Design has historically played a key role in museography. It continues to play such a role in the present day through generating solutions for optimising the presentation of cultural artefacts, passing into the domain of museology when the cultural aspect of an artefact is enhanced. Take for example the production of exhibitions which are “tailored” around works such as the recent one by Michele De Lucchi inside the Sforza Castle in Milan which enhances the viewing experience of Michelangelo’s “Pietà Rondanini”. In the digital era the options of design expand exponentially due to the possibility to create digital copies of ancient works of art, archaeological sites and historical buildings which can be used as virtual replicas. These replicas can serve both for the 3-D visualisation of digital heritage and for the accurate documentation of artefacts which is metrically consistent with the original items. In addition to improving the viewer’s experience, this process offers the possibility to conserve, restore and manage works of art – which is obviously important for national cultural institutions. However, it also results in technological bottle-necks due mainly to the enormous dimensions of the digitalized models of cultural heritage. The present study examines the manner in which 3-D models are codified in order to create a technology which provides designers with a useful tool for developing new applications for digital heritage. To date these have not been realisable due to the unmanageable dimensions of the models used in terms of memory. In other words, the aim has been to create a 3-D model that can codify the same information as previous models using less memory capacity than in the past and with a scalable structure. This process makes the visualisation of digital heritage possible both on small mobile devices and powerful dedicated computers. The theoretical process of the present study was applied to three famous Italian works of art which featured marked topological differences. In each of these three works the metrical precision of the re-codified models was compared with the original high-resolution works according to the methodology developed as part of the study. The present project has created a foundation for meeting the ever-growing demand for digital cultural heritage. These digital works will in turn become cultural artefacts to be preserved and valued, as has already been recognised at an international level by the vast scientific area identified as “Digital Heritage”.
Il Design ha svolto storicamente e svolge tuttora un ruolo chiave nella museografia, ovvero nella messa a punto di soluzioni allestitive per la valorizzazione dei beni culturali, sfociando nella museologia quando l’allestimento fornisce un valore aggiunto di carattere culturale. Basti pensare alla creazione di musei “cuciti” addosso alle opere come il recente allestimento di Michele De Lucchi all’interno del Castello Sforzesco per valorizzare la fruizione della “Pietà Rondinini” di Michelangelo. Nell’era digitale questa funzione del Design si amplia a dismisura grazie alla possibilità di creare copie digitali di opere d’arte antica, siti archeologici o edifici storici, che possono essere utilizzate come simulacri virtuali per forme di fruizione avanzata e interattiva, ma anche come forme di documentazione accurate, metricamente coerenti con gli originali. Quest’ultima possibilità se da un lato è ricca di implicazioni funzionali non solo alla fruizione ma anche alla conservazione, al restauro e alla gestione delle opere - di cui le istituzioni culturali nazionali sentono sempre più bisogno - dall’altro porta alla nascita di “colli di bottiglia” tecnologici, legati soprattutto alle enormi dimensioni dei modelli originati dalla digitalizzazione dei beni culturali. Questa tesi affronta il problema ridefinendo le regole della codifica 3D, con lo scopo di creare una tecnologia abilitante, che fornisca ai designer uno strumento utile al progetto di applicazioni per la fruizione dei beni culturali, fino ad oggi impossibili a causa delle ingestibili dimensioni dei modelli coinvolti. L’idea è quella di un modello che riesca a codificare le stesse informazioni dei tipici modelli acquisiti in una quantità di memoria molto minore rispetto al passato, e di una strutturazione scalabile, che renda il modello 3D così ri-codificato, utile sia per la fruizione su piccoli dispositivi mobili che su potenti computer dedicati. L’elaborazione teorica del nuovo concetto è sostanziata dalla sperimentazione su tre note opere d’arte italiane, caratterizzate da forti differenze topologiche, sulle quali si verifica la coerenza metrica dei modelli rielaborati secondo la metodologia proposta, rispetto alle canoniche rappresentazioni 3D ad alta risoluzione. Con questo lavoro si creano quindi le basi per soddisfare una sempre crescente domanda di beni culturali in forma digitale, che divengono bene culturale da proteggere essi stessi, come ormai internazionalmente accettato dalla vasta comunità scientifica legata al cosiddetto “Digital Heritage”.
Un nuovo processo per lo sviluppo di modelli virtuali reality-based nelle applicazioni di Digital Heritage
ANGHELEDDU, DAVIDE
Abstract
Design has historically played a key role in museography. It continues to play such a role in the present day through generating solutions for optimising the presentation of cultural artefacts, passing into the domain of museology when the cultural aspect of an artefact is enhanced. Take for example the production of exhibitions which are “tailored” around works such as the recent one by Michele De Lucchi inside the Sforza Castle in Milan which enhances the viewing experience of Michelangelo’s “Pietà Rondanini”. In the digital era the options of design expand exponentially due to the possibility to create digital copies of ancient works of art, archaeological sites and historical buildings which can be used as virtual replicas. These replicas can serve both for the 3-D visualisation of digital heritage and for the accurate documentation of artefacts which is metrically consistent with the original items. In addition to improving the viewer’s experience, this process offers the possibility to conserve, restore and manage works of art – which is obviously important for national cultural institutions. However, it also results in technological bottle-necks due mainly to the enormous dimensions of the digitalized models of cultural heritage. The present study examines the manner in which 3-D models are codified in order to create a technology which provides designers with a useful tool for developing new applications for digital heritage. To date these have not been realisable due to the unmanageable dimensions of the models used in terms of memory. In other words, the aim has been to create a 3-D model that can codify the same information as previous models using less memory capacity than in the past and with a scalable structure. This process makes the visualisation of digital heritage possible both on small mobile devices and powerful dedicated computers. The theoretical process of the present study was applied to three famous Italian works of art which featured marked topological differences. In each of these three works the metrical precision of the re-codified models was compared with the original high-resolution works according to the methodology developed as part of the study. The present project has created a foundation for meeting the ever-growing demand for digital cultural heritage. These digital works will in turn become cultural artefacts to be preserved and valued, as has already been recognised at an international level by the vast scientific area identified as “Digital Heritage”.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/117883