2018
Contribution to journal
Restricted
Foreword to the Special Section on Smart Tools and Applications in Computer Graphics 2017
Giachetti A., Pingi P., Stanco F.
Source: Computers & graphics 74 (2018): A6–A7. doi:10.1016/j.cag.2018.05.009
DOI: 10.1016/j.cag.2018.05.009
Metrics:
Giachetti A., Pingi P., Stanco F.
Source: Computers & graphics 74 (2018): A6–A7. doi:10.1016/j.cag.2018.05.009
DOI: 10.1016/j.cag.2018.05.009
Metrics:
See at:
Computers & Graphics 
| Computers & Graphics | www.sciencedirect.com | CNR ExploRA
2023
Journal article
Restricted
La grotta della Villa medicea dell'Ambrogiana: la documentazione digitale come strumento di conoscenza e accessibilità
Siotto E., Pingi P.
This work presents previously unpublished geometric and metric information about the 'cave' at L'Ambrogiana Medici Villa in Montelupo F.no, close to Florence, Italy. This data was obtained through three-dimensional (3D) survey technology and was cross-referenced with acquired images and graphical archival documentation to contextualise and document the original 'cave'. This cave is the sole artificial structure within the Medici gardens, with direct access from the Arno River. Despite its historical significance, it remains inaccessible and has not been comprehensively studied due to modifications made to the Villa over time. In the latter half of the 19th century, the Villa transformed, first into a mental hospital and subsequently into a judicial psychiatric hospital. This designation was discontinued in June 2017. Unfortunately, the reconfiguration into a judicial psychiatric hospital resulted in inappropriate and degrading use of the building, gardens, and the artificial cave. Consequently, they are currently in a state of severe decay and are now at the heart of a significant national redevelopment project.Source: Ricerche di storia dell'arte (Testo stamp.) 140 (2023): 67–78. doi:10.7374/108038
DOI: 10.7374/108038
Metrics:
Siotto E., Pingi P.
This work presents previously unpublished geometric and metric information about the 'cave' at L'Ambrogiana Medici Villa in Montelupo F.no, close to Florence, Italy. This data was obtained through three-dimensional (3D) survey technology and was cross-referenced with acquired images and graphical archival documentation to contextualise and document the original 'cave'. This cave is the sole artificial structure within the Medici gardens, with direct access from the Arno River. Despite its historical significance, it remains inaccessible and has not been comprehensively studied due to modifications made to the Villa over time. In the latter half of the 19th century, the Villa transformed, first into a mental hospital and subsequently into a judicial psychiatric hospital. This designation was discontinued in June 2017. Unfortunately, the reconfiguration into a judicial psychiatric hospital resulted in inappropriate and degrading use of the building, gardens, and the artificial cave. Consequently, they are currently in a state of severe decay and are now at the heart of a significant national redevelopment project.Source: Ricerche di storia dell'arte (Testo stamp.) 140 (2023): 67–78. doi:10.7374/108038
DOI: 10.7374/108038
Metrics:
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www.rivisteweb.it | CNR ExploRA
2001
Journal article
Restricted
A low cost 3D scanner based on structured light
Rocchini C., Cignoni P., Montani C., Pingi P., Scopigno R.
Automatic 3D acquisition devices (often called 3D scanners) allow to build highly accurate models of real 3D objects in a cost- and time-effective manner. We have experimented this technology in a particular application context: the acquisition of Cultural Heritage artefacts. Specific needs of this domain are: medium-high accuracy, easy of use, affordable cost of the scanning device, self-registered acquisition of shape and color data, and finally operational safety for both the operator and the scanned artefacts. According to these requirements, we designed a low-cost 3D scanner based on structured light which adopts a new, versatile colored stripe pattern approach. We present the scanner architecture, the software technologies adopted, and the first results of its use in a project regarding the 3D acquisition of an archeological statueSource: Computer graphics forum (Print) 20 (2001): 299–308. doi:10.1111/1467-8659.00522
DOI: 10.1111/1467-8659.00522
Metrics:
Rocchini C., Cignoni P., Montani C., Pingi P., Scopigno R.
Automatic 3D acquisition devices (often called 3D scanners) allow to build highly accurate models of real 3D objects in a cost- and time-effective manner. We have experimented this technology in a particular application context: the acquisition of Cultural Heritage artefacts. Specific needs of this domain are: medium-high accuracy, easy of use, affordable cost of the scanning device, self-registered acquisition of shape and color data, and finally operational safety for both the operator and the scanned artefacts. According to these requirements, we designed a low-cost 3D scanner based on structured light which adopts a new, versatile colored stripe pattern approach. We present the scanner architecture, the software technologies adopted, and the first results of its use in a project regarding the 3D acquisition of an archeological statueSource: Computer graphics forum (Print) 20 (2001): 299–308. doi:10.1111/1467-8659.00522
DOI: 10.1111/1467-8659.00522
Metrics:
See at:
Computer Graphics Forum | www.scopus.com | CNR ExploRA
2002
Journal article
Unknown
An end-to-end software suite for 3D scanning
Callieri M., Cignoni P., Pingi P.
The Visual Computing Group of IEI-CNR, Pisa, has developed a suite of software procedures for the processing of 3D scanning data. The software package can be used for the automatic acquisition of 3D Cultural Heritage and for the creation of realistic 3D digital models.Source: ERCIM news 50 (2002): 46–47.
Callieri M., Cignoni P., Pingi P.
The Visual Computing Group of IEI-CNR, Pisa, has developed a suite of software procedures for the processing of 3D scanning data. The software package can be used for the automatic acquisition of 3D Cultural Heritage and for the creation of realistic 3D digital models.Source: ERCIM news 50 (2002): 46–47.
See at: CNR ExploRA
2003
Journal article
Unknown
A machine vision system controlling the cutting of animal hide
Fantini E., Ganovelli F., Pingi P.
Based on the integration of image acquisition techniques and real-time systems, an innovative system for cutting raw hides has been developed at ISTI-CNR. The aim is to partly automate the cutting process, so that minimal human intervention is needed. The current procedure for cutting animal hide is completely manual. The hide is spread out on a bench and expert operators decide the best cutting lines on the basis of the location of specific features. The hide is then manually cut using ad hoc knives and the parts are removed from the bench. The work of cutting the hide is the most time consuming step, and requires three or four workers.Source: ERCIM news 55 (2003): 32–33.
Fantini E., Ganovelli F., Pingi P.
Based on the integration of image acquisition techniques and real-time systems, an innovative system for cutting raw hides has been developed at ISTI-CNR. The aim is to partly automate the cutting process, so that minimal human intervention is needed. The current procedure for cutting animal hide is completely manual. The hide is spread out on a bench and expert operators decide the best cutting lines on the basis of the location of specific features. The hide is then manually cut using ad hoc knives and the parts are removed from the bench. The work of cutting the hide is the most time consuming step, and requires three or four workers.Source: ERCIM news 55 (2003): 32–33.
See at: CNR ExploRA
2003
Conference article
Restricted
Derma: monitoring the evolution of skin lesions with a 3D system
Callieri M., Cignoni P., Pingi P., Scopigno R., Coluccia M., Gaggio G., Romanelli M.
We present a new integrated tool, DERMA, which allows to measure and assess the time evolution of chronic wounds. A laser triangulation 3D scanner is used to acquire the wound geometry with high precision and to capture an RGB image aligned to the geometry. DERMA provides a single and uniform interface to: manage patient data, 3D scanning of the lesion region, and to perform different kinds of measurements and comparisons: geometric (on the 3D model) and colorimetric (on the image). All acquired data (3D geometries and images) as well as the measures calculated are stored in a database for monitoring the evolution of the skin lesion over time. The tool, developed in collaboration with dermatologists, is now under field evaluation in two dermatological clinics monitoring the evolution of wounds due to different types of skin diseases.Source: 8th International Fall Workshop on Vision, Modeling, and Visualization 2003, pp. 167–174, Muenchen, 19-21/11/2003
Callieri M., Cignoni P., Pingi P., Scopigno R., Coluccia M., Gaggio G., Romanelli M.
We present a new integrated tool, DERMA, which allows to measure and assess the time evolution of chronic wounds. A laser triangulation 3D scanner is used to acquire the wound geometry with high precision and to capture an RGB image aligned to the geometry. DERMA provides a single and uniform interface to: manage patient data, 3D scanning of the lesion region, and to perform different kinds of measurements and comparisons: geometric (on the 3D model) and colorimetric (on the image). All acquired data (3D geometries and images) as well as the measures calculated are stored in a database for monitoring the evolution of the skin lesion over time. The tool, developed in collaboration with dermatologists, is now under field evaluation in two dermatological clinics monitoring the evolution of wounds due to different types of skin diseases.Source: 8th International Fall Workshop on Vision, Modeling, and Visualization 2003, pp. 167–174, Muenchen, 19-21/11/2003
See at:
vcg.isti.cnr.it | CNR ExploRA
2014
Contribution to book
Restricted
Dallo stato di rudere alla realtà virtuale
Pingi P., Siotto E., Callieri M., Ferrara A., Scopigno R.
The chapter of the book "La Badia Camaldolese Volterra" reports the results obtained to the knowledge of preservation history of the Abbey church, through a deepening and integration of different knowledge fields. For this purpose, we have been used different data acquisition procedures, which have been specifically chosen to the investigated ancient building. They are supported through the study of historical and architectural features of the structure. This knowledge process was followed by a data processing step in order to manage and visualize the achieved results.Source: La Badia Camaldolese di Volterra, edited by Denise La Monica, pp. 227–243. Roma: Aracne, 2014
DOI: 10.4399/97888548795537
Metrics:
Pingi P., Siotto E., Callieri M., Ferrara A., Scopigno R.
The chapter of the book "La Badia Camaldolese Volterra" reports the results obtained to the knowledge of preservation history of the Abbey church, through a deepening and integration of different knowledge fields. For this purpose, we have been used different data acquisition procedures, which have been specifically chosen to the investigated ancient building. They are supported through the study of historical and architectural features of the structure. This knowledge process was followed by a data processing step in order to manage and visualize the achieved results.Source: La Badia Camaldolese di Volterra, edited by Denise La Monica, pp. 227–243. Roma: Aracne, 2014
DOI: 10.4399/97888548795537
Metrics:
See at:
bozze.aracneeditrice.it | CNR ExploRA
2012
Conference article
Unknown
Knowledge, science and enhancement of historical decaying buildings in Tuscany. The ArTeSalVa project
Benassi L., Parri A., Siotto E., Callieri M., Pingi P., Scopigno R.
The "ArTeSalVa" project starts from the observation of the neglect and disuse of the historical public buildings in Italy, which have important architectural value. The project aims at studying the less known historical events regarding some decaying buildings in Tuscany and using 2D and 3D digitization modalities in order to map the current status, to track decay processes and to create effective tools for scientific and tourism visual communication. A significant case study is represented by the medieval Carthusia, in Calci near Pisa. The his-torical research is investigating the different ways in which the monastery was used and thus the most important changes introduced in it. The related digitized data are used to record the decay, highlight transformations and support planning of possible new uses of the areas that are not currently accessible to the public. The digital models are the instruments to document and present visually the scientific results.Source: 3rd International Conference on Heritage and Sustainable Development, pp. 1701–1710, Porto, Portugal, 19-22 June 2012
Benassi L., Parri A., Siotto E., Callieri M., Pingi P., Scopigno R.
The "ArTeSalVa" project starts from the observation of the neglect and disuse of the historical public buildings in Italy, which have important architectural value. The project aims at studying the less known historical events regarding some decaying buildings in Tuscany and using 2D and 3D digitization modalities in order to map the current status, to track decay processes and to create effective tools for scientific and tourism visual communication. A significant case study is represented by the medieval Carthusia, in Calci near Pisa. The his-torical research is investigating the different ways in which the monastery was used and thus the most important changes introduced in it. The related digitized data are used to record the decay, highlight transformations and support planning of possible new uses of the areas that are not currently accessible to the public. The digital models are the instruments to document and present visually the scientific results.Source: 3rd International Conference on Heritage and Sustainable Development, pp. 1701–1710, Porto, Portugal, 19-22 June 2012
See at: CNR ExploRA
2013
Conference article
Unknown
The Reconversion of Italian fortress through the use of modern tools
Parri A., Benassi L., La Monica D., Siotto E., Callieri M., Pingi P., Scopigno R.
The Italian historic architectural heritage includes a special and widespread category of buildings: the fortresses. Fortresses characterized for centuries the image of many Italian towns and landscapes and their presence modelled their urban or rural settings. Today these military buildings have lost their original function and very often create difficulties in current urban policies, in consideration of their dimensions, their collocation and the high costs for their preservation. As consequence, they are often in critical conditions of conservation and they have been frequently transformed in empty spaces disconnected from the current city life. The better way to protect these huge architectures consists in a long-term planning of sustainable reuse. Obviously these structures cannot be used to fulfill their original military functions and their peculiar architectural features clash sometimes with actual needs. It is necessary to study each structure according to its environmental, social and cultural contest to facilitate its best reconversion. The use of multimedia instruments suggests a method to reach satisfactory results but also it engenders some questions and doubts. The goal of this paper is to analyze the problem of fortresses today and to explain some meaningful cases of reuse in central Italy. Particular attention will be paid to the fortress of Verrucole near Lucca. This is an emblematic case study both for the choices of restoration and new display and for the difficulty to select new functions.Source: Heritage Architecture Landesign, focus on Conservation, Regeneration, Innovation. Le Vie dei Mercanti. XI Forum Internazionale di Studi, pp. 114–122, Aversa, Capri, 13-15 June 2013
Parri A., Benassi L., La Monica D., Siotto E., Callieri M., Pingi P., Scopigno R.
The Italian historic architectural heritage includes a special and widespread category of buildings: the fortresses. Fortresses characterized for centuries the image of many Italian towns and landscapes and their presence modelled their urban or rural settings. Today these military buildings have lost their original function and very often create difficulties in current urban policies, in consideration of their dimensions, their collocation and the high costs for their preservation. As consequence, they are often in critical conditions of conservation and they have been frequently transformed in empty spaces disconnected from the current city life. The better way to protect these huge architectures consists in a long-term planning of sustainable reuse. Obviously these structures cannot be used to fulfill their original military functions and their peculiar architectural features clash sometimes with actual needs. It is necessary to study each structure according to its environmental, social and cultural contest to facilitate its best reconversion. The use of multimedia instruments suggests a method to reach satisfactory results but also it engenders some questions and doubts. The goal of this paper is to analyze the problem of fortresses today and to explain some meaningful cases of reuse in central Italy. Particular attention will be paid to the fortress of Verrucole near Lucca. This is an emblematic case study both for the choices of restoration and new display and for the difficulty to select new functions.Source: Heritage Architecture Landesign, focus on Conservation, Regeneration, Innovation. Le Vie dei Mercanti. XI Forum Internazionale di Studi, pp. 114–122, Aversa, Capri, 13-15 June 2013
See at: CNR ExploRA
2015
Journal article
Restricted
Fast and simple automatic alignment of large sets of range maps
Pingi P., Corsini M., Ganovelli F., Scopigno R.
We present a very fast and simple-to-implement algorithm for the automatic registration of a large number of range maps. The proposed algorithm exploits a compact and GPU-friendly descriptor specifically designed for the alignment of this type of data. This pairwise registration algorithm, which also includes a simple mechanism to avoid to get false positives, is part of a system capable to align a sequence of up to hundreds of range maps in few minutes. In order to reduce the number of pairs to align in the case of unordered range maps we use a prioritization strategy based on the fast computation of the correlation between range maps through FFT. The proposed system does not need any user input and it was tested successfully on a large variety of datasets coming from real acquisition campaigns.Source: Computers & graphics 47 (2015): 78–88. doi:10.1016/j.cag.2014.12.002
DOI: 10.1016/j.cag.2014.12.002
Project(s): HARVEST4D
Metrics:
Pingi P., Corsini M., Ganovelli F., Scopigno R.
We present a very fast and simple-to-implement algorithm for the automatic registration of a large number of range maps. The proposed algorithm exploits a compact and GPU-friendly descriptor specifically designed for the alignment of this type of data. This pairwise registration algorithm, which also includes a simple mechanism to avoid to get false positives, is part of a system capable to align a sequence of up to hundreds of range maps in few minutes. In order to reduce the number of pairs to align in the case of unordered range maps we use a prioritization strategy based on the fast computation of the correlation between range maps through FFT. The proposed system does not need any user input and it was tested successfully on a large variety of datasets coming from real acquisition campaigns.Source: Computers & graphics 47 (2015): 78–88. doi:10.1016/j.cag.2014.12.002
DOI: 10.1016/j.cag.2014.12.002
Project(s): HARVEST4D
Metrics:
See at:
Computers & Graphics | www.sciencedirect.com | CNR ExploRA
2014
Conference article
Open Access
From the archival documentation to standardised web database and 3D models: the case study of the Camaldolese Abbey in Volterra (Italy)
Siotto E., Callieri M., Pingi P., Scopigno R., Benassi L., Parri A., La Monica D., Ferrara A.
Our age is characterized by the ease of communication and fast and free exchange of data. The use of standards and a common approach to recollect, organize and present the documentation gives a great advantage for the knowledge and dissemination of the archaeological, artistic, historical and conservation information of Cultural Heritage. Establishing a "correct" documentation policy is the main goal that guided our initiative for the documentation, preservation and valorisation of the monumental complex of the Camaldolese Abbey in Tuscany. In this project we retrieved the paper documentation in the Historical Archives of the Tuscany Region, to study the historical and conservation data of the monumental complex. Digital technologies have been used to support storing and access to this important information, including also data to monitor the current state of its preservation. The documentation has been digitized and is accessible through a web database; this resource was designed by following the Italian National standards proposed by Central Institute for Cataloguing and Documentation (ICCD). The current state of conservation of some parts of the building has been documented by taking panoramic images or panoramas (360º images) and by the acquiring 3D digital models. In particular, panoramas are used to document the state of preservation of frescoed rooms, while geometric 3D models are produced to document the degraded areas of the church, which require a constant monitoring. Moreover, an analytical virtual reconstruction of the church was modeled to depict its status before the building's collapse. The main goals of this work are to provide a good-practice example on how to document and disseminate on the web the knowledge available on an endangered monument, following national and international standards, in order to make the knowledge widely accessible. In this way, it is possible to disseminate and enhance the old results with new analysis and interpretations of documents that can be easily shared with other researches, conservation experts and the ordinary public.Source: CHNT 18 - International Conference on Cultural Heritage and New Technologies, Vienna, Austria, 11-13 November 2013
Siotto E., Callieri M., Pingi P., Scopigno R., Benassi L., Parri A., La Monica D., Ferrara A.
Our age is characterized by the ease of communication and fast and free exchange of data. The use of standards and a common approach to recollect, organize and present the documentation gives a great advantage for the knowledge and dissemination of the archaeological, artistic, historical and conservation information of Cultural Heritage. Establishing a "correct" documentation policy is the main goal that guided our initiative for the documentation, preservation and valorisation of the monumental complex of the Camaldolese Abbey in Tuscany. In this project we retrieved the paper documentation in the Historical Archives of the Tuscany Region, to study the historical and conservation data of the monumental complex. Digital technologies have been used to support storing and access to this important information, including also data to monitor the current state of its preservation. The documentation has been digitized and is accessible through a web database; this resource was designed by following the Italian National standards proposed by Central Institute for Cataloguing and Documentation (ICCD). The current state of conservation of some parts of the building has been documented by taking panoramic images or panoramas (360º images) and by the acquiring 3D digital models. In particular, panoramas are used to document the state of preservation of frescoed rooms, while geometric 3D models are produced to document the degraded areas of the church, which require a constant monitoring. Moreover, an analytical virtual reconstruction of the church was modeled to depict its status before the building's collapse. The main goals of this work are to provide a good-practice example on how to document and disseminate on the web the knowledge available on an endangered monument, following national and international standards, in order to make the knowledge widely accessible. In this way, it is possible to disseminate and enhance the old results with new analysis and interpretations of documents that can be easily shared with other researches, conservation experts and the ordinary public.Source: CHNT 18 - International Conference on Cultural Heritage and New Technologies, Vienna, Austria, 11-13 November 2013
See at:
www.chnt.at 
| CNR ExploRA
2017
Contribution to book
Unknown
Documentazione e analisi delle deformazioni del supporto ligneo e della superficie pittorica mediante rilievo 3D
Pingi P., Siotto E., Palma G., Scopigno R.
Un dipinto su tela o su tavola, contrariamente a quanto si potrebbe pensare, non è un oggetto con una superficie perfettamente planare, ma è caratterizzato da una complessa tridimensionalità. Il colore che l'artista pone sul supporto ha una propria corposità materica, uno spessore, che, seppur millimetrico o sub-millimetrico, può essere rilevato con strumenti e applicativi di misurazione tridimensionale (3D). Allo stesso tempo, il supporto ligneo può presentare deformazioni legate a vicissitudini storiche e conservative, che possono essere facilmente rilevate e documentate. Nella fase di analisi di un'opera soggetta ad un importante intervento di restauro, come è avvenuto per l'Adorazione dei Magi di Leonardo da Vinci, un'accurata documentazione 3D della superficie pittorica è pertanto strettamente legata a quella del suo supporto ligneo. Pertanto, una scrupolosa acquisizione geometrica 3D del tavolato e dei suoi elementi di collegamento (farfalle e cavicchi) e di sostegno (traverse) può fornire elementi utili non solo per una maggiore conoscenza della fattura dell'opera e del suo stato di conservazione, ma anche per un suo monitoraggio nel corso del tempo o in fase di restauro. Inoltre, un uso appropriato delle moderne tecnologie di Computer Grafica 3D non rappresenta soltanto un valido ausilio diagnostico per la conoscenza dell'opera, ma anche un mezzo per raccogliere informazioni di carattere scientifico-divulgativo (ad esempio dati storico-artistici, tecnici, risultati di analisi chimico-fisiche) e renderle facilmente fruibili on-line agli addetti del settore e ad un pubblico più vasto, grazie a sistemi multimediali appositamente sviluppati. Nel caso del capolavoro non concluso di Leonardo, una sua completa acquisizione 3D ad alta risoluzione è stata eseguita con lo scopo di evidenziare e misurare - in fase di restauro pittorico - una mappa di deviazioni della planarità causata dalla curvatura e deformazione delle tavole lignee, consentendo di documentare la deformazione spaziale subìta dalla pittura e monitorare il suo stato di conservazione.Source: Il restauro dell'Adorazione dei Magi di Leonardo - La riscoperta di un capolavoro, edited by Marco Ciatti, Cecilia Frosinini, pp. 281–286. Firenze: Edifir - Edizioni Firenze s.r.l., 2017
Pingi P., Siotto E., Palma G., Scopigno R.
Un dipinto su tela o su tavola, contrariamente a quanto si potrebbe pensare, non è un oggetto con una superficie perfettamente planare, ma è caratterizzato da una complessa tridimensionalità. Il colore che l'artista pone sul supporto ha una propria corposità materica, uno spessore, che, seppur millimetrico o sub-millimetrico, può essere rilevato con strumenti e applicativi di misurazione tridimensionale (3D). Allo stesso tempo, il supporto ligneo può presentare deformazioni legate a vicissitudini storiche e conservative, che possono essere facilmente rilevate e documentate. Nella fase di analisi di un'opera soggetta ad un importante intervento di restauro, come è avvenuto per l'Adorazione dei Magi di Leonardo da Vinci, un'accurata documentazione 3D della superficie pittorica è pertanto strettamente legata a quella del suo supporto ligneo. Pertanto, una scrupolosa acquisizione geometrica 3D del tavolato e dei suoi elementi di collegamento (farfalle e cavicchi) e di sostegno (traverse) può fornire elementi utili non solo per una maggiore conoscenza della fattura dell'opera e del suo stato di conservazione, ma anche per un suo monitoraggio nel corso del tempo o in fase di restauro. Inoltre, un uso appropriato delle moderne tecnologie di Computer Grafica 3D non rappresenta soltanto un valido ausilio diagnostico per la conoscenza dell'opera, ma anche un mezzo per raccogliere informazioni di carattere scientifico-divulgativo (ad esempio dati storico-artistici, tecnici, risultati di analisi chimico-fisiche) e renderle facilmente fruibili on-line agli addetti del settore e ad un pubblico più vasto, grazie a sistemi multimediali appositamente sviluppati. Nel caso del capolavoro non concluso di Leonardo, una sua completa acquisizione 3D ad alta risoluzione è stata eseguita con lo scopo di evidenziare e misurare - in fase di restauro pittorico - una mappa di deviazioni della planarità causata dalla curvatura e deformazione delle tavole lignee, consentendo di documentare la deformazione spaziale subìta dalla pittura e monitorare il suo stato di conservazione.Source: Il restauro dell'Adorazione dei Magi di Leonardo - La riscoperta di un capolavoro, edited by Marco Ciatti, Cecilia Frosinini, pp. 281–286. Firenze: Edifir - Edizioni Firenze s.r.l., 2017
See at: CNR ExploRA
2019
Journal article
Open Access
Deformation analysis of Leonardo da Vinci's "Adorazione dei Magi" through temporal unrelated 3D digitization
Palma G., Pingi P., Siotto E., Bellucci R., Guidi G., Scopigno R.
3D scanning is an effective technology for dealing at different levels the state of conservation/deformation of a panel painting, from the micro-geometry of the craquelure to the macro-geometry of the supported used. Unfortunately, the current solutions used to analyze multiple 3D scans acquired over time are based on very controlled acquisition procedures, such as the use of target reference points that are stationary over time and fixed to the artwork, or on complex hardware setups to keep the acquisition device fixed to the artwork. These procedures are challenging when a long monitoring period is involved or during restoration when the painting may be moved several times. This paper presents a new and robust approach to observe and quantify the panel deformations of artworks by comparing 3D models acquired with different scanning devices at different times. The procedure is based on a non-rigid registration algorithm that deforms one 3D model over the other in a controlled way, extracting the real deformation field. We apply the method to the 3D scanning data of the unfinished panel painting "Adorazione dei Magi" by Leonardo da Vinci. The data were acquired in 2002 and 2015. First, we analyze the two 3D models with the classical distance from the ideal flat plane of the painting. Then we study the type of deformation of each plank of the support by fitting a quadric surface. Finally, we compare the models before and after the deformation computed by a non-rigid registration algorithm. This last comparison enables the panel deformation to be separated from the structural changes (e.g. the structural restorations on the back and the missing pieces) of the artwork in a more robust way.Source: Journal of cultural heritage 38 (2019): 174–185. doi:10.1016/j.culher.2018.11.001
DOI: 10.1016/j.culher.2018.11.001
Metrics:
Palma G., Pingi P., Siotto E., Bellucci R., Guidi G., Scopigno R.
3D scanning is an effective technology for dealing at different levels the state of conservation/deformation of a panel painting, from the micro-geometry of the craquelure to the macro-geometry of the supported used. Unfortunately, the current solutions used to analyze multiple 3D scans acquired over time are based on very controlled acquisition procedures, such as the use of target reference points that are stationary over time and fixed to the artwork, or on complex hardware setups to keep the acquisition device fixed to the artwork. These procedures are challenging when a long monitoring period is involved or during restoration when the painting may be moved several times. This paper presents a new and robust approach to observe and quantify the panel deformations of artworks by comparing 3D models acquired with different scanning devices at different times. The procedure is based on a non-rigid registration algorithm that deforms one 3D model over the other in a controlled way, extracting the real deformation field. We apply the method to the 3D scanning data of the unfinished panel painting "Adorazione dei Magi" by Leonardo da Vinci. The data were acquired in 2002 and 2015. First, we analyze the two 3D models with the classical distance from the ideal flat plane of the painting. Then we study the type of deformation of each plank of the support by fitting a quadric surface. Finally, we compare the models before and after the deformation computed by a non-rigid registration algorithm. This last comparison enables the panel deformation to be separated from the structural changes (e.g. the structural restorations on the back and the missing pieces) of the artwork in a more robust way.Source: Journal of cultural heritage 38 (2019): 174–185. doi:10.1016/j.culher.2018.11.001
DOI: 10.1016/j.culher.2018.11.001
Metrics:
See at:
ISTI Repository | Journal of Cultural Heritage | www.sciencedirect.com | CNR ExploRA
2015
Book
Closed Access
Usi e riusi di alcuni immobili storici in Toscana
Benassi L., La Monica D, Parri A., Siotto E., Callieri M., Pingi P., Scopigno R.
Il volume, esito del Progetto Artesalva (POR-FSE Regione Toscana 2007-2013), offre una riflessione sul tema del riuso, prendendo spunto da singoli esempi presenti in Toscana, riferibili a diverse tipologie architettoniche e a funzioni differenziate. Tra i casi analizzati la Certosa di Calci (Pisa), un complesso monastico certosino abbandonato dai padri negli anni Settanta del Novecento e oggi sede di due musei; la villa medicea L'Ambrogiana di Montelupo Fiorentino (Firenze), trasformata alla fine dell'Ottocento in manicomio e poi in ospedale psichiatrico giudiziario; la Rocca delle Verrucole a San Romano in Garfagnana (Lucca), sottoposta a partire dagli anni Ottanta del Novecento a interventi di recupero.Source: Roma: Aracne, 2015
Benassi L., La Monica D, Parri A., Siotto E., Callieri M., Pingi P., Scopigno R.
Il volume, esito del Progetto Artesalva (POR-FSE Regione Toscana 2007-2013), offre una riflessione sul tema del riuso, prendendo spunto da singoli esempi presenti in Toscana, riferibili a diverse tipologie architettoniche e a funzioni differenziate. Tra i casi analizzati la Certosa di Calci (Pisa), un complesso monastico certosino abbandonato dai padri negli anni Settanta del Novecento e oggi sede di due musei; la villa medicea L'Ambrogiana di Montelupo Fiorentino (Firenze), trasformata alla fine dell'Ottocento in manicomio e poi in ospedale psichiatrico giudiziario; la Rocca delle Verrucole a San Romano in Garfagnana (Lucca), sottoposta a partire dagli anni Ottanta del Novecento a interventi di recupero.Source: Roma: Aracne, 2015
See at:
www.aracneeditrice.it | CNR ExploRA
2015
Book
Closed Access
La Badia camaldolese di Volterra
Benassi L., Callieri M., Ferrara A., Parri A., Pingi P, Scopigno R., Siotto E.
Il progetto ArTeSalVa ha preso in considerazione con un approccio multidisciplinare il patrimonio immobiliare pubblico di interesse storico-artistico, dedicando particolare attenzione ad alcuni edifici di notevoli dimensioni e in attuale condizione di sottoutilizzo presenti nel territorio toscano. L'obiettivo è stato quello di rimettere al centro del dibattito pubblico alcuni grandi complessi immobiliari, per interrogarsi sul loro futuro a partire dalla conoscenza della loro storia. Il presente volume offre un approfondimento sulla Badia Camaldolese di Volterra, non solo sulle fasi costruttive ed espansive, ma anche su aspetti forse meno indagati, come le frane, le alterazioni d'uso e il lungo dibattito otto e novecentesco sui modi di protezione e salvaguardia del complesso.Source: Roma: Aracne, 2015
Benassi L., Callieri M., Ferrara A., Parri A., Pingi P, Scopigno R., Siotto E.
Il progetto ArTeSalVa ha preso in considerazione con un approccio multidisciplinare il patrimonio immobiliare pubblico di interesse storico-artistico, dedicando particolare attenzione ad alcuni edifici di notevoli dimensioni e in attuale condizione di sottoutilizzo presenti nel territorio toscano. L'obiettivo è stato quello di rimettere al centro del dibattito pubblico alcuni grandi complessi immobiliari, per interrogarsi sul loro futuro a partire dalla conoscenza della loro storia. Il presente volume offre un approfondimento sulla Badia Camaldolese di Volterra, non solo sulle fasi costruttive ed espansive, ma anche su aspetti forse meno indagati, come le frane, le alterazioni d'uso e il lungo dibattito otto e novecentesco sui modi di protezione e salvaguardia del complesso.Source: Roma: Aracne, 2015
See at:
www.aracneeditrice.it | CNR ExploRA
2020
Contribution to book
Unknown
Il rilievo 3D per la caratterizzazione morfologica dell'opera di Raffaello
Pingi P., Siotto E., Palma G.
Tra le analisi diagnostiche non invasive effettuate in supporto al restauro della tavola raffigurante Papa Leone X de' Medici tra i cardinali Giulio de Medici e Luigi de' Rossi di Raffaello è stato eseguito un rilievo tridimensionale (3D) dell'intera opera. Il rilievo 3D, oltre ad essere usato per effettuare misure sulla forma della superficie ed essere un valido supporto per la conoscenza e lo studio dell'opera, si configura anche come un efficace mezzo per monitorarne lo stato di conservazione nel tempo. In questo caso, l'acquisizione 3D era volta alla valutazione della deformazione del supporto ligneo e allo studio del deterioramento della superficie pittorica. Per tale motivo l'intera opera (fronte, retro e bordi) è stata acquisita con un passo di campionamento medio pari a 0.3 mm. Alcune zone sono state acquisite anche ad una risoluzione di 0.16 mm al fine di mettere a punto un metodo automatico in grado di evidenziare le micro-fratture dello strato pittorico.Source: Raffaello e il ritorno del Papa Medici: restauri e scoperte sul Ritratto di Leone X con i due cardinali, edited by Marco Ciatti, Eike D. Schmidt, pp. 145–149. Firenze: Edifir - Edizioni Firenze s.r.l., 2020
Pingi P., Siotto E., Palma G.
Tra le analisi diagnostiche non invasive effettuate in supporto al restauro della tavola raffigurante Papa Leone X de' Medici tra i cardinali Giulio de Medici e Luigi de' Rossi di Raffaello è stato eseguito un rilievo tridimensionale (3D) dell'intera opera. Il rilievo 3D, oltre ad essere usato per effettuare misure sulla forma della superficie ed essere un valido supporto per la conoscenza e lo studio dell'opera, si configura anche come un efficace mezzo per monitorarne lo stato di conservazione nel tempo. In questo caso, l'acquisizione 3D era volta alla valutazione della deformazione del supporto ligneo e allo studio del deterioramento della superficie pittorica. Per tale motivo l'intera opera (fronte, retro e bordi) è stata acquisita con un passo di campionamento medio pari a 0.3 mm. Alcune zone sono state acquisite anche ad una risoluzione di 0.16 mm al fine di mettere a punto un metodo automatico in grado di evidenziare le micro-fratture dello strato pittorico.Source: Raffaello e il ritorno del Papa Medici: restauri e scoperte sul Ritratto di Leone X con i due cardinali, edited by Marco Ciatti, Eike D. Schmidt, pp. 145–149. Firenze: Edifir - Edizioni Firenze s.r.l., 2020
See at: CNR ExploRA
2022
Contribution to book
Restricted
Temporal deformation analysis of 3D models as diagnostic tool for panel paintings
Palma G., Pingi P., Siotto E.
3D scanning is a well-known technology in the cultural heritage field for the study and monitoring of the artworks. For a panel painting, this technology facilitates the acquisition and documentation of its 3D shape at multiple scales, from the micro-geometry of craquelure to the macro-geometry of the support. All these geometric components may change over time due to the deformations induced by the conservation environment parameters. A usual method for estimating the deformation of the panel is the comparison of 3D models acquired at different times. For this purpose, the chapter presents a new approach to automatically estimate the amount of deformation between two 3D models of the same object. The proposed method is based on a nonrigid registration algorithm that deforms a 3D model on the other, enabling to separate the real panel deformation from the structural changes of the artwork. It uses only on the acquired geometric data of independent 3D acquisitions that were uncontrolled and unsupervised over time.Source: Handbook of Cultural Heritage Analysis, edited by D'Amico S., Venuti V., pp. 1915–1931. Basel: Springer Nature Switzerland, 2022
DOI: 10.1007/978-3-030-60016-7_67
Metrics:
Palma G., Pingi P., Siotto E.
3D scanning is a well-known technology in the cultural heritage field for the study and monitoring of the artworks. For a panel painting, this technology facilitates the acquisition and documentation of its 3D shape at multiple scales, from the micro-geometry of craquelure to the macro-geometry of the support. All these geometric components may change over time due to the deformations induced by the conservation environment parameters. A usual method for estimating the deformation of the panel is the comparison of 3D models acquired at different times. For this purpose, the chapter presents a new approach to automatically estimate the amount of deformation between two 3D models of the same object. The proposed method is based on a nonrigid registration algorithm that deforms a 3D model on the other, enabling to separate the real panel deformation from the structural changes of the artwork. It uses only on the acquired geometric data of independent 3D acquisitions that were uncontrolled and unsupervised over time.Source: Handbook of Cultural Heritage Analysis, edited by D'Amico S., Venuti V., pp. 1915–1931. Basel: Springer Nature Switzerland, 2022
DOI: 10.1007/978-3-030-60016-7_67
Metrics:
See at:
doi.org | link.springer.com | CNR ExploRA
2021
Contribution to book
Unknown
Documentation and analysis of the deformations of the panel and painted surface with 3D scanner
Pingi P., Siotto E., Palma G., Scopigno R.
Despite what might be assumed, the surface of a painting on a canvas or a wooden panel is not perfectly flat, but rather is characterized by a complex three-dimensionality. The paint the artist lays down on the support possesses its own body and thickness, that, even on a millimeter or sub-millimeter scale, may be detected using instruments and three-dimensional measurement applications. At the same time, a wooden panel may be affected by deformations from historical or restoration changes, which may be readily revealed and documented. When analyzing a work of art subjected to an important restoration treatment, as was the case of the Adoration of the Magi by Leonardo da Vinci, a precise 3D documentation of the painted surface is thus strictly linked to the state of its wooden support. As is well-known, a panel painting is a layered structure (usually a protective varnish coating, paint layers, usually preparatory or ground layers, and the wooden panel), each with different physical and chemical compositions. Therefore, an accurate geometric 3D acquisition of the board structure and its connecting components (butterfly joins or dowel inserts) and the auxiliary support system (crossbars) may supply information to not only improve understanding of how the painting was made and its condition, but also permit it to be monitored over time or during restoration. Furthermore, the application of modern 3D computer graphics technologies is not only a valid diagnostic aid to acquiring knowledge about the work, but also a way to map information and share it (for example art historical information, technical data, and the results of chemical and physical analyses), making them easily accessible online both to experts in the sector and a wider public, thanks to specifically developed multimedia systems.1 In the case of the unfinished masterpiece by Leonardo, a complete high resolution 3D acquisition was performed in order to show and measure--at the moment during conservation treatment--a map of deviations from planarity caused by the curvature and warp of the wooden boards, permitting the documenting of the spatial deformation of the painted surface and the monitoring of its state of preservation.Source: The restoration of Leonardo da Vinci's Adoration of the Magi - Rediscovering a masterpiece, edited by Ciatti M., Frosinini C., pp. 281–286. Firenze: Edifir - Edizioni Firenze s.r.l., 2021
Pingi P., Siotto E., Palma G., Scopigno R.
Despite what might be assumed, the surface of a painting on a canvas or a wooden panel is not perfectly flat, but rather is characterized by a complex three-dimensionality. The paint the artist lays down on the support possesses its own body and thickness, that, even on a millimeter or sub-millimeter scale, may be detected using instruments and three-dimensional measurement applications. At the same time, a wooden panel may be affected by deformations from historical or restoration changes, which may be readily revealed and documented. When analyzing a work of art subjected to an important restoration treatment, as was the case of the Adoration of the Magi by Leonardo da Vinci, a precise 3D documentation of the painted surface is thus strictly linked to the state of its wooden support. As is well-known, a panel painting is a layered structure (usually a protective varnish coating, paint layers, usually preparatory or ground layers, and the wooden panel), each with different physical and chemical compositions. Therefore, an accurate geometric 3D acquisition of the board structure and its connecting components (butterfly joins or dowel inserts) and the auxiliary support system (crossbars) may supply information to not only improve understanding of how the painting was made and its condition, but also permit it to be monitored over time or during restoration. Furthermore, the application of modern 3D computer graphics technologies is not only a valid diagnostic aid to acquiring knowledge about the work, but also a way to map information and share it (for example art historical information, technical data, and the results of chemical and physical analyses), making them easily accessible online both to experts in the sector and a wider public, thanks to specifically developed multimedia systems.1 In the case of the unfinished masterpiece by Leonardo, a complete high resolution 3D acquisition was performed in order to show and measure--at the moment during conservation treatment--a map of deviations from planarity caused by the curvature and warp of the wooden boards, permitting the documenting of the spatial deformation of the painted surface and the monitoring of its state of preservation.Source: The restoration of Leonardo da Vinci's Adoration of the Magi - Rediscovering a masterpiece, edited by Ciatti M., Frosinini C., pp. 281–286. Firenze: Edifir - Edizioni Firenze s.r.l., 2021
See at: CNR ExploRA
2004
Journal article
Open Access
The Marching Intersections algorithm for merging range images
Rocchini C., Cignoni P., Ganovelli F., Montani C., Pingi P., Scopigno R.
A new algorithm for the integration of partially overlapping range images into a triangular mesh is presented. The algorithm consists of three main steps: it locates the intersections between the range surfaces and a reference grid chosen by the user, then merges all nearly coincident and redundant intersections according to a proximity criterion, and, finally, reconstructs the merged surface(s) from the filtered intersection set. Compared with previous methods, which adopt a volumetric approach, our algorithm shows lower computational costs and improves the accuracy of the surfaces produced. It takes into account the quality of the input measurements and is able to patch small holes corresponding to the parts of the 3D scanned object that were not observed by the acquisition device. The algorithm has been tested on several datasets of range maps; graphical and numeric results are reported.Source: The visual computer 20 (2004): 149–164. doi:10.1007/s00371-003-0237-8
DOI: 10.1007/s00371-003-0237-8
Metrics:
Rocchini C., Cignoni P., Ganovelli F., Montani C., Pingi P., Scopigno R.
A new algorithm for the integration of partially overlapping range images into a triangular mesh is presented. The algorithm consists of three main steps: it locates the intersections between the range surfaces and a reference grid chosen by the user, then merges all nearly coincident and redundant intersections according to a proximity criterion, and, finally, reconstructs the merged surface(s) from the filtered intersection set. Compared with previous methods, which adopt a volumetric approach, our algorithm shows lower computational costs and improves the accuracy of the surfaces produced. It takes into account the quality of the input measurements and is able to patch small holes corresponding to the parts of the 3D scanned object that were not observed by the acquisition device. The algorithm has been tested on several datasets of range maps; graphical and numeric results are reported.Source: The visual computer 20 (2004): 149–164. doi:10.1007/s00371-003-0237-8
DOI: 10.1007/s00371-003-0237-8
Metrics:
See at:
The Visual Computer | The Visual Computer | CNR ExploRA
2001
Conference article
Unknown
Oggetti artistici tridimensionali e range scanning
Cignoni P., Montani C., Pingi P., Rocchini C., Scopigno R.
Il contributo presenta sinteticamente le potenzialità delle tecnologie di acquisizione automatica delle caratteristiche di forma e colore di oggetti tridimensionali (altrimenti dette 3D scanning). Si introducono quindi le specifiche e le funzionalità di alcuni strumenti sviluppati: uno scanner ottico a basso costo e discreta qualità, un insieme di moduli software che permettono di gestire in modo completo e integrato le varie fasi del processo di acquisizione. Tali strumenti sono stati progettati con un preciso orientamento alla loro applicazione nel settore della rappresentazione digitale di Beni Culturali tridimensionali.Source: La Scienza dell'Arte. Primo Congresso Nazionale., Bressanone, 26 febbraio- 1 marzo 2001
Cignoni P., Montani C., Pingi P., Rocchini C., Scopigno R.
Il contributo presenta sinteticamente le potenzialità delle tecnologie di acquisizione automatica delle caratteristiche di forma e colore di oggetti tridimensionali (altrimenti dette 3D scanning). Si introducono quindi le specifiche e le funzionalità di alcuni strumenti sviluppati: uno scanner ottico a basso costo e discreta qualità, un insieme di moduli software che permettono di gestire in modo completo e integrato le varie fasi del processo di acquisizione. Tali strumenti sono stati progettati con un preciso orientamento alla loro applicazione nel settore della rappresentazione digitale di Beni Culturali tridimensionali.Source: La Scienza dell'Arte. Primo Congresso Nazionale., Bressanone, 26 febbraio- 1 marzo 2001
See at: CNR ExploRA