe (Figs. and), situated in Madrid during what is known as the Spanish Golden Age (1492-1681) and renowned for hosting plays (comedias) by esteemed writers such as Félix Lope de Vega and Pedro Calderón de la Barca. In its architectural essence, the project mirrors the various endeavours of those who have used The Sims to reconstruct other theatres, such as Shakespeare's Globe, a structure contemporary with many Spanish corrales. 2 This connection to the Globe and Shakespeare, one of the most well-known early modern writers, coupled with the relative accessibility of the reconstruction provided by The Sims and YouTube, boosts the potential of Truan's project to significantly enhance the visibility of the corrales and the broader cultural expression they represent. This is important because these courtyard theatres are largely unknown outside 1. Truan, "Simulando"; "El corral del Príncipe. " 2. See, for example, McVinney, "Sims 4 Speed Build.

Borodkin L.I. 3D modeling, virtual reconstructions and VR/AR/MR technologies in preserving cultural heritage // Digital humanities research / A. B. Antopolsky, A. A. Bonch-Osmolovskaya, L. I. Borodkin et al. - Krasnoyarsk: Siberian Federal University, 2023. Chapter 8. P. 186-220.

cuyo objetivo principal es dar a conocer las características, el simbolismo y concienciar sobre la conservación, de un conjunto monumental tan extraordinario como es el Pórtico de la Gloria, utilizando para ello las últimas tecnologías en visualización 3D, realidad virtual y realidad aumentada.

Se presenta un caso de estudio del conjunto de pintura mural de la Sala Capitular del monasterio de Santa Maria de Sixena (Huesca), de época medieval, que fue gravemente dañado en 1936 durante los primeros días de la Guerra Civil. El monasterio fue incendiado, las pinturas se destruyeron en parte y el resto fueron arrancadas y traspasadas a un nuevo soporte.

El conjunto que se pudo salvar se encuentra desde los años 1940 en el MNAC, montado en soportes de madera que reproducen la forma de los arcos de la sala capitular original. Su estado de conservación es frágil a consecuencia delas vicisitudes a que han sido sometidas y de los materiales tradicionales que se emplearon, aunque se encuentra estable, gracias a las medidas de conservación preventiva aplicadas.

El criterio de presentación del conjunto fue respetuoso con las grandes lagunas de pérdida, limitándose a recrear un esbozo de la composición original que se pudo realizar gracias a la existencia de documentación antigua y de fotografías en blanco y negro anteriores al incendio. No obstante, una parte importante de la obra como documento artístico, - su cromatismo original-, se perdió de forma irremediable a causa de las altas temperaturas que calcinaron y transformaron químicamente la naturaleza de los pigmentos.

Para contrarrestar este aspecto y encontrar una solución museológica objetiva y acorde a los criterios actuales de conservación, a lo largo del tiempo se han ensayado diversas opciones de recreación virtual que permitan recuperar el cromatismo original de cara a una mejor comprensión de la obra por parte del público visitante del conjunto.

During the last years, the topic of accessibility of cultural heritage is getting so important all around the Europe. For disseminating a research data and information, it is important to use a simple language and an effective communication. The data research produced by specialists has three formal levels: The third one of communication system aims to break barriers to reach a wide audience. The present study wants to demonstrate the role of images in the process of deductive inference by three dimensional (3D) reconstruction of cultural heritage. The case study of Federico da Montefeltro office shows how inter-disciplinary works and technological resource can help society to understand history and meaning of heritage.

Um elemento pétreo decorado com um baixo-relevo, identificado
na Citânia de Briteiros no século XVIII, é o tema
central deste estudo. O facto de representar duas figuras
humanas conferiu-lhe algum destaque, divergindo a interpretação
do baixo-relevo entre os que consideram a sua
temática sexual, ou a representação de uma cena de combate
ou de trabalho. De forma menos evidente, também a
atribuição cronológica deste achado descontextualizado é
controversa, entre a sua inclusão na escultura romana, ou
entre os cânones artísticos da Idade do Ferro local.
Uma observação mais detalhada da peça e a procura de paralelos iconográficos, motivou a interpretação que apresentamos
e que está parcialmente em linha com algumas
propostas anteriores que a atribuem genericamente ao
período romano. Contudo, propomos a interpretação hercúlea
da cena representada, analisando o possível contexto
subjacente ao recurso a esta iconografia clássica.

A stone element, decorated with a bas-relief, identified in
Citânia de Briteiros (Guimarães, Portugal) in the 18th century
is the central subject of this study. The representation
of two human figures in this piece gave it some prominence,
with its interpretation diverging between those who
consider its sexual nature, and those who see it as a representation
of a fight or a work scene. Less evidently, the
chronological attribution of this out-of-context find is also
controversial, between its inclusion in Roman sculpture,
or among the artistic features of the local Iron Age.
A more detailed observation of the piece and the search
for iconographic parallels, gave way to the interpretation
presented here, that is partially in line with some previous
proposals that consider it generically as a roman sculpture.
However, we propose the herculean theme of the depicted
scene, analysing the possible context underneath the use of
this classical iconography.

Participatory design is an approach that has had a significant impact on the production of public space and housing. Participatory design also leads to radical transformations in architecture. Despite implementation efforts that began in the 1970s, the widespread adoption of this approach has not yet occurred in Turkey. This paper aims to examine the current state and future of the participatory design in Turkey, focusing on the Düzce Hope Homes project, which is a rare and remarkable example. The study is based on data collected through the participatory action research method.

Turkey's geography has a history of devastating earthquakes. Two of these earthquakes occurred in the Marmara region in 1999. Following the earthquakes, tenants faced challenges accessing safe and affordable housing, and the state provided little assistance. This situation prompted tenant earthquake victims to establish a housing cooperative. The Düzce Hope Homes project was developed through a participatory and community-driven process, from design to construction, after a legal struggle to access public land. The project was initiated by the Düzce Solidarity Housing Cooperative for Homeless and Tenant Earthquake Victims. The Düzce Hope Studio, a temporary, collaborative, multidisciplinary, and volunteer design studio, developed a participatory planning and design process with the cooperative members. The participatory design process has changed the perceptions of both the cooperative members and the volunteer designers regarding housing and living in a shared environment. However, this case study also highlights the obstacles to the widespread adoption of the participatory design approach in Turkey.

Die historische Augsburger Gleishalle MIT ULTRASCHALL & INFUSION Konservierung zweier Brückenskulpturen ABENTEUER-ZEITREISE An den Grenzen des Römischen Reiches 29 28 DI DENKMAL INFORMATION BAYERN NR. 185/2025 U nter dem Thema "Göttersturz" wird eine zerbrochene römische Jupitergigantensäule aus rotem Buntsandstein, entdeckt in Obernburg am Main, in der neuen Dauerausstellung der Archäologischen Staatssammlung München präsentiert. Eine virtuelle Rekonstruktion zeigt ihr ursprüngliches Aussehen. Das hierbei angewandte Structure-from-Motion-Verfahren ermöglicht die exakte Dokumentation der einzelnen Elemente. In der Vermittlung steht ein auf den Daten basierender 3D-Ausdruck der einzelnen Bestandteile im verkleinerten Maßstab von 1:10 den Besucherinnen und Besuchern des Museums als dreidimensionales Puzzle zur Verfügung.

Shahbagh, a lush garden for pleasure of Mughal Dhaka is presently a busy urban node in Dhaka's megalopolis of 23 million people. From the rich intricate Mughal Garden, Shahbagh transformed into one of the pivotal points of nationalist movements including the liberation war of Bangladesh. The enclave of Shahbagh stood out as the city’s most enlightened urban square and the termination point of the cultural corridor of Dhaka, connecting significant cultural heritage properties, and educational legacies along with many intangible and ephemeral phenomena that shape the national identity of Bangladesh. The spontaneous human accumulation on every cultural movement, national festival, political protest, or occasion of social justice over the years, made the enclave of Shahbagh a symbol of Bengali secularism.
The newest addition of the Metrorail project to the Dhaka metropolitan transportation system was designed such that a part of it has dissected Shahbagh into pieces extinguishing its embedded connection with the city dwellers. This apparent spatial intervention is more of a political occupation in the name of development than a practical sustainable approach to address a complex urban setting that is deeply associated with the human heritage of the city. This case study-based research focused on the methodology of urban semiotics; identifying a series of ‘signified’ and ‘signifiers’ for the given context which evolved as morphological changes of the city as a whole. The outcome shows that even if many ‘signified’ are seemingly not compromised, the ‘signifiers’ are highly affected and result in an excruciating genocide of a place.

Keywords: Urban enclave, Cultural Corridor, Place, Identity, Urban Semiotics, Shahbagh.

The Egervár Castle and Tamás Dragonits
The Renaissance castle of Egervár, built by significantly transforming and expanding a Gothic manor house, gained its preserved character through its 18th-century conversion. Not only the 20th-century fate of this outstandingly important monument in Zala County was full of viscosities, but throughout its whole history, almost every significant restoration and transformation accompanied by comfortlevel improvements was followed by undignified periods of abandonment and neglect. By the beginning of the 20th century, the building was in such poor technical condition that its walls had to be supported with buttresses by the plans of the monument specialist architect István Möller (1860–1934). These were able to fulfill their purpose for about half a century.
By the mid-1950s, the building had already suffered severe structural damages which threatened it with complete destruction. It was then that architect Tamás Dragonits began working on plans to save the monument. The planning gained momentum in 1960, and construction was completed between 1961 and 1965. During these works, according to the brilliant plan developed with the assistance of structural engineers Géza Gottfried and then István Urbán, the stability of the monument, which was on the verge of collapse, was ensured by retracting the walls. The critical condition of the castle required the replacement of the slabs in many places, which were deliberately changed for contemporary-looking floors with reinforced concrete beam. Thanks to the ingenious design, the monument was saved from predictable complete destruction.
Despite the restoration and construction work carried out in the 1960s, which was sometimes dramatic in scale, and was followed by another half-century of careless use, mostly lacking in maintenance and ultimately unworthy of a monument, we were able to record several well-evaluable architectural historical phenomena during our wall survey works and observations. These research works had been carried out right before the most recent restoration conducted in 2011–2012 (related to a new change of function) and during the construction. From all this, the construction history of the Egervár castle was clearly outlined, and its periods became distinguishable from each other.
Based on our research results, virtual reconstruction drawings of the Renaissance period of the castle were made, including details that were not otherwise supported by our research results. One of the spectacular elements of this reconstruction is the Renaissance roof structure of the castle. Unfortunately, the research did not reveal any reference for this element (the existing roof structure is mostly Baroque, with later repairs), but due to the constraints of the depiction, some kind of roof had to be drawn. In the case of similar illustrations, it would be important for developers to create graphic tools that distinguish hypothetical details from those that are considered authentic based on research results. Unfortunately, the virtual reconstruction of the Egervár castle still lacks such a fine distinction.
    * * * * *   
Das Burgschloss von Egervár und Tamás Dragonits
Das Renaissance-Schloss von Egervár, das durch eine wesentliche Umgestaltung und Erweiterung eines gotischen Herrenhauses erbaut wurde, erhielt seinen bis heute erhaltenen Charakter durch einen Umbau im 18. Jahrhundert. Das Schicksal des überaus wichtigen Denkmals im Komitats Zala war nicht nur im 20. Jahrhundert sorgengeplagt, sondern befolgten fast alle wichtige Restaurierungsarbeiten und Umbauen inkl. Komfortieren während seiner Geschichte die Epochen der Verlassenheit und Vernachlässigung. Zum Beginn des 20. Jahrhunderts geriet es in einen so schlechten technischen Zustand, dass seine Wände gemäß dem Plan des Monumentalarchitekten István Möller (1860–1934) mit Stützpfeilern gestützt werden mussten. Diese waren geeignet, ihren Zweck etwa ein halbes Jahrhundert lang zu erfüllen.
Mitte der 1950er Jahre zeigten sich so schwere Schäden an der Tragkonstruktion des Gebäudes, die mit völligem Zerfallen drohten. Zu diesem Zeitpunkt begann der Architekt Tamás Dragonits, sich mit den Plänen der Rettung des Denkmals zu befassen. Die Planungen gewannen 1960 an Fahrt, dann zwischen 1961 und 1965 konnte auch die Ausführung realisiert werden. Dabei wurde nach einem bravourösen Plan, der mit Hilfe der Statiker Géza Gottfried und dann István Urbán erstellt wurde, die Stabilität des Denkmals, das kurz vor dem Einsturz stand, durch das Zurückziehen seiner Mauern sichergestellt. Der kritische Zustand der Burg erforderte an vielen Stellen auch den Austausch der Balken, die durch eine zeitgemäß wirkende Balkenplatte aus Eisenbeton ersetzt wurden. Dank der anschlägigen Planung konnte das Denkmal dem vorhersehbaren kompletten Verfall auf dieser Weise entkommen.
Trotz der teils dramatischen Restaurierungs- und Bauarbeiten in den 1960er Jahren und der überwiegend wartungsfreien und letztlich unwürdigen Nutzung als Denkmal in den letzten 50 Jahren konnten wir bei unseren Mauerrecherchen und Beobachtungen unmittelbar vor und während der letzten Restaurierung in den Jahren 2011–2012 im Zusammenhang mit einer erneuten Funktionsänderung eine Reihe von architekturhistorisch geschätzten Erscheinungen erfassen. Aus all dem zeichnete sich die Baugeschichte der Burg Egervár klar ab, und ihre Epochen konnten voneinander unterschieden werden.
Anhand unserer Forschungsergebnisse wurden virtuelle Rekonstruktionszeichnungen der Renaissancezeit des Schlosses erstellt, einschließlich Details, die sonst unsere Forschungsergebnisse nicht betätigten. Der eine betroffene Baustein unter den spektakulären Elementen dieser Rekonstruktion ist das Renaissance-Dach des Schlosses. Dafür fanden wir bei der Recherche leider keinen „Handlauf“ (die vorhandene Dachkonstruktion ist größtenteils im Barockstil, mit späteren Reparaturen). Aufgrund der Notwendigkeit der Darstellung musste jedoch irgendein Dach dargestellt werden. Bei ähnlichen Illustrationen wäre es für Entwickler wichtig, grafische Mittel auszuarbeiten, welche die hypothetischen Details getrennt von denen darstellen, die anhand der Forschungsergebnisse als authentisch gelten. Die virtuelle Rekonstruktion der Burg von Egervár mangelt noch leider an dieser raffinierten Distinktion.

Fragments of a War: Russian Sources in Swedish Archives on the Russo-Swedish War of In the summer of 1742, at the climax of the conflict subsequently known as the Russo-Swedish war of 1741-43, the Swedish-Finnish army surrendered to its Russian opponent not far from Helsinki. Peace was restored a year later by the peace treaty of Turku. Large parts of Finland were occupied by Russian troops, and in 1743-44 a Russian force of some 12,000 soldiers landed on the East coast of Sweden. Officially, the operation was undertaken in order to deter a possible Danish invasion. The war and the subsequent Russian presence in Sweden and Finland left traces in Swedish archives. During the summer of 2010 the author of the present article carried out a survey of materials in five Swedish archives, looking for documents in Russian. The survey yielded documents of four different kinds: documents relating to diplomacy, military intelligence materials, private letters and administrative documents. The material has not previously been subject to scholarly research. In addition to the survey, the article addresses the issues of why this particular material has survived, and how it might be used in order to shed light on the development of the Russian language in the 18 th -century.

The article is dedicated to the speech “On Drawing” by the honorary member of the Imperial Academy  of  Arts,  Prince  Dmitry  Alekseevich  Golitsyn  (1734–1803),  which  he  delivered  in  July 1769 at a solemn public meeting of the Academy. Its text was discovered in the Russian State Historical Archive in the middle of the 20th century and was long considered his origi-nal work, written first in French and then translated into Russian. The main outcome of the research conducted by the authors of this article was the discovery of the original source of this text by Golitsyn, namely the beginning of the dialogue of the same title from the French edition of the book by the English traveler and writer Daniel Webb “Recherches sur les beautés de la peinture” (1765). Since the Englishman’s book was the result of his tour to Rome, where he has met the scholar J. J.  Winckelmann and the painter A. R. Mengs, an amateur art historian, Webb, retelling in his essay the thoughts of German theorists about imitation of ancient art-ists, unwittingly became a transmission link in the arrival of neoclassical ideas to Russia. Denis Diderot got acquainted with the French translation of Webb’s book before Golitsyn, wrote an essay about it for F. M. Grimm’s “La Correspondance littéraire” and, apparently, recommended it  to  the  prince.  However,  Golitsyn  did  not  copy  word-for-word  Webb’s  text,  but  adapted  it  for his purpose — to compose a program speech to the high assembly of Russia’s main edu-cational  institution  in  the  field  of  fine  arts,  which  is  gaining  strength.  Unlike  Wincklemann  and Webb, who appealed exclusively to the past, the Russian aristocrat, following Diderot, saw the future progress of modern art not in blind imitation of ancient masters, but in the revival of the emotional and intellectual power of ancient art through the efforts of free artists. The political conditions of the Russian Empire during the reign of Catherine II predetermined the laudatory tone of his speech in the spirit of the absolute monarchy of Louis XIV.
Статья  посвящена  речи  «О  рисунке»  почетного  члена  Императорской  Академии  ху-дожеств,  князя  Дмитрия  Алексеевича  Голицына  (1734–1803),  которую  он  произнес  в  июле  1769  г.  на  торжественном  публичном  собрании  академии.  Текст  доклада  в  се-редине XX в. был обнаружен в РГИА и долго считался его оригинальным сочинением, написанным сначала по-французски, а затем переведенным на русский язык. Главным результатом проведенного авторами статьи исследования стало открытие первоисточ-ника этого текста Голицына, которым оказалось начало одноименного диалога из фран-цузского издания книги английского путешественника и писателя Дэниела Уэбба «Ис-следования о красотах живописи» (1765). Так как книга англичанина стала результатом его поездки в Рим, где он познакомился с ученым И. И. Винкельманом и живописцем А. Р.  Менгсом, дилетант в истории искусства Уэбб, пересказав в своем сочинении мыс-ли  немецких  теоретиков  о  подражании  античным  художникам,  невольно  стал  пере-даточным  звеном  в  попадании  идей  неоклассицизма  на  русскую  почву.  Дени  Дидро  познакомился с французским переводом книги Уэбба раньше Голицына, написал о ней очерк для «Литературной корреспонденции» Ф. М. Гримма и, видимо, рекомендовал ее князю.  Однако  Голицын  не  копировал  текст  Уэбба  буквально,  а  приспособил  его  для  своей цели — составления программной речи высокому собранию набирающей силу главной  образовательной  институции  страны  в  области  изящных  искусств.  В  отли-чие от Винкельмана и Уэбба, апеллирующих исключительно к прошлому, российский аристократ  вслед  за  Дидро  видел  в  перспективе  прогресс  современного  искусства  не  в слепом подражании античным мастерам, а в возрождении эмоциональной и интел-лектуальной  мощи  древнего  искусства  усилиями  свободных  художников.  Политиче-ские  условия  Российской  империи  времени  правления  Екатерины  II  предопределили  хвалебный тон его выступления в духе абсолютной монархии Людовика XIV.

Аннотация Цель. Рассмотрение информационной кампании лондонской «Таймс» против России на примере деятельности собственного корреспондента «Таймс» в Петербурге в 1901-1903 гг. Процедура и методы. Проанализированы сообщения периодики и архивные материалы. Результаты. Показано, что назначение Д. Брейема, молодого человека с минимальным журналистским опытом, собственным корреспондентом в столицу России было связано с начатой «Таймс» кампанией по дискредитации внутренней и внешней политики России. В своих публикациях Брейем использовал материалы из диссидентских русских газет, а революционные газеты использовали и творчески развивали материалы «Таймс». На деятельность корреспондента «Таймс» обратило внимание русское правительство. Высылка Брейема из России была вызвана его статьями с нападками на особу государя императора и контактами с представителями «партии пассивного сопротивления» Финляндии. 1 Теоретическая и/или практическая значимость. Исследование демонстрирует роль средств массовой информации в формировании межгосударственных отношений России и Великобритании Ключевые слова:

Пісцова Марія. Літургійні покрови. ПКМ імені Василя Кричевського. Харків, Полтава: ТОВ «Майдан», 2025. 16 с.: іл. (Музейні реліквії, вип. 14)
Видання присвячене колекції гаптованих літургійних покровів – воздухів, дискосних та хрещатих покрівців у зібранні Полтавського краєзнавчого музею імені Василя Кричевського. Представлені сюжетні, орнаментальні, узорноткані плати, які є вартісними пам’ятками золотошитва в українській культурі. /

Pistsova Mariia. Liturgical aers. The Vasyl Krychevsky Poltava Local Lore Museum. Kharkiv, Poltava: «Maidan LLC», 2025. 16 p.: ill. (Museum relics, issue 14).
An issue is dedicated to the collection of liturgical fabrics embroidered with gold – aers, discos and cross shape veils in the Vasyl Krychevsky Poltava Local Lore Museum. Plot, ornamental, woven with pattern corporal that are precious monuments of embroidering with gold in Ukrainian culture are described

The Portomarín Virtual Project was devised as a digital production based on academic research as part of the drive of digital cultural heritage that has gained momentum in recent years. It also ties in with the works on lost architecture in Galicia carried out between 2016 and 2023 by the IDEAHS research group, to which the authors belong.
Recreating the lost village of Portomarín was a complex challenge that required the use of computer technologies to replace the physical experience of visiting the historic site, which was flooded in 1963 by the construction of the Belesar dam on the Miño River (Galicia, Spain). Once the main landmarks on the protected site – the churches of San Nicolás and San Pedro, the bridge and its chapel and the manor houses (pazos) of Paredes and Berbetoros – had been dismantled and partially relocated, historical and artistic research and 3D modelling of the village prior to the flooding were used to create a new historical and digital record, which would serve to recover memories from the last inhabitants to live in the village and encourage the transmission of heritage values to those who have grown up in the new village built upstream, as well as to offer a cultural experience to the modern-day pilgrims and tourists who still travel this stretch of the Camino to Santiago de Compostela
The theoretical framework underpinning this project to study and virtually restore the medieval village of Portomarín is Digital Art History, which aims to situate all the actions undertaken, from organising and analysing information to disseminating the results, at the intersection between historical knowledge and emerging technologies.  The digital tools and methodologies used to analyse the historical documents, making it possible to interpret and diffuse the reconstructed village via an immersive 3D reality experience, required coordinated, interdisciplinary work by the art historians leading the project and graphic designers from the Centro Infográfico Avanzado de Galicia (CIAG) and the audiovisual studio Maxina. The project was completed in autumn 2023.
With funding from the College of William and Mary (Williamsburg, Virginia, USA)  and the Galiverso initiative from the Xunta de Galicia,  the virtual reconstruction of Portomarín was governed by the principles of rigour, accessibility and usability; it offers an experience that is both scientific and recreational, aimed at a wide variety of audiences.  As a depiction of a lost physical and historical reality, the immersive trail is unusually precise thanks to the thousands of photographs taken and stored by local photographer José López (Foto Pereira), which capture most of the old village’s buildings and hidden corners. The positive reception of the project at successive presentations organised by Galiverso since its inauguration in November 2023 has prompted us to reflect on and evaluate the merits and limitations of experiments of this kind, which use technology for the purposes of heritage research.

The ancient city of Rudiae is one of the largest Messapian settlements of Salento. It was inhabited from the 8th cent. BC until at least the 6th-5th cent. AD, with a very important phase between the late 6th to the 3rd cent. BC. At the beginning of 2 nd cent. AD dates back the amphitheatre, recently excavated. Here different methods of geophysical prospecting (GPR, Magnetometry, ERT) are performed. The anomalies highlighted by the integrated geophysical approach have been verified and confirmed by subsequent archaeological excavations. In particular, the anomalies are ascribed to archaeological remains regarding the north-western aditus, the floor of the arena, and some streets and structures to the north and east of the building.

The results of the geophysical surveys carried out in the city of Ugento, specifically in the St. Antonio area and into the Medieval Castle, are presented in this paper. The aim of this study is to integrate the results of Ground-Penetrating Radar and Electrical Resistivity Tomography surveys in order to support archaeological investigations aimed at the elaboration of a detailed archaeological map of the Messapian, Roman and Medieval settlement. Indeed, the obtained data were jointly analysed with archaeological data already known and were georeferenced on the general plans of the site in order to obtain an overall view of the anomalies detected by geophysical instrumentation and related to buried ancient structures. In particular, the geophysical surveys carried out in the St. Antonio area made it possible to reconstruct a stretch of the Messapian city walls and nearby necropolis, while the investigations inside the Castle allowed for the acquisition of very interesting data about previous phases dated to the Middle Ages (and maybe also the Messapian or Roman ages) and about the geo-morphological characteristics of the site.

This study presents new archaeological data concerning the ancient layout of Piammiano, an Etruscan and Roman settlement located in the Tiberine internal Etruria (probably corresponding to the ancient town of Statonia), still little known. These data have been obtained by geophysical surveys performed using the Electrical Resistivity Tomography technique. These investigations were carried out in the central sector of the plateau where the settlement lies, and they have documented the presence of ancient buried structures at a depth of between about 0.5 and 2.5 m. These structures has the same orientation of the main road of the ancient settlement, and they are also consistent with the orientation of the structures documented in previous geophysical surveys and archaeological excavations carried out in the westernmost sector of the investigated area. Specifically, the new geophysical surveys have highlighted the presence of the buried remains of the road and numerous walls, some of which are pertaining to a large building with porticoes on the two sides overlooking the Tiber valley. Furthermore, a channel network perhaps linked to a cistern was documented at more depth.

This project, created by Onformative, Daniel Franke, and dancer Laura Keil, transforms dance into a dynamic digital sculpture. Using Microsoft Kinect cameras and advanced software, the dancer's movements are captured and rendered in a three-dimensional space where sound itself helps shape the visuals. By challenging traditional artistic boundaries, Unnamed Soundsculpture redefines the relationship between body, technology, and spatial perception, embodying the fluid intersection of art, science, and sound.

Language: Italian and English

This study concerns the main results of the research activity aimed at a new integrated knowledge of Casalrotto, a Medieval cave village (12th-13th century) near Mottola (Province of Taranto southern Italy). The research was based on archaeological and geophysical surveys performed in 2015. In particular, archaeological investigations have allowed the upgrading of the existing plan of the village through Differential Global Position System (DGPS) topographical surveys, while geophysical measurements, using ground-penetrating radar (GPR) and magnetometry in gradiometry configuration, have allowed a better delimitation of the necropolis and the detection of buried structures.

The focus of the presentation is emphasized on the international political manifestations of the community of Russian emigres in Latvia in the first half and in the middle of 20s. Despite a huge number of different obstacles, the representatives almost of all countries, where Russian exiles settled, were able to gather at the "Russian Conference Abroad" in Paris in 1926. The organization of the event and the elections of the deputies resonated in Latvia, where the processes had local peculiarities. The elected Latvian delegation participated in the different commissions of the conference and voted for the resolutions. In some cases, it had a certain scandalous consequences in Latvia. The conference was held for one week, more than 500 deputies and participants accepted a number of different resolutions. Some of them -the complete and irrevocable de iure recognition of the Baltic States, Finland and Poland, the "agrarian issue" in Russia, position towards the Soviets, Soviet citizens, servicemen of Red Army and the future of Russia. Despite the large expectations, emigres were not able to establish the representative organ of Russians abroad and the conference became the last largest manifestation aimed towards the consolidation of Russian anti-bolshevik political forces in exile 2 .

Ongoing and extensive urbanisation may threaten important archaeological structures that are still buried in urban areas. The ground penetrating radar (GPR) method is the most promising alternative for resolving buried archaeological structures in urban territories. This paper presents a case study that involves a geophysical survey employing the surface three-dimensional (3D) GPR techniques, in order to archaeologically characterise the investigated areas. The site is located in the south-western sector of the historical centre of Lecce (Apulia, Italy), where the modern city overlaps the main public monuments of the Roman municipium of Lupiae, only partially preserved or excavated: the amphitheatre, the theatre, the baths and maybe also the Forum. GPR measurements, integrated with the results of archaeological excavations and the topographical surveys of the preserved remains, were carried out in several areas regarding sectors of the ancient roman city. The GPR data were collected along a dense network of parallel profiles. The GPR sections were processed applying specific filters to the data in order to enhance their information content. The GPR images significantly contributed in reconstructing the complex subsurface properties in these modern urban areas. Strong GPR reflections features were correlated with possible ancient structures and they were integrated in the digital archaeological map of the city.

L'irrazionalità sembra il dato prevalente dei fenomeni sociali che ogni giorno ci "informano", tramite il monolitico arcipelago dei mezzi di comunicazione di massa, dell'imminente fine di un segmento di storia. La fine di un Millennio che precede l'inizio di un un Nuovo Millennio: il Terzo Millennio, appunto. Certo forse non è compito delle televisioni e dei giornali spiegarci cos'è, nella realtà fisica e psicologica di ognuno di noi, la storia ed il tempo, questo è compito da filosofi o da psicoanalisti, ma ci pare che l'osservazione, attraverso l'occhio mediatico di questo precipitare verso la fine di un tempo (del tempo?), produca comunque effetti angoscianti, con i suoi spettacoli di violenza, di morte, di inutilità di ogni atto individuale che possa avere uno scopo trascendente la temporalità storica della nostra esistenza individuale. Spesso si punta il dito inquisitore sulla scienza e sulla tecnologia che ha prodotto un mondo disumano, in cui le macchine con la loro capacità di trasformare in maniera globale e veloce la realtà sembrano diventate le protagoniste "aliene" della realtà. Macchine complesse che producono e trasformano realtà sempre più complessa. Tanto da farla apparire come falsa, vuota, insensata, "virtuale". La scienza e la conoscenza sono diventate materie esoteriche, accessibili solo agli "iniziati". La massa della gente comune non può capire e quindi va "controllata", "indirizzata", "guidata", ma lo stesso a sentirsi padrona del proprio destino e a dare un senso alla propria soggettività. Annaspa nella spiegazione sintetica della realtà, cerca di reinventarla con forme spettacolari di rappresentazione virtuale, armata solo di un corpo che ingombra e da categorie di pensiero rigide, insufficienti a spiegare il senso della propria realtà individuale. Ma la storia non è un segmento ed il tempo non ha un inizio ed una fine. Ed il bisogno di identità soggettiva non si risolve con la partecipazione a momenti o a rappresentazioni parziali della realtà. Poichè la realtà ha per noi un valore esistenziale è necessario entrare nella sua complessità, essere partecipi coscientemente della complessità e delle forme in cui essa si manifesta e ci manifesta. E' messo in discussione il concetto stesso di realtà ed il significato che noi diamo a questo termine. La realtà fisica, mentale e psicologica. Nella società dell'immagine vengono usati termini propri di un linguaggio "teatrale" per esprimere azioni ed immagini che muovono una gamma infinita di stati emotivi, dalla rabbia, al disgusto, allo stupore, all'erotismo ecc..., il punto è che per descrivere la nostra