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In SSHOC Task 5.7 (Open Linked Data. Archaeology Case Study), a virtual reconstruction of the Roman theatre in Catania will be created as an example of an actual transition of archaeological data to the cloud, i.e. from data silos on individual computers to webservices. The case study is based on a unified workflow that starts with the archaeological documentation and results in a virtual reconstruction. With this workflow, data manually acquired during an excavation and traditionally stored on paper can now be stored in the cloud and used for 3D visualisations of the site. The workflow uses tools that are being developed by the task partners, such as idai.field for exacavation documentation and the Extended Matrix for 3D reconstruction. The task partners will document the existing systems with their individual workflows and apply them to existing as well as newly created data on the Roman theatre. They will then work on combining these tools with the aim of creating an overarching cloud-based workflow. The case study will rely on systems for normative data such as gazetteers for place and time information and based on the case study the task partners will evaluate additional data standardization strategies to enable data sharing and re-use of archaeological data. To this end, the underlying ontologies will be aligned with CIDOC CRM and provide the data as LOD wherever possible. The present Deliverable 5.17 is the implementation plan for this case study. It details the necessary work steps, the planned collaborations and the expected outcomes of this task.

A virtual reconstruction of the Roman theatre in Catania will be created as an example of an actual transition of archaeological data to the cloud, i.e. from data silos on individual computers to webservices. The case study is based on a unified workflow that starts with the archaeological documentation and results in a virtual reconstruction. This deliverable describes the necessary work steps, the planned collaborations and the expected outcomes of this task.

Predmet diplomske naloge je z metodo študije primera raziskati pomen ra-čunalniških tehnologij, informacijskih metod, računalniških programov, 3D modelov in 3D grafičnih programskih orodij v arheologiji. Naloga je osredotočena predvsem na primerjavo in analizo parametrov petih 3D modelov paleolitske lesene konice v izbranih formatih (PLY in STL), ki so bili narejeni v časovnem intervalu 2009--2018. Primerjalna analiza podatkov in parametrov vseh 3D modelov je bila opravljena z odprtokodnim računalniškim programom CloudCompare. Dobljeni rezultati ter opravljene primerjave so potrdile začetno hipotezo o spremembah, ki so nastale na artefaktu po njegovem odkritju in izločitvi iz njegovega naravnega okolja. Ugotovljene razlike in spremembe (npr. upogib in deformacija, spremembe v teksturi in preseku, ipd.) so nazorno izpostavile nevarnost neželenih sprememb in degradacije arheoloških ostalin kopenske in podvodne kulturne dediščine po njihovi izločitvi iz naravnih pogojev najdišča. Izbrana programska oprema je izpolnila pričakovanja o njeni primernosti, uporabnosti in koristnosti pri arheološki analizi in vrednotenju ostalin kulturne dediščine. The subject of this dissertation was to investigate the importance of informatics, computer technologies, computing methods, computer programming, 3D models and 3D graphical software tools in archaeology and in interdisciplinary archaeological treatises, analyzes and evaluations of the artefacts and the past cultural heritage using case study. The task is focused primarily on the comparison and analysis of the parameters five 3D models of the paleolithic wooden artefact in the given formats (PLY and STL), which were made in the time interval 2009--2018. A comparative analysis of the data and parameters of all 3D models was carried out with open source software CloudCompare. The obtained results and the comparisons made confirmed the initial hypothesis of changes that occurred on the artefact after the discovery and exclusion from its natural environment. The differences and changes found (for example: bending and deformation, changes in texture and cross-section, color, etc.) highlighted the danger of unwanted changes and degradation of archaeological remains of land and underwater cultural heritage after their removal from the natural conditions of the site. However, the selected software fulfilled the expectations of its suitability and usefulness for archaeological analysis and for evaluation of the cultural heritage in general.

Despite the capacity of Virtual Reality (VR) to recreate and enhance real and virtual worlds, many applications in Archaeology aim at the photorealistic depiction of architectural spaces. On the other hand, little is known about their real communicational effectiveness. In this context, the EU-funded project {LEAP] proposed the concept of Cultural Presence as the theoretical and methodological foundation for a new kind of VR-mediated experience, and the UNESCO World Heritage Neolithic site of Catalhoyuk (Turkey) was chosen as case of application. During this process, a survey of design pipelines in Digital Archaeology indicated that, to build such experiences, a new design and evaluation method may need to be adopted. This paper presents the process of building and testing “3D·CoD”, a new methodology for the design of VR-mediated experiences. Initially, different archaeologists working at Catalhoyuk were engaged in a first workshop, aimed at establishing a specific instantiation of Cultural Presence and how to depict it by means of VR. To that end, observation, questionnaires, multimodal, and statistical analyses were used. The results of this field work were translated into a co-design hands-on methodology (“3D·CoD”), which was tested in a second workshop, with a different group of archaeologists. In this case, observation and debriefing were used. The results of this evaluation suggest that co-design strategies are suitable for the creation of VR-mediated experiences, but that equally important is 1) to consider the co-designers’ concept of Archaeology; and 2) to think in terms, not of 3D models, but of Cultural Heritage goals and human experiences.

Questa iniziativa editoriale è stata promossa in una versione ridotta nel libro Il teatro di Augusta Bagiennorum. Dallo studio dei resti all’ipotesi ricostruttiva del progetto architettonico. Il DVD porta a conclusione l’intero progetto di ricerca finalizzato alla restituzione dei principali edifici che furono realizzati nell’antica città romana proposta da Maria Cristina Preacco, funzionario della Soprintendenza per i Beni Archeologici fino al 2013.

En este artículo se analizan las tendencias actuales respecto a la utilización de la tecnología digital en torno a la arqueología y la educación patrimonial. El estudio parte comdesarrolladas por las autoras del texto con el respaldo de proyectos de investigación competitivos, al igual que se hace referencia a otros proyectos y experiencias. de un análisis sobre el potencial educativo de la arqueología y se concreta posteriormente en la aplicación didáctica de los modelos digitales de reconstrucción e interpretación de espacios y objetos arqueológicos. El trabajo permite establecer tres líneas básicas de innovación educativa: modelos inmersivos en realidad virtual, entornos de interacción social web 2.0 y mobile learning, además de una línea de investigación emergente vinculada a la evaluación de proyectos y materiales patrimoniales basados en las tecnologías digitales. En el trabajo, se plasman los resultados de varias investigaciones originales This paper analyses the current trends regarding the use of digital technologies in archeology and heritage education. The study stems from a theoretical analysis of the educational potential of archeology which is channeled later into the didactic use of digital models reconstruction and interpretation of archaeological objects and spaces. This research establishes three basic lines of educational innovation: immersive virtual reality models, social interaction web 2.0 environments, and mobile learning. It also highlights the evaluation of heritage projects and materials based on digital technologies as an emerging interest in this field of research. The article is the result of original research conducted by the authors and supported by competitive research projects, but it also refers to other projects and experiences. Cet article analyse les tendances actuelles en rapport à l’utilisation des technologies numériques en archéologie et dans l’éducation au patrimoine. Ce travail débute par une analyse du potentiel éducatif de l’archéologie puis continue avec l’application didac-tique des modèles numériques de reconstruction et d’interprétation des objets et des es-paces archéologiques. Le travail permet de déterminer trois lignes d’innovation pédago-gique: des modèles immersifs de la réalité virtuelle, les environnements de l’interaction sociale Web 2.0 et l’apprentissage mobile. Il y a en plus une nouvelle ligne de recherche en rapport à l’évaluation des projets et au patrimoine matériel archéologique qui utilisent les technologies numériques. Dans ce travail, on voit les résultats de plusieurs recherches originales effectuées par les auteurs du texte et soutenus par des projets de recherche compétitifs et il fait aussi référence à d’autres projets et d’autres expériences.

Mediante un sistema láser tridimensional se escanearon restos arqueológicos resultantes de excavaciones en un castro de Galicia, obteniéndose en primer lugar distintas partes sueltas de la superficie externa de cada pieza. A continuación se aplicaron métodos para generar la superficie integral de cada pieza a partir de los distintas partes o parches sueltos. Como objetivo principal se desarrollaron y aplicaron dos métodos para la reconstrucción virtual de restos arqueológicos incompletos, que se basan en la integración de los métodos tradicionales del dibujo arqueológico con el CAD (Computer Aided Design). Además, a partir del modelo superficial de cada pieza se estudiaron métodos para la generación de un modelo sólido completo de cada una, pudiendo así guardar información interna (material, densidad,...) de los objetos, con la posibilidad de realizar cortes de todo tipo. By means of a three-dimensional laser system, archeological remains resultant of excavations in a castro of Galicia were scanned, being obtained in the first place different loose parts of the external surface of every piece. Next, methods were applied to generate the integral surface of each piece from the different loose parts or patches. As main objective, it was developed and implemented two methods for virtual reconstruction of incomplete archaeological remains. These methods are based on the integration of traditional methods of archaeological drawing with CAD (Computer Aided Design). Moreover, from the superficial model of each piece, methods were studied for the generation of a complete solid model of each one, thus being able to keep internal information (material, density, etc.) of the objects, with the possibility of making cuts of all type.

The Nymphaeum of the Tritons at Hierapolis of Phrygia is a monumental fountain of the Roman period with an imposing marble façade. Within the activities of the Italian Archaeological Mission the Nymphaeum is currently being studied by a team from the University of Messina with the goal of understanding its original layout and its history. The starting point of the study is the wealth of data provided by stratigraphic excavation of the building, particularly by the extensive archaeological deposits formed by the blocks of the façade collapsed into the pool of the fountain following an earthquake in the 7th century AD. The need to process a large amount of data required the creation of a computer database linked to a GIS platform. This permitted the integrated management of various types of information regarding individual architectural elements, their stratigraphic position, their function and position in the facade, and the way in which archaeological deposits were formed. The results so far achieved regard two main aspects: the development of a digital reconstruction of the Nymphaeum and a hypothesis for the dynamics of the building’s collapse and the nature and intensity of the earthquake that caused it. Fundamental support has been provided at the various stages of work by the creation of a 3D digital model of the building, which was conceived as an investigative tool throughout all the phases of the work in progress. Thanks to their versatility and reversibility 3D modelling techniques represented a tool for monitoring and testing the reconstruction hypotheses as they were formulated, enabling us to effectively view how reliable the proposed reconstructions were, and any errors. Particular emphasis is thus given to the importance of using 3D reconstruction models as an integral and necessary part of the various stages in the process of analysing and documenting an ancient building.

Raffaello Sanzio intuì per primo che il mondo antico, come lo vedevano i suoi occhi, non era che l’eco sbiadita di quella ricchezza che pur doveva caratterizzarne l’esperienza artistica. Oggi la tecnologia permette di realizzare il sogno di Raffaello e di restituire le immagini delle antiche architetture, rivoluzionando la percezione del patrimonio culturale da parte del pubblico moderno. La nostra esperienza decennale nel settore della comunicazione del bene culturale ha consentito di confrontarci con diversi casi: dalla Domus Aurea, all'Ara Pacis; dai filmati divulgativi agli applicativi pensati per le postazioni fisse dei musei, fino alla creazione di software per la gestione dei dati degli scavi archeologici. Sempre ponendo al centro di ogni lavoro i cardini del nostro modo di fare ricerca: l'attenzione al linguaggio, quale strumento di comprensione estetica, e la gestione informatizzata delle fonti, come apparato di studio e metodo di validazione scientifica delle ricostruzioni.[L’impostazione del saggio è comune ai due autori. In particolare, però, Stefano Borghini ha curato il paragrafo “Considerazioni generali”, mentre Raffaele Carlani “Alcune esperienze”]., Raffaello Sanzio realized for the first time that the ancient world, as it appeared to his eyes, was the faded echo of the richness which characterized it in the arts. Today the technology allows to actualize Raffaello’s dream and to restore the appearance of the ancient buildings. It revolutions the cognition of the cultural heritage by the modern audience. During our ten-year long experience in the communication of the cultural heritage we could deal with examples as Domus Aurea or as Ara Pacis; realizing popular videos, applications for kiosk in museums and software to manage data of archaeological excavations. All our works focus our method of research: the attention to the language, as instrument of aesthetic understanding, and the computerizing management of the fonts, as apparatus of studies and instrument of scientific validation of the reconstructions.

This paper presents the outcome of the research project: "Integrated Technologies of Robotics and Virtual Environments in Archaeology", financed by the Italian Ministry of the University and Scientific Research, FIRB (Funds for the Investments of Basic Research). The aim of the project is to experiment and realize a multi-user domain on the web aimed to a multidisciplinary scientific community: archaeologists, historians, experts in human and social sciences, communication experts. The capacity to load, share and interact with data in the same spatial virtual environment can increase the level of learning and scientific communication. The project is the result of the collaboration between CNR-ITABC of Rome, the University of California, Merced, the Department of Archaeology of the University of Pisa and Scuola S. Anna of Pisa. It focuses on three archaeological sites: the Teban tomb 14 in the necropolis of Gurna, Fayum Medinet Madi, both in Egypt, and Khor Rori, in Oman. The collaborative environment is constructed through a virtual reality system. This allows to create a virtual space where it is possible to share 3D information on the project and to host additional behaviors of the scientific community.

On the eve of the great earthquake of 1st November 1755, Lisbon was one of the most populated cities in Europe, a major sea port, international trading station and the political heart of an empire that extended from India to Brazil. Portrayed by some travellers and foreign residents as a mixture of abject misery, extreme religious devotion and baroque opulence and extravagance, the old Lisbon became a mythical city for 18th century Europeans whil e for the Portuguese it has remained so until today. After the catastrophe, Sebastião José de Carvalho e Melo (b. 1699–d.1782), the minister to King D. José (1750 –1777, b. 1714) and future Marquis of Pombal, with the vital assistance of Portuguese military engineers, built a city with a regular layout arranged in uniform blocks. The old Lisbon with its particular morphological and social characteristics disappeared. The aim of this project is to use Second Life® technology to recreate the Lisbon destroyed by the 1755 earthquake and on which the Lisbon planned by the military engineers Eugénio dos Santos and Carlos Mardel was built. It therefore consists of collaboration between two scientific approaches – historic and virtual language —thereby allowing the visualization of a memory. Using written documentation and iconography found in archives and national museums, we propose to reconstitute the city, including not only the urban design but also the architectonic fabric of the whole and the interiors of the most noteworth y buildings, such as the Royal Palace in Terreiro do Paço (Palace Courtyard), the Patriarchal See, the Opera House, the Corp us Christi Convent and the All Saints Hospital. This re-creation will include an audio component that provides the background noise of city-dwellers, as well as performances of the opera and other noteworthy events of Lisbon of the time. It will be complemented by small texts giving the historical context. It thus strives to recreate the spatial, architectural, social and cultural dimensions of Lisbon in the early 18th century.

he measures of protection that a community intends to implement to ensure the conservation and use of Cultural Heritage contribute to preserve memory and to promote development of culture. The restriction nature of these actions isn't enough to guarantee safeguard of Cultural Heritage, it is therefore necessary that the Knowledge is not directed exclusively to control, but it is used to Communicate the meaning of which cultural heritage is physical vehicle, and then the reason of protection. The research aims to define a communication project for an archaeological site that is able to identify an appropriate code to bridge the communication gap linked to archaeological finds and to allow the cultural information reaches the wide audience. The Case Study is the archaeological site of Velia in the Cilento National Park, it is less known than Paestum because the physical deterioration creates more problems to translate the signs. In this case the Communication process is essential to make effective the safeguard action and to transmit cultural values of the archaeological finds. The research aims to experiment with different forms of communication to establish communication products for different users: a video to promote culture, an Information System based on 3D models or linked to VR applications. The main expected results are to spread culture, to encourage cultural debate and, last but not least, to promote cooperation between researchers from different disciplines.