3D Laser scanning

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.

www.hplsa2018.com

On behalf of the Organizing Committee, we extend a warm and cordial welcome to you to be part of 22th Symposium on High Power Laser Systems and Applications, held conjointly with eminent researchers and scholars from all around the globe during October 9 - 12, 2018 in the amazing venue of Villa Mondragone, Frascati, near Rome, Italy.
You can be a part of this event by participating as a speaker by giving oral presentation or you can give poster presentation in your area of expertise.
Selected papers will be published in the Proceedings published by SPIE.
The conference will also provide delegates with the opportunity to consolidate their knowledge and understanding of the latest scientific advancements on laser systems and their applications.

Welcome in Frascati!

We would like to invite you to join this exciting new project as a chapter contributor. Since this is a textbook, a great deal of this chapter entails a survey on the topic under the paradigm of cyber-physical systems, what can be done onboard and remotely, the distributed nature of the system and some exercises on futurology (anticipating trends can shed some light on upcoming designs). IET will bring great visibility to your work. You are welcome to suggest another topic/chapter title if you feel it would be more suitable. Each chapter should be around 20-25 pages each and can be submitted as a Word or Latex File. The IET will send you additional information (formatting, permission form, etc.) with the contributor's agreement once you have agreed to contribute to the book. Visit http:// www.theiet.org/resources/author-hub/books/index.cfm to get all information you need as a contributor to an IET research-level book. Each book is expected to have a total number of 500 printed pages (based on approximately 550 words per page with a 20% allowance for figures and tables). We have included a tentative schedule and list of topics below. If this is something you would consider, please send me the title of your chapter, a short description/abstract of the chapter content, and your full contact details. We will expect original content and new results for this book. You can, of course, reuse published material but the percentage of material reuse for the chapter should be less than 40%. The IET will run a piracy software on the full manuscript to control that you are including original material and will reject chapters who contain a large amount of already-published material so please do take this into consideration.

The holotype specimen of ‘Plesiosaurus’ megacephalus Stutchbury, 1846 (BRSMG Cb 2335) was destroyed in an air raid on Bristol during WWII. The specimen comprised a complete skeleton from the Triassic-Jurassic boundary of Street-on-the-Fosse, Somerset, UK. Plaster casts of the skull and right forelimb produced prior to its destruction, in conjunction with historical photographs and original descriptions, provide three-dimensional anatomical data for a modern systematic diagnosis of the taxon. A previously proposed neotype specimen (LEICS G221.1851) is therefore regarded as a referred specimen. Detailed comparison with other Lower Jurassic plesiosaurians demonstrates that ‘Plesiosaurus’ megacephalus is a distinct taxon, separate from Rhomaleosaurussensu stricto and Eurycleidus arcuatus, and so a new genus is erected to accommodate it: Atychodracon gen. nov. The clarification and description of Atychodracon megacephalus is a vital step towards understanding the diversity and resolving the systematics of large-bodied plesiosaurians from the Triassic-Jurassic boundary.

Long range road intersection detection is crucial for localization and local path planning of autonomous vehicle in urban environments. In this paper, a new long-range road intersection detection approach for autonomous vehicle equipped with 3D LIDAR is presented. The approach first analyzes the admissible space in front of the autonomous vehicle, and then a virtual 3D LIDAR is placed in the admissible space 20 meters away from the vehicle. Finally the beam model of range finders and an improved toe-finding algorithm for virtual 3D LIDAR is used to find the road intersection. Experiments are carried out at the autonomous vehicle in campus, and results show the promising performance of the presented method.

A total of 11 340 Cartesian coordinates of 42 homologous landmarks on five excavated human crania were recorded by three observers using a three-dimensional (3D) digitiser and computer models created with a 3D laser scanner. The aim was to compare the errors of the coordinate data of landmarks of different types recorded with these two techniques. The results showed that digitiser-based and 3D model-based coordinate measurements had overall standard deviations of, respectively, ±0.79 and ±1.05 mm. However, the 3D digitiser yielded the most precise coordinate data for landmarks defined primarily by biological criteria (Type I landmarks), while the 3D laser scanner models yielded the most precise coordinate data for landmarks defined primarily by geometric criteria (Type III landmarks). These findings are likely to influence the research design of future craniometric studies, as they indicate that the suitability of certain landmark types as reference points for geometric operations, such as partial Procrustes analysis, depends on the method by which they are measured. This information is particularly important for retrospective research or for combined databases such as FORDISC or CRANID, which may integrate different types of landmarks recorded by different researchers and/or instruments. Crania displaying poor preservation and surface discoloration yielded larger measurement errors, especially for the 3D model measurements. This is not surprising given that landmarks on 3D models cannot be located using tactile means, but have to be located solely on a visual basis. Nonetheless, even though the digitiser measurements exhibit an overall precision slightly greater than the 3D model measurements, both techniques yield coordinate data with a precision sufficient for most craniometric research.

Il contributo si inserisce nell'ambito del convegno illustrativo dell'intervento di restauro appena concluso riguardante il Santuario della Madonna delle Grazie di Casticciano (FC). La scrivente ha svolto il ruolo di progettista e DL per le opere architettoniche.

With the constant development of digital means of entertainment – that are easily made available to people and, in most cases, can be used anywhere – nowadays, a visit to a museum have to surround publics with unexpected and interactive experiences, in order to capture their attention and make them want to go to these places, in addition to continue to communicate their collections and promote society education. In this regard, it was discussed in this chapter the actual panorama of interactive technologies used in museums exhibitions worldwide, and there are discussed how these institutions are designing digital installations and utilizing virtual media to enhance the visitors' experience, promoting positive relations between them and their publics. The main conclusion and reflection of the chapter is based on how this new era of technology is allowing increasing physical, cognitive and sensory accessibility, and transforms this kind of experience for disabled publics.

Recent technological advancements have made a tremendous impact in the fields of biological anthropology and archaeology. Although advancements in DNA analysis have overshadowed other areas of progress in the subfields of biological anthropology, bioarchaeologists are now utilizing many other new forms of technology in their work. In particular, three-dimensional (3D) laser scanning offers a sophisticated method of documenting and studying prehistoric human skeletons. In recent years, portable laser scanning devices capable of creating high resolution images have become available, enabling researchers to scan and archive skeletal collections from archaeological sites and museum collections around the world. 3D laser scanners are inexpensive, simple to operate, and completely non-destructive to human skeletal material. A major benefit is that they offer a cost-effective method of creating a digital record of skeletal collections for museum archives. Since published research using 3D methods typically focuses on sophisticated analyses used to analyze 3D data that are difficult for the novice user to follow, in this paper we provide a simple and straightforward overview of 3D scanning methods aimed at nonspecialists. We discuss how these methods can be used to preserve and document osteological material in museums, develop research ideas in the subfields of biological anthropology, and increase the potential for scholarly collaboration.

Since point clouds have reality measurements of physical objects, they are often used to reconstruct the as-built 3D model of building construction sites through a modeling process called Scan-to-BIM. However, the reality measurements in point cloud data, such as actual color and deformed shapes of the original objects, could disappear during the solid modeling process. In addition, the conventional Scan-to-BIM pipeline still requires significant time and manual effort for object classification and shape representation. To address these problems, this study proposes a novel information modeling framework for point clouds, called point cloud information modeling (PCIM). PCIM can automatically recognize construction objects and their properties with deep learning approaches. Furthermore, it can store information in the original point cloud data with a hierarchical structure, rather than converting it to a solid or rigid model. To validate the overall PCIM concept, this research conducted a case study with an actual building construction project. The test results demonstrate that PCIM can be an effective tool for the as-is information modeling of structures and facilities during construction.

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.

Mapping, real-time localization, and path
planning are prerequisites for autonomous robot nav-
igation. These functions also facilitate situation aware-
ness of remote operators. In this paper, we propose
methods for ecient 3D mapping and real-time 6D
pose tracking of autonomous robots using a continu-
ously rotating 2D laser scanner. We have developed
our approach in the context of the DLR SpaceBot Cup
robotics challenge. Multi-resolution surfel representa-
tions allow for compact maps and ecient registration
of local maps. Real-time pose tracking is performed by a
particle lter observing individual laser scan lines. Ter-
rain drivability is assessed within a global environment
map and used for planning feasible paths. Our approach
is evaluated using challenging real environments.

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.

FORTHCOMING: Our paper focuses on modern techniques of documentation, such as photogrammetry and laser scanning and later analysis in a virtual environment of the Ancestral Pueblo sites, with sandstone architecture and rock art that are located in several canyons of the central Mesa Verde region, southwestern Colorado, USA. All of the sites roughly date back to the 13th century A.D. and could have functioned as a community of allied sites. The research was conducted over the course of several seasons by the Sand Canyon-Castle Rock Community Archaeological Project led by the Institute of Archaeology at the Jagiellonian University in Kraków. The goal of digitising the Ancestral Puebloan sites was to accurately document and analyse the condition of preservation of the architectural features and rock art. The registered data have been used to generate accurate 2D documentation together with 3D models. The 3D models that were generated have also been used to interpret some barely visible details, for example of the petroglyphs, by varying the position of the light, with the use of Reflectance Transformation Imaging (RTI) software. Another element is the virtual three-dimensional models that we used in a game engine and Digital Elevation Model that encompasses the sites and the associated environment. Also, we briefly discuss the potential and the benefits and disadvantages of using specific methods in the field in the research area, mainly photogrammetry, laser scanning, and RTI analysis.

Obtaining a comprehensive model of large and complex ground typically is crucial for autonomous driving both in urban and countryside environments. This paper presents an improved ground segmentation method for 3D LIDAR point clouds. Our approach builds on a polar grid map, which is divided into some sectors, then 1D Gaussian process (GP) regression model and Incremental Sample Consensus (INSAC) algorithm is used to extract ground for every sector. Experiments are carried out at the autonomous vehicle in different outdoor scenes, and results are compared to those of the existing method. We show that our method can get more promising performance.

This paper aims to illustrate the preliminary results of a research project on the dome of Pisa Cathedral (Italy). The final objective of the present research is to achieve a deep understanding of the structural behaviour of the dome, through a detailed knowledge of its geometry and constituent materials, and by taking into account historical and architectural aspects as well. A reliable survey of the dome is the essential starting point for any further investigation and adequate structural modelling. Examination of the status quo on the surveys of the Cathedral dome shows that a detailed survey suitable for structural analysis is in fact lacking. For this reason, high-density and high-precision surveys have been planned, by considering that a different survey output is needed, according both to the type of structural model chosen and purposes to be achieved. Thus, both range-based (laser scanning) and image-based (3D Photogrammetry) survey methodologies have been used. This contribution introduces the first results concerning the shape of the dome derived from surveys. Furthermore, a comparison is made between such survey outputs and those available in the literature.

Although alternatives have become available, pen and ink drawings of stone tools dominate archaeological publications. Despite the existence of a conventional illustration framework, the work produced by illustrators can be inconsistent and hinges on skill level
and time commitment. Discussions going back to the 1880s critically question the use of illustrations for the purpose of scientific publication. Alternatives, such as laser scanning and photogrammetric modeling, are now available for displaying lithics. These alternatives can remove the subjectivity involved in artistic rendering, creating replicable results, regardless of who is collecting the data. In addition to creating more regularized and objective representations, there are a significant number of analytical and other benefits to adopting novel imaging techniques to depict stone tools in publications. A set of three-dimensional (3D) models are presented here to demonstrate the capabilities of laser scanning and, potentially, photogrammetric modeling as replacements for lithic illustration.

This poster will provide a summary of the two most common techniques archaeologists employ when making digital 3D models of artefacts – photogrammetry and laser scanning. While the models produced by each method are comparable the methods used to make them are fundamentally different. The required equipment and the workflow involved will be outlined for each method, and the pros and cons in terms of cost, time investment, difficulty and the quality of the end results will be presented.

Preface:

From culture to computing, archaeology to archiving, documentation to databases, or games to graphics DigitalHERITAGE is all about technology for preserving, protecting, and presenting the past. Yet just a quarter of a century ago, ‘digital heritage’ did not exist.

The Birth of a new Domain:

The last 25 years have witnessed profound changes in the technological landscape around us. In the mid-1990’s there were no “smartphones”, and even text messaging was in its infancy. Few had laptop computers, let alone ‘tablets’. Multimedia typically implied an ‘interactive’ CD-ROM. 3D visual effects were just beginning to overtake traditional methods in Hollywood, with the success of Jurassic Park leading to the first fully synthetic characters. The first LiDAR scanners were emerging from the labs, offering the promise of a replacement for cumbersome large-format analog cameras and photogrammetry workstations. VR was in its infancy, yet required cabinet-sized graphic supercomputers and head- mounted displays costing hundreds of thousands of dollars. Who would have guessed then that VR would be back some 20 years later as a top tech investment opportunity?

Gathering at Japan’s Gifu University in 1995, leaders of the nascent world of virtual technologies and digital media came together for an inaugural Virtual Systems and Multimedia Conference, creating arguably the first international VR technical society. Although VSMM as it came to be known has always had a cross-disciplinary focus, from its earliest days it has had a special place in its heart for heritage. Born in the rich cultural landscape of central Japan, the VSMM Society put an early emphasis on new media and virtual tools for preserving and protecting humanities treasures, launching the Virtual Heritage Network. Meanwhile across the many disciplines of heritage, other domains were also forming expert groups and gatherings around emerging digital tools. CAA in archaeology, ICOMOS/ISPRS’s CIPA in heritage documentation, the Pacific Neighborhood Consortium, and more were also holding early meetings to explore the potential of the digital for culture.

Bridging Traditional Disciplines:

By 2002 numerous initiatives and efforts around virtual heritage, digital culture, 3D documentation, visualization of the past, applications in archaeology, mapping and culture, and more had been born. In the early days of digital heritage, with just a few conferences it was possible to meet with multiple disciplines and learn from specialists in other fields. But with the growth of the new domain and an explosion in activities, professionals were now limited in how far beyond their core disciplines they could explore. Witnessing increasing compartmentalization, at the VAST Conference in Athens that year I argued in my closing keynote for our many communities to come together periodically to promote trans- disciplinary collaboration and avoid the fragmentation and silos so common to new academic domains. Although many of us tried, cross-disciplinary initiatives proved much harder to produce than to propose!

Fast forward another decade to 2013 and the digital landscape of heritage was in full bloom with even more events, publications, and organizations. Consensus was forming across the field that it was time to unite. So in the spring of that year I hosted a gathering of leaders from across our many communities at UNESCO in Paris to plan a ‘federated congress of conferences’ where all could come together under one roof to share, discuss and collaborate, while maintaining their individual identities. In the fall of 2013, under the expert leadership of Livio de Luca in Marseille, UNESCO, VSMM, ICOMOS, CAA, EuroGraphics and more launched DigitalHERITAGE with our first joint Congress. This was followed with a 2nd International Congress two years later in the historic splendor of Granada, Spain. Moving to a 3-year cycle, and recognizing the importance of including the global community beyond Europe, we voted to hold our 3rd International Congress in 2018 in the United States.

New Realities: Authenticity & Automation in the Digital Age:

Gathering in San Francisco, California in late October 2018, some 500 heritage professionals from more than 25 nations came together for the 3rd DigitalHERITAGE International Congress under the theme of New Realities: Authenticity & Automation in the Digital Age. For five sunny days on historic piers overlooking the Golden Gate bridge, experts from a.multitude of domains came together at the epicenter of the silicon economy. From architects to archaeologists, and artists to engineers, surveyors to sociologists, archivists to librarians, information scientists to museologists, tool developers to tool users, faculty to students, and more we presented, discussed and debated heritage’s digital future.

Held at the US National Park Service’s Fort Mason Center for the Arts and Culture, where thousands of young soldiers once boarded ships to fight in far off lands in World War II, the 2018 Congress marked a coming together of cultures and domains, and a chance to find common ground and learn from each other. Following welcome remarks by Dr. Gordon Knox, President of the San Francisco Art Institute, Dr. Chin- Shing Huang, Vice President of Academia Sinica, and Dr. Lewis Lancaster, Director of the Electronic Cultural Atlas Initiative, the Congress leadership representing some 20 special sessions and supporting institutions and societies came on stage to give an overview of the multi-day program. Nine thought- provoking keynote addresses by luminaries from multiple disciplines are detailed in the following pages. Over 100 talks, 20 plus special sessions, panels, and roundtables, numerous workshops, a half-dozen tours, and an expo of hands-on demonstrations filled out the agenda. A final highlight was a special dinner and tour onboard one of the last operational World War II Liberty Ships, the SS Jeremiah O’Brien.
This volume brings together the research and findings of the best of hundreds of submissions to the main track of this our 3rd International Congress. The enclosed papers were peer-reviewed in double blind fashion by an international committee of experts from across the heritage spectrum. Those accepted herein as full and short papers represent the best of digital heritage research today. (A second volume, containing papers submitted to the co-located Pacific Neighborhood Consortium Conference is available separately from IEEE as well.)

In closing, I would like to thank the countless authors and attendees for joining us in the City by the Bay and bringing their presentations, exhibits and ideas to share. It was a truly stimulating week of exploration and discovery. I encourage you to continue your research and to push the power of the digital to help preserve, protect, and promote humanity’s storied heritage.

Lon Addison
Congress Chair

Il lavoro che si presenta riguarda una delle più importanti tra le ammirevoli opere dell’architetto Adolfo Coppedè esponente
dell’eclettismo italiano.
L’edificio in questione è la Cappella Tonietti a Cavo - Isola d’Elba. Si tratta di un monumento funebre dalle caratteristiche tipiche di un mausoleo gentilizio, tuttavia si contraddistingue
per dimensioni notevoli, soprattutto
in alzato, posizione naturalistica
privilegiata e un notevole simbolismo nei
particolari decorativi.
La cappella era stata commissionata
da Ugo Ubaldo Tonietti in onore del padre
Giuseppe; la posizione, la forma e l’apparato
decorativo erano dovuti a una precisa volontà
di ricordare il passato del padre come
armatore di successo; il luogo scelto era
quello in cui egli si recava a scrutare l’orizzonte
sullo stretto di Piombino. Le decorazioni
e i simbolismi della cappella molto dicono
dell’importanza della famiglia Tonietti
all’Elba: il padre di Ugo Ubaldo, Giuseppe
era stato primo affittuario delle miniere di
Rio Marina e consigliere comunale. Egli era
molto benvoluto da tutta la popolazione per
le sue notevoli azioni a tutela dei lavoratori
e del suo impegno per l’esportazione anche
all’estero delle materie prime elbane.
Il monumento funebre fu eretto all’inizio del
‘900 (benché la data non sia tuttora nota con
precisione), tuttavia non ottenne mai la concessione
per la sepoltura e fu abbandonato.
Oggi esso è in completa rovina per cause naturali,
dissesti del terreno, ma anche a causa
di atti vandalici.
Con questo lavoro di tesi si è cercato
di colmare uno dei molti vuoti degli studi sul
liberty e l’eclettismo italiano, cercando di
fornire innanzitutto un quadro bibliografico
e archivistico del materiale sulla cappella,
che risulta altamente frammentario ed in
parte disperso. Inoltre si è cercato di redigere
uno stato di fatto dell’edificio, con i suoi
degradi e le sue mancanze, nonché dei possibili
interventi di recupero da attuare.
Infine è stato studiato l’inquadramento
geografico-paesaggistico della Cappella,
la cornice naturale in cui si inserisce,
come elemento architettonico di sorpresa
all’interno di un paesaggio boschivo irregolare,
fornendo dei suggerimenti per una rivalutazione
ambientale e paesaggistica.

Welcome to my PhD-defense on May 28, 2022!  TIME: 13:15.

PLACE: Humanistiska teatern, Thunbergsvägen 3C, 75238 Uppsala.

OPPONENT: Professor Elna Siv Kristoffersen (Stavanger University).

PhD THESIS: 'Transformationer i vikingatidens djurornamentik.'

Vol. 1: 'En multiperspektiv-studie om figurknoppspännen av Birkatyp' (320 pp.).

Vol. 2: 'Appendix med tekniska och konstnärliga analyser' (370 pp.) .

ABSTRACT: During the past 150 years, different generations of scholars have been approaching Scandinavian Animal Art with queries that were as multifaceted as the materials that they studied. The focal point of this study are Birka type brooches, which are best likened to interactive sculptures that change shape as the viewer changes perspective. Sculptural brooches do not only breathe new life into traditional research questions, but raise new ones that steer us into uncharted waters. Here, we make field observations which fall outside the established paradigms of archaeology. Following the parable of the six blind men who tried to come to terms with the unknown phenomenon ‘elephant’, this study approaches the sculptural brooch phenomenon from different angles, by combining different methods which have been developed within separate research disciplines such as archaeology, art history, cognitive science and sociosemiotics. The methodological framework for my multi-method approach is informed GT, i.e. a variant of grounded theory which uses established theories to identify distinct patterns that previously went unnoticed. Contradictions that arise from the mix of methods are not seen as a hinderance, but as a generator for progress that gives rise to a new theory. By combining dynamic typology, Panofskyan hermeneutics and multimodal semiotics, my study on sculptural brooches uncovers hitherto unknown parallels between Animal Art and skaldic poetry in regards to context, cognition and imagery. As a result, one is inclined to look for a potential link between those distinct expressions of Viking Age culture. Did objects with Animal Art serve as points of reference for skaldic ekphrasis? Or was Animal Art a material anchor for the same conceptual blends that also transpired through skaldic poetry? The outcome is an empirically grounded theory which links the pictorial language of the smith to the verbal imagery of the skald, more precisely in the context of Old Norse íþrótt ideology.