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Figure 11. Three-dimensional reconstruction of Nepomuceno’s drawings in the spaces around the small cloister depicting the building before interventions (in yellow) and after (in red). Credits: Sofia Cruz.

Figure 11 Three-dimensional reconstruction of Nepomuceno’s drawings in the spaces around the small cloister depicting the building before interventions (in yellow) and after (in red). Credits: Sofia Cruz.

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Figure 1. Calendar map of the semester from the first day of class on 27 September 2021 to the launching of the Virtual Exhibition on 1 April 2022.
Figure 1. Calendar map of the semester from the first day of class on 27 September 2021 to the launching of the Virtual Exhibition on 1 April 2022.
Figure 2. Examples of final exhibition materials include an A3 portfolio, poster image, and 3D-printed historic source.
Figure 2. Examples of final exhibition materials include an A3 portfolio, poster image, and 3D-printed historic source.
Figure 3. “Finding the Lost Monastery of Madre de Deus” virtual exhibition accessible online through: https: / /ipti.pt/finding-the-lost-monastery-virtual-exhibition/ (accessed on 4 April 2022). Figure 3. “Finding the Lost Monastery of Madre de Deus” virtual exhibition accessible online through:
Figure 3. “Finding the Lost Monastery of Madre de Deus” virtual exhibition accessible online through: https: / /ipti.pt/finding-the-lost-monastery-virtual-exhibition/ (accessed on 4 April 2022). Figure 3. “Finding the Lost Monastery of Madre de Deus” virtual exhibition accessible online through:
Figure 4. Map of the laser scanning survey including all 145 scan stations. points. The individual errors between scans are automatically recorded in the software. Within the entire point cloud bundle, the software reported a cloud-to-cloud absolute mean error of 2mm.
Figure 4. Map of the laser scanning survey including all 145 scan stations. points. The individual errors between scans are automatically recorded in the software. Within the entire point cloud bundle, the software reported a cloud-to-cloud absolute mean error of 2mm.
Figure 5. View of the laser scanning survey of the small cloister.
Figure 5. View of the laser scanning survey of the small cloister.
Figure 6. Modeling the National Tile Museum “As-Found.” (Left): The combined model of all student work. (Right): Point cloud overlayed onto the model of the Small Cloister. Credits: Bianca Cordeiro, Catarina Bras, Daniela Pereira, Joana Silva, Maria Nazario, Miguel Vasco, and Mariana Camilo. Every virtual reconstruction project must consider what is known about the present. Using the point cloud data of the building today, this project focused on digitally modeling the National Tile Museum building “as-found” (Figure 6). Its goal was to create accurate models of all the individual spaces believed to be related to the original nucleus of the Monastery of Madre de Deus. In this way, the model of the present could be compared against the 16th-century reconstruction.
Figure 6. Modeling the National Tile Museum “As-Found.” (Left): The combined model of all student work. (Right): Point cloud overlayed onto the model of the Small Cloister. Credits: Bianca Cordeiro, Catarina Bras, Daniela Pereira, Joana Silva, Maria Nazario, Miguel Vasco, and Mariana Camilo. Every virtual reconstruction project must consider what is known about the present. Using the point cloud data of the building today, this project focused on digitally modeling the National Tile Museum building “as-found” (Figure 6). Its goal was to create accurate models of all the individual spaces believed to be related to the original nucleus of the Monastery of Madre de Deus. In this way, the model of the present could be compared against the 16th-century reconstruction.
Figure 7. Reconstruction of the original church—Hypothesis 1. (Left): Three-dimensional rendering of the church’s interior. (Top right): South facade. (Bottom Right): Longitudinal section. Credits: Beatriz Fabiao, Laura Guia, Mariana Alves, and Ricardo Aparicio. Even with concluding on this overall arrangement of the church, the students did not have concrete evidence to reconstruct the interior architectural atmosphere of the church. Instead, the only references available were the two interior paintings from the 16th-century mentioned above [28,30]. Although we do not know for sure if these are depictions of the original church, historians leave this possibility open. At the very least, the paintings were used to create a plausible 16th-century atmosphere (Figure 7).
Figure 7. Reconstruction of the original church—Hypothesis 1. (Left): Three-dimensional rendering of the church’s interior. (Top right): South facade. (Bottom Right): Longitudinal section. Credits: Beatriz Fabiao, Laura Guia, Mariana Alves, and Ricardo Aparicio. Even with concluding on this overall arrangement of the church, the students did not have concrete evidence to reconstruct the interior architectural atmosphere of the church. Instead, the only references available were the two interior paintings from the 16th-century mentioned above [28,30]. Although we do not know for sure if these are depictions of the original church, historians leave this possibility open. At the very least, the paintings were used to create a plausible 16th-century atmosphere (Figure 7).
Again, without much information about the interior, the primary reference for this second hypothesis was the 1515 painting of Saint Francis Delivering the Statues [28]. The painting was used to speculate on various aspects of the interior reconstruction including the columns, flooring, altar, and other details (Figure 8). Figure 8. Reconstruction of the original church—Hypothesis 2. (Left): Church interior (Right): Overview of the entire church during a period of rising water from the Tagus River. Credits Inés Almeida, Beatriz Santana, and Bryan Rodrigues.
Again, without much information about the interior, the primary reference for this second hypothesis was the 1515 painting of Saint Francis Delivering the Statues [28]. The painting was used to speculate on various aspects of the interior reconstruction including the columns, flooring, altar, and other details (Figure 8). Figure 8. Reconstruction of the original church—Hypothesis 2. (Left): Church interior (Right): Overview of the entire church during a period of rising water from the Tagus River. Credits Inés Almeida, Beatriz Santana, and Bryan Rodrigues.
Figure 9. Reconstruction of the original church—Hypothesis 3. (Top left): Digital model. (Top right): Three-dimensional printed model. (Bottom): Reinterpretation of the original paintings used in the virtual reconstruction and modified according to the results of the final model. Credits: Lucas Miranda. The interior of the church was generated that attempted to reconstruct the spaces of the through a series of perspectival exercises paintings. At first, each painting was recon- structed separately, and then the volumes depicted on the facade were used to interpret how these 3D reconstructions could have corres ponded. This activity was undertaken along with physical models which divided the paintings according to a series of planes. Whether or not the original church looked like this, the process eliminated the doubt about whether the paintings shared correspondence. In the end , few correspondences were present though a peculiar space arose that could perhaps share some similarities to the original (Figure 9).
Figure 9. Reconstruction of the original church—Hypothesis 3. (Top left): Digital model. (Top right): Three-dimensional printed model. (Bottom): Reinterpretation of the original paintings used in the virtual reconstruction and modified according to the results of the final model. Credits: Lucas Miranda. The interior of the church was generated that attempted to reconstruct the spaces of the through a series of perspectival exercises paintings. At first, each painting was recon- structed separately, and then the volumes depicted on the facade were used to interpret how these 3D reconstructions could have corres ponded. This activity was undertaken along with physical models which divided the paintings according to a series of planes. Whether or not the original church looked like this, the process eliminated the doubt about whether the paintings shared correspondence. In the end , few correspondences were present though a peculiar space arose that could perhaps share some similarities to the original (Figure 9).
Figure 10. Reconstruction of the Arab Room. (Left): Interior rendering. (Top right): Three- dimensional reconstruction prior to the 16th-century. (Bottom right): Three-dimensional recon- struction in the 16th-century. Credits: Maria Salvador and Madalena Roque. This cord element also appears in stone in other parts of the building, such as the facade and in the small cloister, two spaces which would have been modified in the time of Leonor’s conversion of the space into a monastery. Such stone detailing also corresponds to what can be seen in the Monastery of Jesus in Setubal. Historians also suggest that the Arab Room originally housed two flights of stairs on either side of an altar leading up to he small cloister on a higher level (Figure 10). This hypothesis suggests that the space was used as a central circulation space for nuns in the monastery to reach the original church. The remains of Queen D. Leonor are located at the entrance of this space near the entrance o the low choir, as per King D. Joao III who transferred them there following his expansion of the monastery. The corridor connecting the Arab Room to the low choir and probably to other spaces such as the infirmary and dormitories was likely outside and part of the houses belonging to Alvaro da Cunha. On advice from invited experts, the flooring of the Arab Room would have had a medieval character best expressed in a few examples, one being the painting attributed to Nuno Goncalves and the other being the chapel of Saint Estévao in the cloister of the Cathedral of Lisbon.
Figure 10. Reconstruction of the Arab Room. (Left): Interior rendering. (Top right): Three- dimensional reconstruction prior to the 16th-century. (Bottom right): Three-dimensional recon- struction in the 16th-century. Credits: Maria Salvador and Madalena Roque. This cord element also appears in stone in other parts of the building, such as the facade and in the small cloister, two spaces which would have been modified in the time of Leonor’s conversion of the space into a monastery. Such stone detailing also corresponds to what can be seen in the Monastery of Jesus in Setubal. Historians also suggest that the Arab Room originally housed two flights of stairs on either side of an altar leading up to he small cloister on a higher level (Figure 10). This hypothesis suggests that the space was used as a central circulation space for nuns in the monastery to reach the original church. The remains of Queen D. Leonor are located at the entrance of this space near the entrance o the low choir, as per King D. Joao III who transferred them there following his expansion of the monastery. The corridor connecting the Arab Room to the low choir and probably to other spaces such as the infirmary and dormitories was likely outside and part of the houses belonging to Alvaro da Cunha. On advice from invited experts, the flooring of the Arab Room would have had a medieval character best expressed in a few examples, one being the painting attributed to Nuno Goncalves and the other being the chapel of Saint Estévao in the cloister of the Cathedral of Lisbon.
Figure 12. (Top): Section of the virtual reconstruction of the Low Choir. (Bottom): Comparison of the same space in the 16th and today. Credits: Jolanta Krzywdziriska.
Figure 12. (Top): Section of the virtual reconstruction of the Low Choir. (Bottom): Comparison of the same space in the 16th and today. Credits: Jolanta Krzywdziriska.
Figure 14. Virtual reconstruction and 3D Printing of the 17th-century Church of Madre de Deus. (Top): Three-dimensional model of the entire building’s perimeter. (Bottom): Three-dimensional printing of the 17th-century church. Credits: Bianca Friebel. Figure 14. Virtual reconstruction and 3D Printing of the 17th-century Church of Madre de Deus.
Figure 14. Virtual reconstruction and 3D Printing of the 17th-century Church of Madre de Deus. (Top): Three-dimensional model of the entire building’s perimeter. (Bottom): Three-dimensional printing of the 17th-century church. Credits: Bianca Friebel. Figure 14. Virtual reconstruction and 3D Printing of the 17th-century Church of Madre de Deus.
Figure Al. Arrival of the Relics of Saint Auta to the Church of Madre de Deus (Chegada das Reliquias de Santa Auta a Igreja da Madre de Deus), c. 1522. © José Luiz Bernardes Ribeiro/CC BY-SA 3.0. File: St. Auta Altapiece—Arrival of the relics of St. Auta at Madre de Deus Monastery—Lisbon Workshop—ca. 1522—oil on oak.JPG—Wikimedia Commons (Available on- line: https:/ /commons.wikimedia.org /wiki/File:St._Auta_Altapiece_-_Arrival_of_the_relics_of_St. _Auta_at_Madre_de_Deus_Monastery_-_Lisbon_Workshop_-_ca._1522_-_oil_on_oak.JPG) (accessed 27 August 2023).
Figure Al. Arrival of the Relics of Saint Auta to the Church of Madre de Deus (Chegada das Reliquias de Santa Auta a Igreja da Madre de Deus), c. 1522. © José Luiz Bernardes Ribeiro/CC BY-SA 3.0. File: St. Auta Altapiece—Arrival of the relics of St. Auta at Madre de Deus Monastery—Lisbon Workshop—ca. 1522—oil on oak.JPG—Wikimedia Commons (Available on- line: https:/ /commons.wikimedia.org /wiki/File:St._Auta_Altapiece_-_Arrival_of_the_relics_of_St. _Auta_at_Madre_de_Deus_Monastery_-_Lisbon_Workshop_-_ca._1522_-_oil_on_oak.JPG) (accessed 27 August 2023).
Figure A2. Saint Francis Delivering the Statutes of the Order to Saint Claire (S. Francisco Entregando os Estatutos da Ordem a Santa Clara), 1515. Jorge Afonso, Public domain, via Wikimedia Commons. Avail- able online: https:/ /commons.wikimedia.org/wiki/File:S._Francisco_entregando_os_Estatutos_da_ Ordem_a_Santa_Clara_Jorge_Afonso_MNAA jpg (accessed 27 August 2023).
Figure A2. Saint Francis Delivering the Statutes of the Order to Saint Claire (S. Francisco Entregando os Estatutos da Ordem a Santa Clara), 1515. Jorge Afonso, Public domain, via Wikimedia Commons. Avail- able online: https:/ /commons.wikimedia.org/wiki/File:S._Francisco_entregando_os_Estatutos_da_ Ordem_a_Santa_Clara_Jorge_Afonso_MNAA jpg (accessed 27 August 2023).
Figure A3. Tryptic of the Presentation of the Child in the Temple (Triptico da Apresentacdo do Menino no Templo), c. 1501-1525. Goswijn van der Weyden, Public domain, via Wikimedia Commons. Available online: https: / /commons.wikimedia.org /wiki/File: Goswin_van_der_Weyden_-_Apresenta%C3%A7%C3%A30_do_Menino_no_Templo,_Santo_ Ant%C3%B3nio e S%C3%A30 Francisco.ipe?uselane=pt#Licenciamento (accessed 27 August 2023).
Figure A3. Tryptic of the Presentation of the Child in the Temple (Triptico da Apresentacdo do Menino no Templo), c. 1501-1525. Goswijn van der Weyden, Public domain, via Wikimedia Commons. Available online: https: / /commons.wikimedia.org /wiki/File: Goswin_van_der_Weyden_-_Apresenta%C3%A7%C3%A30_do_Menino_no_Templo,_Santo_ Ant%C3%B3nio e S%C3%A30 Francisco.ipe?uselane=pt#Licenciamento (accessed 27 August 2023).
Figure A4. 19th-century floorplan (drawing No° 13) by the architect José Maria Nepomuceno. Library and Historical Archive of the Ministry of Social Equipment.
Figure A4. 19th-century floorplan (drawing No° 13) by the architect José Maria Nepomuceno. Library and Historical Archive of the Ministry of Social Equipment.
Figure A5. 19th-century elevation (drawing No® 24) by the architect José Maria Nepomuceno. Library and Historical Archive of the Ministry of Social Equipment.
Figure A5. 19th-century elevation (drawing No® 24) by the architect José Maria Nepomuceno. Library and Historical Archive of the Ministry of Social Equipment.
Related topics:
Virtual ReconstructionMudéjar Art and ArchitectureArchitectural PedagogyPortugal HistoryHBIM Historic Building Information Modeling
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