3D Laser Scanning (Archaeology)

Upon visiting the megalithic site of Ħaġar Qim in Malta, one is immediately struck by the fine workmanship of the remaining façade. However, studies on remains of a model discovered in another local megalithic site which represents a megalithic façade, indicated that today’s Ħaġar Qim façade is none other than a fraction of what should have been the original façade. A previous study showed the virtual reconstruction of the original Ħaġar Qim façade in its original setting [1]. This paper represents the visualisation of computer simulations of various lighting conditions on this construction. The façade was exposed to natural sunlight at the earliest hours of the day, followed by mid day lighting conditions leading to dusk and sunset simulations. Further to this, a hypothetical artificial fire light was also simulated and represented at various positions.
Since this is the first virtual 3D model of the Ħaġar Qim façade, it is also the first occasion to be able to view this magnificent entrance way in various situations in which the real Ħaġar Qim façade could have been visualised around 5500 years ago but cannot be experienced today.

Güneybatı  Anadolu’da,  Likya  Bölgesi’nde  yer  alan  Olympos  antik  kenti  tarihte  önemli  bir  yere  sahiptir.  Kentin  en  önemli  özelliği  yerleşim  dokusunun  Roma,  Erken  Hıristiyan  ve  Bizans  dönemleri  arasındaki  değişiminin  açıkça  izlenebilmesidir. Bu çalışma,  Olympos antik kentinin ve farklı dönemlerdeki kent  dokusunun  değişim  süreçleri  dikkate  alınarak  yerleşimin  orijinal  yapısını  ortaya  çıkarmak için gerçekleştirilmiştir. Çalışmanın temel amacı, kentin bilimsel verilere  dayanılarak sanal ortamda canlandırılabilmesi için yapıların ve yerleşim dokusunun  3B  modellemelerinin  üretilmesidir.  Olympos’un  Roma  ve  Bizans  dönemi  kent  dokusu bu şekilde çok daha kolay ve hızlı bir şekilde belirlenmiştir. Böylece Antik  Çağ’ın  kültürel  ve  mimari  mirası  ve  yapıların  işlevleri  daha  anlaşılabilir  hale  gelmiştir.

Olympos, an ancient city located in the region of Lycia in southwest Anatolia, had  an important place through history. The most striking feature observed at Olympos  is that the urban texture reflects the Roman, Early Christian and Early Byzantine  periods  with  the  transformation  attestable.  In  this  paper,  the  ancient  city  of  Olympos and the city's urban texture of different periods in detail by considering  processes of change is intended to reveal the original structure. The main purpose of that study is produced 3D models for Olympos as an reanimation of the city in a virtual  environment  based  on  scientific  data.  The  urban  texture  of  Olympos  in Roman  and Byzantine  periods  determined  much  more  easily  and  quickly  carried out restitituon  with  3D  system.  So  that  cultural  and  architectural  heritage  of  the ancient world and its functions became more clear.

This paper illustrates all different technical aspects involved in the realization of MUSINT's virtual museum on the Web and its first exhibition which focuses on the unknown Aegean and Cypriot antiquities collections held by Tuscan museums. The various itineraries and engagement modalities offered to the visitor provide a multimedial and interactive experience of the contents, assuring a close look - also in 3D - to valuable archaeological finds, virtually reconnected to other pieces now physically separated and to the geographical sites they come from, through an historical approach to contexts and archaeological art and craft ware typologies.

The paper describes an ongoing project aiming at developing a benchmarking procedure for the definition of the most suitable methodology for different research goals like conservation, virtual restoration, web visualization, etc. Some typical archaeological artifacts have been tested with the 3D laser scanner NextEngine in order to define guidelines for the digital acquisition and post-processing of similar artefacts types. This test has been carried out focusing on the possible applications of the outcomes and on different parameters offered from the device. These recommendations should help CH professional interested in applying digital technologies in their routine work.

The concept of 3D printing in Archaeology is quickly gaining attention and funding all over the world. The cost of owning a 3D printer, meanwhile, is plummeting. Not only does this drop in price facilitate access by universities and businesses, but also to interested members of the public. With this in mind, Archaeologists must consider the prospect of using new technology to increase the accessibility of sites and artifacts to the general public. By creating reproductions of artifacts, researchers can share sensitive physical information on a larger scale than ever before. The Virtual Curation Laboratory at VCU has already begun the process of printing artifacts from various sites in the Middle Atlantic region for display. Here the focus of 3D printing has been primarily on small finds, being the most detailed and intriguing artifacts available, and introducing the public to a wider array of these artifacts could help spark a newfound interest in the field of Archaeology.

Imagery and physical representations play a key role in the interpretation, analysis, and publication of archaeological data. Archaeological visualization has been created using a wide range of media throughout history, including drawings, photographs, reconstructions, diagrams, and now three-dimensional (3D) models generated using laser scanning technology. Three-dimensional scanning has tremendous potential to expand archaeology, offering solutions to curation issues, allowing new
perspectives in artifact analysis and preservation, and creating numerous opportunities for public archaeology. This paper will examine archaeological visualization and its future in the rapidly expanding sphere of technology, focusing specifically on three-dimensional scanning and its great strength for public outreach and education.

The church of St Edward the Confessor lies to the north of the town centre of Leek, Staffordshire, and two Anglo-Saxon stone cross shafts currently stand in its churchyard. Additionally, a complete later medieval market cross stands in the town market place. In response to a request from Imogen Sambrook, Heritage at Risk (HAR) Projects Officer for the West Midlands region, the Geospatial Imaging team undertook a programme of survey for these three scheduled crosses, as well as historical features on the walls of St Edward’s church (figure 1), to create a record of their current physical condition.

Both laser scanning and photography for structure-from-motion (SFM) photogrammetry were conducted on site, and 3D outputs, including 3D PDFs, Autodesk ReCap projects and OBJ files, were produced. From these outputs, it was possible to analyse the carved details on some of the stonework in greater detail using polynomial texture mapping (PTM), enhancing our understanding of these monuments and providing scope for further research.

Od kilku lat, wraz z rozwojem technik informatycznych, obserwujemy tendencję digitalizacji dokumentacji archeologicznej. Zdjęcia tradycyjne wyparła fotografia cyfrowa, a rysunki, terenowo wykonywane ołówkiem, przenosi się następnie do komputera wykorzystując programy CAD (z ang. projektowania wspomaganego komputerowo). Na wykopaliskach standardem staje się GPS i Total Station. W ostatnich latach uwagę archeologów zwróciły skanery 3D, tworzące wirtualne odwzorowanie zabytku na ekranie komputera. Programy 3D pozwalają na uchwycenie wszelkich cech metrycznych zabytku, jego kształtu i tekstury. Model komputerowy pozawala za to na obejrzenie obiektu z każdej strony, pobieranie pomiarów, tworzenie przekrojów, obliczenie objętości czy wyznaczanie środka ciężkości. Dodatkowo do dyspozycji badaczy jest szereg narzędzi przeznaczonych do kontroli jakości. Przy ich pomocą możemy przeprowadzać analizy geometrii zabytków, porównać je względem siebie np. poszukując egzemplarzy z jednej formy. Ponadto plik z modelem możemy łatwo przesłać za pośrednictwem poczty elektronicznej lub umieścić go w ogólnodostępnej bazie danych – jego wielkość od kilku do kilkunastu megabajtów nie stoi tutaj na przeszkodzie. Umożliwiamy wówczas adresatowi przeprowadzenie analiz według własnych potrzeb. Możliwości cyfrowego modelu nie kończą się jednak na cyfrowej dokumentacji. Możemy publikować je w formie „wirtualnego muzeum” lub potraktować jako źródło do tworzenia dalszych wizualizacji i komputerowych rekonstrukcji. Ilość zastosowań pozostaje jedynie kwestią wyobraźni badaczy.
Tematem posterów będą podstawowe zasady działania skanerów 3D oraz płynące z całego świata przykłady jego zastosowania w służbie archeologii.

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Since few years, along with IT technology development, we have been observing a trend towards digitization of archaeological documentation. Traditional photography have been displaced by digital cameras, extemporary field drafts created with pencil are transmitted to digital format using CAD (computer-aided design) software. GPS and Total Station on the fieldwork became a standard. Within last few years, the archaeologists pay more attention to 3D digitizers that give them a possibility to create a virtual model of product on the computer screen. 3D software allows to capture every metric data, its shape and texture. We can see the model from each side, take the measurement, draw a cross sections, calculate a volume or centre of gravity. Additionally, there are many tools for quality control to scientist disposal. Aid of this, we can analyze geometry, compare each other - for example searching copies created in the same mould. Moreover, the model files can be easily sent by email or placed in a public database – the size is not a problem. We give a chance to other explorers to analyze them in their own way. Capabilities of the virtual models do not end with the documentation. We can publish them as a ‘virtual museum’ or use them as a base of visualizations or digital reconstructions creation. Variety of application is only a matter of imagination.
The main topic of the posters will be the 3D scanning technology basics and worldwide examples of application in archaeology service.

Roman baths are not only fascinating architectural structures but also
provide many insights into the ancient culture. They represent an emblematic
step in the process of civilization, indicative of the importance
of cities or the families that had them built. Their heating systems exemplify
the outstanding level of technological progress achieved by the
Romans. A novel interdisciplinary methodological approach is presented
to bridge the knowledge gap that often still concerns Roman baths.
It integrates in-situ analyses, laser scanning surveys, thematic 3D models,
computational fluid dynamics simulations, thermoluminescence,
and optically stimulated luminescence dating, providing an in-depth
investigation of the 3D spatiality, the functional layout, the construction
techniques, the operation, and the diachronic development of thermal
complexes. In this paper, the proposed approach is applied and validated
on one of the best-preserved thermal buildings anywhere in the Roman
Empire: the Indirizzo baths at Catania (Sicily). The dating campaign
confirmed that the complex was built at the end of the IV century and
stayed in operation until the VII century. The outcomes are a fundamental
premise for future conservation and exploitation activities, while the
proposed methodology constitutes a useful approach that can be effectively
replicated to better understand and promote other Roman thermal
complexes.

Heritage tourism is fast becoming a powerful economic force on an international scale, and previously inaccessible archaeological sites are now being opened up across the globe. Yet the destructive impact of visitation can actually endanger the physical integrity of the sites and monuments the
public seek to admire.

To alleviate the potential damage sustained to sites by exaggerated footfall, a number of different approaches may be adopted, including the restriction of public access to varying degrees. In instances where physical entrée is denied, alternative means of engagement may be offered in the
form of remote access. But is it possible to gain an embodied understanding of an archaeological site through these means alone?

The following study examines four alternative techniques for the recording and remote presentation of the interior of a fragile ancient structure; House 7 within the Neolithic settlement of Skara Brae, Orkney.

The spatial configuration of this building was remotely presented to eighty members of the public through two- and three-dimensional interfaces; i) traditional scaled elevation drawing plus ii) expressive photography and sketching, were displayed through paper-based media, whilst digital models produced from iii) a laser scanner-generated point cloud and iv) photographic image-based modelling were interacted with via computer. Having examined each rendering, the public were asked to complete a questionnaire assessing the perceived merits and limitations of each technique, and to consider what level and detail of visual access facilitated their effective
engagement. Survey questions were targeted to ascertain whether it was possible to achieve an embodied, three-dimensional understanding of the space via means of these representations alone.

The responses have informed a recommendation for the remote presentation of archaeological sites on a wider scale in the hope to facilitate intellectual access without further endangering our finite archaeological resource.

The application of 3D digital technologies in the archaeological research expands more and more during the last decades. 3D recording, visualisation, representation and reconstruction of archaeological sites, monu-ments and artefacts become almost a common trend in the archaeological work. Moreover, CAD reconstruc-tions, 3D simulation, computer animation and other uses of computer systems change the traditional work-flow. The archaeological experience, though, recognizes these tools more for the general public in order to offer a visualisation of the target object than as a mechanism that can offer new possibilities for the research itself.
The focus of this article is to take a look at some of the opportunities given to the research field of archaeology by 3D technologies. Specifically the article will look into technologies regarding the 3D recording, processing, visualisation and representation of archaeological data. Through the use of specific case studies we will investigate how applications can contribute to the understanding first and the interpretation later on of a certain archaeological object. Issues such as the types of questions and problems that can be faced and answered with these 3D technologies will be raised and discussed. The possibility to get an expansion of the archaeological research in new aspects, as it happens with other technological tools (e.g. databases), will be also examined. In addition to these, the disadvantages and limitations of the application of these 3D tech-nologies in the archaeological field will be also looked at, in order to accomplish a more complete view of its usage.

In marine geology, a guyot (also known as a tablemount) is an isolated underwater table mountain (seamount) with a flat top more than 200 m (660 ft) below the surface of the sea. The diameters of these flat summits can exceed 10 km (6.2 mi).
Guyots are most commonly found in the Pacific Ocean, but they have been identified in all the oceans except the Arctic Ocean.
Guyots show evidence of having once been above the surface, with gradual subsidence through stages from fringed reefed mountain, coral atoll, and finally a flat-topped submerged mountain.

Strumenti per la rilettura del manufatto architettonico: il Serapeo, un triclinio scenografico a Villa Adriana di Silvia Nicoli e Stefania Pini ϭ Ϯ /ŶƚƌŽĚƵnjŝŽŶĞ /ů ƚƵƌŝƐƚĂ ;͙Ϳ ŶŽŶ ŚĂ ĨŽƌƐĞ ƚŽƌƚŽ Ă ƐĞŶƚŝƌƐŝ ĨƌƵƐƚƌĂƚŽ ĚŽƉŽ ƵŶĂ |ŝƐŝƚĂ ƚƌŽƉƉŽ ĂĨĨƌĞƚƚĂƚĂ͕ ƉĞƌĐŚĠ ůĞ ŶŝĐĐŚŝĞ ĐŚĞ ƵŶ ƚĞŵƉŽ ŽƐƉŝƚĂ|ĂŶŽ ƐƚĂƚƵĞ ƐŽŶŽ ŽŐŐŝ ĚĞƐĞƌƚĞ͕ ŝ ƉĂ|ŝŵĞŶƚŝ ĚĂŝ ŵĂƌŵŝ ĐĂŶŐŝĂŶƚŝ ͞Ɛŝ ƐŽŶŽ ĚŝƐĨĂƚƚŝ ŝŶ ƵŶĂ ĚĞŶƐĂ ĂƐƐĞŶnjĂ͟ Ğ ůĞ ĐĂƌĐĂƐƐĞ Ěŝ ŵĂƚƚŽŶŝ ƌĞƐƚĂŶŽ ĚŝƐƉĞƌĂƚĂŵĞŶƚĞ Ɖƌŝ|Ğ ĚĞŝ ůŽƌŽ ƐƚƵĐĐŚŝ Ğ ĚĞŝ ůŽƌŽ ƌŝ|ĞƐƚŝŵĞŶƚŝ ƉƌĞnjŝŽƐŝ͘ ,͘ >Ă|ĂŐŶĞ͕ ĚƌŝĂŶŽ͕ ĐŽƐŞ |ŝĐŝŶŽ͕ ĐŽƐŞ ůŽŶƚĂŶŽ͕ ŝŶ ͞ ĚƌŝĂŶŽ͗ ĂƌĐŚŝƚĞƚƚƵƌĂ Ğ ƉƌŽŐĞƚƚŽ͕͟ ůĞĐƚĂ͕ DŝůĂŶŽ ϮϬϬϬ

Viimeisen vuosikymmenen kuluessa Lidar-kaukokartoitusaineistoista on tullut eri puolilla maailmaa monille arkeologeille jokapäiväinen työväline. Suomessa Maanmittauslaitoksen avoimet pistepilviaineistot tarjoavat erinomaisen lähtökohdan arkeologisten tutkimusten suunnitteluun ja toteuttamiseen. Arkeologeille korkeusmalliaineisto on ensiarvoisen tärkeää esimerkiksi kivikauden tutkimuksessa ympäristöennallistuksia tehtäessä. Jääkauden jälkeisen isostaattisen maankohoamisen ja vesistöjen pinnanmuutosten takia muinaisrannoilla sijainneet kohteet voivat olla kymmeniä metrejä nykyrantaa korkeammalla. Lisäksi tarkan Lidar-aineiston pohjalta on mahdollista löytää uusia, ennen tuntemattomia muinaisjäännöksiä jo ennen maastoon lähtöä. Esittelen muutaman tapaustutkimuksen avulla millaisissa yhteyksissä minä ja yhteistyökumppanini ovat Lidar-dataa viime vuosina hyödyntäneet, sekä millaisilla algoritmeillä aineistoja on muokattu ja analysoitu. Laserkeilausaineistoja on käytetty jo yli kymmenen vuoden ajan apuna muun muassa omien kenttätöideni ja Metsähallituksen laajojen kulttuuriperintöinventien kohdentamisessa. Käytän tässä esimerkkeinä muutamia kivikautisia kohteita sekä 1900-luvun konfliktiarkeologisia jäänteitä Helsingin seudulla ja Lapissa.

This volume is intended to be an exhaustive guide for all those who, already masters the basic techniques of video mapping, want to deepen the subject and in particular want to focus attention on the Spatial Augmented Reality (SAR) applied to cultural heritage, whether artistic, archaeological or museological.SAR offers in this sector great unexplored opportunities, especially if you think of its hybridization with traditional museographic systems or with more futuristic mixed reality systems; it is often configured as the best action to be interpreted to communicate the past as it frees the user from the brightness of other systems.The text, starting from a quick overview of the current technologies that are laying the foundations for those of the future, addresses the advanced techniques of surface acquisition and then move on to the theme of modeling and MadMapper, currently the only software with specific functions for video mapping. The last chapter is finally dedicated to the theme of augmented heritage and focuses attention on the use of multimedia procedures for the communication of cultural heritage with digital technologies both audio and video.

In this paper, the accurate geometric information extracted from the three-dimensional model of both the circuit wall of the Acropolis of Athens and the underlain supporting rock are described and analyzed. Laser scanning data was used for preliminary geostructural analyses aiming at the proper structural modelling of the circuit wall. These analyses were performed a) for interpretation of the current state of an intensely distorted section of the north wall and calibration of mechanical parameters involved, through back-analysis and b) evaluation of the potential effect of reinforced embankment (for the reburial of Arrephorion monument) in contact with an area of the north wall, with use of parameters deduced at the previous back-analysis. These preliminary analyses constitute an introduction to theoretical investigation of intervention and restoration planning of Acropolis circuit wall.

The Herculaneum Conservation Project (HCP) is a project of the Packard Humanities Institute in collaboration with the Soprintendenza Archeologica di Pompei and the British School at Rome. The project arose from a recognition of the risks to the survival of the unique and irreplaceable heritage to be found in Herculaneum. Its aim is both to support the Italian heritage agency in the protection and preservation of the site, and to extend scientific understanding and public interest and wareness. The most immediate task is to halt the widespread decay afflicting the entire site. The longer-term aim is to develop a conservation strategy which will ensure its survival, understanding and enhancement. The project aspires to learn lessons that will not only feed into the management of the site of Herculaneum, but that can enrich conservation working ractices in Pompeii and elsewhere.
In 2006 trials were launched to see how three-dimensional laser scanning could help the project, not only in terms of documentation, but also as a tool for monitoring decay and informing conservation decisions, and as a source of rich but accurate visual material to illustrate areas of the site currently closed for conservation works and thereby enhance the visitor experience. In collaboration with the University of North Carolina, the Suburban Baths were chosen for trial survey work with a 3rdTech Inc. DeltaSphere-3000 laser scanner.
This Roman bathing complex is remarkably well-preserved with intact wood, metal and decorative features, but the delicate nature of these architectural features together with a variety of grave conservation problems throughout the structure mean the
area is currently closed to visitors. The 3D survey work was carried out as an analytical basis for the technical/scientific studies that are underway in this building in order to conserve it and reopen it to the public. This paper describes the experience of the HCP team using the 3D laser scanner, and discusses the success and challenges of the work and the potential applications the results have both for the mix of heritage professionals working within the HCP team and for the wider public.

3D measurement using SfM/MVS (Structure from Motion/Multiview Stereo) and laser scanners has become increasingly popular in archaeology. Especially, the quality (i.e., precision and/or accuracy) of 3D models by SfM sometimes varies depending on target objects, measurers, and equipment, and so quality control is one of the important problems for SfM measurement. The aim of the present article is to compare different models acquired by two different methods, i.e., SfM and laser scanners using human skulls from the Odake shell midden and Kuma-nishioda site and examine the quality of 3D models by SfM under certain conditions. We conclude that, although not significantly different, there are advantages and disadvantages with both kinds of 3D models.

In questo volume vengono esposte in maniera organica e quanto più completa possibile le tecniche che, anche se non nate propriamente per la SAR, sono state utilizzate nel settore con ottimi risultati. I temi trattati hanno come filo conduttore il loro utilizzo per progettare l'edutainment, consentendo così di avere un potente strumento di comunicazione plasmabile su ogni tipo di superficie. Ciò implica una grande responsabilità in termini di messaggio, qualità e scientificità finali, soprattutto quando ad essere cinvolto è il bene culturale. Video proiettare significa comunicare ma è ovvio che per farlo correttamente è necessario conoscere gli strumenti che abbiamo a disposizione così da averne chiari i relativi limiti e potenzialità. A tal proposito il libro vuole essere una sorta di laboratorio dal quale il lettore possa far proprie le esperienze dell'autore, attingere nozioni e approfondire argomenti. Un laboratorio che ponga delle solide basi per poi progettare il proprio intervento. Effetti video, stereoscopia, HP Reveal, Resolume Arena 6, MadMapper, controller esterni, la proposizione di un visore pseudo-olografico ed infine la stampa 3D sono alcuni dei temi trattati. Infine, visto che il successo di un'installazione multimediale non può prescindere dalla progettazione del suono, uno specifico capitolo su questo tema è stato curato dal sound designer Luca Canciello che introdurrà il lettore nell’affascinante mondo del Sound Design.

Airborne remote sensing encompasses applications using a range of airborne/satellite sensors for detecting and understanding sites and landscapes without making direct physical contact. These noninvasive and non-destructive approaches underpin primary reconnaissance survey in many environments. The main data sources are described, with discussion of applications, scale, and future developments.

U današnje vrijeme, moderna tehnologija se često mijenja i brzo napreduje. Korištenje 3D modela u arheologiji, mnogi smatraju  kao nešto što nam je tehnologija omogućila tek unazad nekoliko godina, no njihova primjena u arheologiji postoji od 80-ih godina 20. st.
Razvoj računala i računalne grafike, promijenio je izgled 3D modela, ali i omogućio njihovu širu primjenu u arheologiji. Tako danas u arheologiji možemo razlikovati dvije vrste 3D modela; 3D digitalizaciju i 3D rekonstrukciju.
3D digitalizacija, koja se provodi uz pomoć laserskih skenera i modeliranja temeljenog na fotografijama, stvara digitalne replike nalaza ili nalazišta, koje pomažu u izradi arheološke dokumentacije.
S druge strane 3D rekonstrukcije najčešće se koriste za prezentaciju arheoloških nalazišta, njegovih dijelova ili nalaza.
Uz navedene primjere, 3D modeli u arheologiji mogu se koristiti na mnogo drugih načina koji imaju svoje prednosti u usporedbi sa starijim arheološkim metodama, no uz njihovu primjenu, vežu se i neki nedostatci.  

A 3D lézer szkennerek használata a kulturális örökség megőrzésében és a régészetben ma már általánosnak mondható. A hagyományos régészeti technológiák és a 3D digitális örökségvédelmi lehetőségek ötvözése – különösen a ma Magyarországon érvényes törvényi szabályozás mellett, az idő szorításában dolgozó régészek számára – elkerülhetetlennek tűnik. Tanulmányunkban egy kutatásfejlesztési projekt általánosítható eredményeit foglaljuk össze.

In recent times there has been an increasing use of advanced techniques of analysis and documentation in the area of cultural heritage, as happened before with engineering or architecture. Visualization has become a key element in the conservation of cultural heritage that allows the specialist to virtually manipulate the object.

The adittion of different layers of information to the virtual models, such as conservation state or stratigraphy, gives the researcher the chance to get a much deeper and complete view of each object.

The aim of this paper is to show the advantages of the combined use of two different visualization techniques: X-Ray and 3D Scanner. The results obtained allow us to explore archaeological objects from its core to the surface, avoiding direct contact.

Despite a long history of research and conservation dating back to the late 19th century, when the current stage in the management of the three large Antequeran megalithic monuments started in 2004 there was an almost complete absence of high-resolution cartography to support their study and protection. To being to solve this severe deficiency, a high-resolution cartographic survey of Menga through terrestrial laser scanning, 3D modelling and photogrammetry was carried out in 2005. In this paper we present a short summary of that work, describing its technical and conceptual basis as well as the results that were obtained. In addition, we briefly discuss some examples of the highly positive impact this newly developed cartography has had on the management and research of this megalithic monument.

In the last few years 3D laser scanning techniques have been used more frequently as a means for recording archaeological evidence. This is especially due to the reliability of the 3D Laser Scanner. Archaeologists are recognising its extraordinary accuracy, hardly ever paralleled with that other instruments, Total Stations included. Furthermore, 3D point clouds representing the real world can always be stored for future applications, correctly preserving all the historic information. On the other hand, 3D reconstructions of the cultural heritage remains, more often than not, serve purely educational purposes, disregarding their efficiency for a scientific analysis of the past. A combination of the two approaches supports this likely transition of the virtual reproductions, extending them to the interest of varied categories of users. 
This paper puts an emphasis on the process of reconstructing the Roman Baths of Llíria, Valencia, the ancient iberian Edeta. Recently, the archaeological site has been deeply excavated and a well-preserved area is currently being converted into a permanent public exhibition. The work carried out has involved two separate tasks. Firstly, the 3D laser scanning of the entire site, with respect to the masonry as well as the other archaeological remains, such as: rests of columns, cornices and so on. Secondly, a subsequent 3D hypothesis of the baths built from scratch and supported by the useful information recovered from the 3D point clouds of the objects scanned.
Most of the experts in this field know how difficult it is handling high resolution 3D point clouds. At the same time, optimizing it frequently means loss of details. Previous researches have shown difficulties arising from the generation of large 3D models using directly optimised meshes, created from multiple 3D point clouds. By contrast, others studies mainly focused on the restoration of small objects, with high resolution results.
Unfortunately, currently 3D virtual digital reconstructions of broad sites still need a relatively low number of vertices; in order to be easily managed, rendered or, sometimes, animated. In particular, when the aim is the generation of high resolution visualisations, including, for example, real world lighting, texturing or atmospheric variations of the rendered environment.
Therefore, this project shows capabilities of the 3D Laser scanning approach to identify the different locations of the feature during the past, using accurate digital data of the real evidence. Vectorial redrawing of the meshes to intensely minimise the information of the 3D point clouds and to create simple solids, easily manageable in 3D modelling software. Additionally, the final mix of the low polygons 3D model hypothesis with 3D textured original meshes to improve the analysis of the site and, eventually, to extend the general public’s knowledge of the cultural heritage through highly realistic reproductions.

Carlisle Castle situated in Carlisle, in the county of Cumbria, originated in the 12th century and was in use as a military base for 900 years. Many renovations and additions to the castle complex were made over time, and as such, a palimpsest of modifications can be found throughout many of the castle’s structures. Reflecting these changes through time are the carvings and graffiti that are scattered over the site. Prior to this project, many have never been officially recorded, and none of them have been surveyed using modern laser scanning and Structure from Motion (SFM) photogrammetric techniques.

A programme of recording was undertaken by Li Sou, CIfA Specialist Placement in Geospatial Investigation Techniques, and Paul Bryan, Geospatial Imaging Manager. Within the castle keep a series of reliefs, known as the Prisoners’ Carvings, and a medieval door covered in etchings, were laser scanned, photographed and filmed. The datasets were then compared to examine the detail and quality of their outputs, to determine each technique’s suitability for recording such historic carvings. Additionally, photographic recording for SFM photogrammetry was undertaken for a Roman altar stone, medieval and postmedieval graffiti and carvings across the castle complex, to produce 3D models as a record of their current condition.

Ancient pictures are not random products -they were created for conveying messages! This is especially true in the oral culture of the Viking Age. Here, pictures often occur as Animal Art. The focal point of my work is a special kind of female dress adornment, characterized by a very dramatic design. These 'baroque' shaped brooches are best likened to interactive sculptures that change shape as the viewer changes perspective. They are often cluttered with puzzle pictures, i.e. ambiguous compositions containing many motifs. But due to the limitations of our visual system, our perception oscillates between alternative readings. Within Viking Age studies, puzzle pictures have not yet received wider attention: First, the structure of Animal Art is not consistent with our modern expectations of 'meaningful' visual art. Second, archaeology has traditionally taken a skeptical view on iconographic approaches. It was only recently that we became aware of the possibility that Animal Art might be more than a mere dating resource. -But as research funds are finite, the theoretical turn within our discipline also caused a discontinuity in Scandinavian brooch research. Furthermore, the early postprocessualists approached pictures with a preconceived idea of symbolism that blurred their vision for the polysemic potential of Animal Art. In fact, depending on the individual beholder, the same composition might either work as décor, symbol, narrative, or as multimodal text. In conclusion, much remains to be done in order to do justice to 'baroque' shaped brooches.

Статья посвящена проблеме взаимодействия гуманитарного образования с инженерно-техническим. Раскрываются особенности взаимовлияния и взаимозависимости предметов гуманитарного цикла (истории) в основной общей школе с математическими дисциплинами (информатика). Показаны перспективы реализации межпредметных, межкурсовых связей через новые формы обучения на основе использования 3D-печати.

The article considers experience of using digital technologies in the projects of virtual reconstruction of historical urban landscapes and lost objects of historical urban environment. The possibilities of 3D modeling, virtual and augmented reality, GIS technologies are considered in the context of new approaches of historical urban studies, using the example of research projects aimed at the virtual reconstruction of landscape evolution and urban environment of the center of Moscow in the 16th — 19th centuries. Particular attention is paid to the formation of historical source base of virtual reconstruction and its verification. The paper observes the relationship of approaches developing in the framework of Digital Cultural Heritage and Digital Humanities. In this regard, new approaches to research on the virtual reconstruction of historical urban landscapes are discussed.

In 1994, the Tanum rock art and rock carvings were added to UNESCO’s World Heritage list. In the expert opinion of John Coles commissioned by ICOMOS, whose opinion became the basis for the World Heritage Committee’s decision, it was stipulated: “The rock carvings of Bohuslän are one of the treasures from the ancient world of the Nordic countries. Nowhere in the whole of Europe can such amount and variation in the vivid images carved into the rock surfaces be found” Coles 1994.