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This work presents previously unpublished geometric and metric information about the 'cave' at L'Ambrogiana Medici Villa in Montelupo F.no, close to Florence, Italy.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This work presents previously unpublished geometric and metric information about the 'cave' at L'Ambrogiana Medici Villa in Montelupo F.no, close to Florence, Italy.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:
See at:
www.rivisteweb.it 
| 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
Journal article
Open Access
"Ecce Homo" by Antonello da Messina, from non-invasive investigations to data fusion and dissemination
Albertin F., Ruberto C., Cucci C., Callieri M., Potenziani M., Siotto E., Pingi P., Scopigno R., Bettuzzi M., Brancaccio R., Morigi M. P., Castelli L., Taccetti F., Picollo M., Stefani L., De Vita F.
Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina's painting "Ecce Homo": its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.Source: Scientific reports (Nature Publishing Group) 11 (2021): 15868–15885. doi:10.1038/s41598-021-95212-2
DOI: 10.1038/s41598-021-95212-2
Project(s): E-RIHS PP
Metrics:
Albertin F., Ruberto C., Cucci C., Callieri M., Potenziani M., Siotto E., Pingi P., Scopigno R., Bettuzzi M., Brancaccio R., Morigi M. P., Castelli L., Taccetti F., Picollo M., Stefani L., De Vita F.
Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina's painting "Ecce Homo": its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.Source: Scientific reports (Nature Publishing Group) 11 (2021): 15868–15885. doi:10.1038/s41598-021-95212-2
DOI: 10.1038/s41598-021-95212-2
Project(s): E-RIHS PP
Metrics:
See at:
Scientific Reports 
| Scientific Reports | ISTI Repository | Scientific Reports | Scientific Reports | Archivio istituzionale della ricerca - Alma Mater Studiorum Università di Bologna | 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
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
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
2019
Other
Unknown
Three Armenian Manuscripts from Tuscany
Callieri M., Pingi P., Potenziani M., Ponchio F., Scopigno R.
For the temporary exhibition "Three Armenian Manuscripts from Tuscany", taking palce at the Matenadaran Museum (Jerevan, Armenia) from June 9th 2019 to January 9 2020, The Visual Computing Lab of ISTI-CNR created a multimedia interactive kiosk presenting to the museum visitors the pages of the codices and the rooms of the libraries that preserved the books in their long life. The photographic campaign of the codices and buildings has also been used in the monographic volume "Three Armenian Manuscripts from Tuscany (13th - 14th century)", by Anna Rita Fantoni e Giovanna Rasario. Mandragora, Firenze. 2019. ISBN 978-88-7461-475-2 The Kiosk presents, commented by the texts edited by the experts Anna Rita Fantoni e Giovanna Rasario, high-res 360° panorama images of ther libraries (Biblioteca Medicea Laurenziana and Biblioteca di S. Matteo), high-res images of selected pages of the three codices displayed int he exhibition, and relightable RTI images of the decorated cover of one of the codices and of a parchment page illuminated in gold. The Kiosk is based on web technologies: this makes possible the installation on a stand-alone PC (like in the exhibition) but also a web publishing, linked just above. The generation of RTI, and the web visualization of RTI and multiresolution images is managed by the library Relight, developed by ISTI-CNR.
Callieri M., Pingi P., Potenziani M., Ponchio F., Scopigno R.
For the temporary exhibition "Three Armenian Manuscripts from Tuscany", taking palce at the Matenadaran Museum (Jerevan, Armenia) from June 9th 2019 to January 9 2020, The Visual Computing Lab of ISTI-CNR created a multimedia interactive kiosk presenting to the museum visitors the pages of the codices and the rooms of the libraries that preserved the books in their long life. The photographic campaign of the codices and buildings has also been used in the monographic volume "Three Armenian Manuscripts from Tuscany (13th - 14th century)", by Anna Rita Fantoni e Giovanna Rasario. Mandragora, Firenze. 2019. ISBN 978-88-7461-475-2 The Kiosk presents, commented by the texts edited by the experts Anna Rita Fantoni e Giovanna Rasario, high-res 360° panorama images of ther libraries (Biblioteca Medicea Laurenziana and Biblioteca di S. Matteo), high-res images of selected pages of the three codices displayed int he exhibition, and relightable RTI images of the decorated cover of one of the codices and of a parchment page illuminated in gold. The Kiosk is based on web technologies: this makes possible the installation on a stand-alone PC (like in the exhibition) but also a web publishing, linked just above. The generation of RTI, and the web visualization of RTI and multiresolution images is managed by the library Relight, developed by ISTI-CNR.
See at: CNR ExploRA | vcg.isti.cnr.it
2019
Contribution to book
Unknown
Rilievo 3D di Alchimia, ed uso dei modelli 3D per studio e divulgazione
Callieri M., Dellepiane M., Lureau A., Pavoni G., Pingi P., Potenziani M., Scopigno R.
Le tecniche di digitalizzazione 3D si sono fatte largo prepotentemente nel campo dei beni culturali. Dalle prime sperimentazioni dell'utilizzo di modelli 3D di due decenni fa, si è arrivati oggi ad una ampia diffusione e democratizzazione di queste tecnologie, fino a poter dire che la digitalizzazione 3D è uno strumento ormai essenziale nella maggior parte dei progetti di conservazione, restauro, documentazione e studio dei beni culturali. Nell'ultimo periodo, poi, anche le tecnologie di riproduzione fisica da modelli 3D (3D printing e la prototipazione rapida) stanno entrando nella routine di queste tipologie di azione. Un aspetto chiave dei modelli digitali 3D risiede nella loro "doppia natura": -i modelli 3D sono pura informazione numerica e geometrica, sono fatti, cioè, di numeri che rappresentano le misure e la forma di un oggetto fisico. Hanno dunque proprietà metriche, e le misure in essi contenute possono essere usate per calcoli tecnici, documentazione, simulazione e riproduzione fisica; -i modelli 3D però hanno anche un aspetto "visuale", cioè possono essere visualizzati e disegnati a schermo formando immagini che, visivamente, corrispondono alla percezione che noi avremmo davanti all'oggetto reale (specialmente quando il modello 3D geometrico è corredato anche di informazione di tessitura o colore). Questa doppia natura unisce una precisione, una scientificità del dato, alla possibilità di interagire con esso in maniera naturale, come faremmo con l'oggetto reale. Se è vero che nelle prime sperimentazioni, i modelli 3D sono stati utilizzati solamente come fonte di misure e di dati, oppure solo come "gadget visuale" per presentare al pubblico l'oggetto d'arte, possiamo dire che oggi, con il progredire delle tecnologie, e soprattutto con la definizione di protocolli di lavoro più completi, questi due aspetti riescono ad essere sfruttati appieno in maniera congiunta. In questo lavoro, per l'appunto, è stato possibile sfruttare appieno le potenzialità del media digitale 3D, sia dal punto di vista scientifico-documentale, che come strumento di disseminazione e di coinvolgimento del pubblico.Source: Alchimia di Jackson Pollock - Viaggio all'interno della materia, edited by Luciano Pensabene Buemi, Francesca Bettini, Roberto Bellucci, pp. 145–154. Firenze: Edifir - Edizioni Firenze s.r.l., 2019
Callieri M., Dellepiane M., Lureau A., Pavoni G., Pingi P., Potenziani M., Scopigno R.
Le tecniche di digitalizzazione 3D si sono fatte largo prepotentemente nel campo dei beni culturali. Dalle prime sperimentazioni dell'utilizzo di modelli 3D di due decenni fa, si è arrivati oggi ad una ampia diffusione e democratizzazione di queste tecnologie, fino a poter dire che la digitalizzazione 3D è uno strumento ormai essenziale nella maggior parte dei progetti di conservazione, restauro, documentazione e studio dei beni culturali. Nell'ultimo periodo, poi, anche le tecnologie di riproduzione fisica da modelli 3D (3D printing e la prototipazione rapida) stanno entrando nella routine di queste tipologie di azione. Un aspetto chiave dei modelli digitali 3D risiede nella loro "doppia natura": -i modelli 3D sono pura informazione numerica e geometrica, sono fatti, cioè, di numeri che rappresentano le misure e la forma di un oggetto fisico. Hanno dunque proprietà metriche, e le misure in essi contenute possono essere usate per calcoli tecnici, documentazione, simulazione e riproduzione fisica; -i modelli 3D però hanno anche un aspetto "visuale", cioè possono essere visualizzati e disegnati a schermo formando immagini che, visivamente, corrispondono alla percezione che noi avremmo davanti all'oggetto reale (specialmente quando il modello 3D geometrico è corredato anche di informazione di tessitura o colore). Questa doppia natura unisce una precisione, una scientificità del dato, alla possibilità di interagire con esso in maniera naturale, come faremmo con l'oggetto reale. Se è vero che nelle prime sperimentazioni, i modelli 3D sono stati utilizzati solamente come fonte di misure e di dati, oppure solo come "gadget visuale" per presentare al pubblico l'oggetto d'arte, possiamo dire che oggi, con il progredire delle tecnologie, e soprattutto con la definizione di protocolli di lavoro più completi, questi due aspetti riescono ad essere sfruttati appieno in maniera congiunta. In questo lavoro, per l'appunto, è stato possibile sfruttare appieno le potenzialità del media digitale 3D, sia dal punto di vista scientifico-documentale, che come strumento di disseminazione e di coinvolgimento del pubblico.Source: Alchimia di Jackson Pollock - Viaggio all'interno della materia, edited by Luciano Pensabene Buemi, Francesca Bettini, Roberto Bellucci, pp. 145–154. Firenze: Edifir - Edizioni Firenze s.r.l., 2019
See at: CNR ExploRA
2019
Other
Unknown
The EcceHomo project
Callieri M., Pingi P., Potenziani M., Siotto E., Scopigno R.
In the 2017 "Access Programme" call of the E-RIHS.it (European Research Infrastructure for Heritage Science) project, which makes the diagnostic tools and the technologies of a number of research institutes available to Italian conservation institutions, the project concerning the Ecce Homo by Antonello da Messina from the Collegio Alberoni di Piacenza collection was selected. The objective of the non-invasive diagnostic investigations carried out by CNR-ISTI (Pisa), CNR-IFAC (Florence), INFN-CHNet (Bologna) and INFN-CHNet (Florence), was to achieve greater knowledge of the work and create an objective digital support for evaluation and measurement that could assist the activities of conservators and restorers. The joint work of the multidisciplinary team of the Italian node of E-RIHS.it generated a three-dimensional graphic representation, digital twin of the painting, which varies over time and can be useful as a basis for comparison in the periodic control of the Ecce Homo of Piacenza. All the data gathered with the scientific investigations were integrated (by the Visual Computing Laboratory of the CNR-ISTI of Pisa), through their mapping on the 3D/2D space of the digital representation of the work, in a multimedia platform, with the aim of make possible easy consultation and visualization of all data on the web, both for scientific and educational purposes. The multimedia platform was presented as a kiosk in a public conference dedicated to the "ECCEHOMO" project, which had excellent feedback from the public. The kiosk was subsequently integrated into the museum visit itinerary of the Alberoni College of Piacenza. Developed with HTML/JavaScript technology, the kiosk is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as in the museum installation) but at the same time publication on the web. The web visualization of high resolution images is managed by the Relight library, developed by ISTI-CNR. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, all developed by the Visual Computing Laboratory of the CNR-ISTI in Pisa. The contents of the kiosk were designed, discussed and validated with the collaboration of all the work teams involved in the project (CNR-ISTI, CNR-IFAC, INFN-CHNet Bologna and Florence) and by Francesca De Vita, restorer and conservator of the artwork.
Callieri M., Pingi P., Potenziani M., Siotto E., Scopigno R.
In the 2017 "Access Programme" call of the E-RIHS.it (European Research Infrastructure for Heritage Science) project, which makes the diagnostic tools and the technologies of a number of research institutes available to Italian conservation institutions, the project concerning the Ecce Homo by Antonello da Messina from the Collegio Alberoni di Piacenza collection was selected. The objective of the non-invasive diagnostic investigations carried out by CNR-ISTI (Pisa), CNR-IFAC (Florence), INFN-CHNet (Bologna) and INFN-CHNet (Florence), was to achieve greater knowledge of the work and create an objective digital support for evaluation and measurement that could assist the activities of conservators and restorers. The joint work of the multidisciplinary team of the Italian node of E-RIHS.it generated a three-dimensional graphic representation, digital twin of the painting, which varies over time and can be useful as a basis for comparison in the periodic control of the Ecce Homo of Piacenza. All the data gathered with the scientific investigations were integrated (by the Visual Computing Laboratory of the CNR-ISTI of Pisa), through their mapping on the 3D/2D space of the digital representation of the work, in a multimedia platform, with the aim of make possible easy consultation and visualization of all data on the web, both for scientific and educational purposes. The multimedia platform was presented as a kiosk in a public conference dedicated to the "ECCEHOMO" project, which had excellent feedback from the public. The kiosk was subsequently integrated into the museum visit itinerary of the Alberoni College of Piacenza. Developed with HTML/JavaScript technology, the kiosk is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as in the museum installation) but at the same time publication on the web. The web visualization of high resolution images is managed by the Relight library, developed by ISTI-CNR. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, all developed by the Visual Computing Laboratory of the CNR-ISTI in Pisa. The contents of the kiosk were designed, discussed and validated with the collaboration of all the work teams involved in the project (CNR-ISTI, CNR-IFAC, INFN-CHNet Bologna and Florence) and by Francesca De Vita, restorer and conservator of the artwork.
See at: CNR ExploRA | vcg.isti.cnr.it
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
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
2016
Conference article
Restricted
A virtual experience across the buried history
Canzoneri A., Pavoni G., Callieri M., Dellepiane M., Pingi P., De Giorgi M., Scopigno R.
The Sant'Angelo cave church is an underground medieval Benedictine complex in the south of Italy, affected by serious structural and chemical degradation. In the context of a documentation campaign promoted by the local Superintendence and supported by the IPERIONCH. it project, we carried out an accurate 3D and photographic survey, and reconstructed a detailed 3D model of the site (encoding shape and colour). While the primary purpose of this large amount of collected data was to provide a metric documentation of the site, the completeness and the high detail of the survey suggested also a possible use for dissemination and virtual presentation. Thus, we exploited the 3D digital models to design and build a virtual visit of the church, oriented to scholars, museums and tourists. This paper describes the design and implementation of this educational experience, closely related to the bibliographic sources of the artistic heritage, fully enriched with hyper-textual information, intuitive and easy to use for all users regardless of their level of familiarity with the 3D medium.Source: AVR 2016 - Augmented Reality, Virtual Reality, and Computer Graphics. Third International Conference, pp. 158–171, Lecce, Italy, 15-18 June 2016
DOI: 10.1007/978-3-319-40651-0_13
Metrics:
Canzoneri A., Pavoni G., Callieri M., Dellepiane M., Pingi P., De Giorgi M., Scopigno R.
The Sant'Angelo cave church is an underground medieval Benedictine complex in the south of Italy, affected by serious structural and chemical degradation. In the context of a documentation campaign promoted by the local Superintendence and supported by the IPERIONCH. it project, we carried out an accurate 3D and photographic survey, and reconstructed a detailed 3D model of the site (encoding shape and colour). While the primary purpose of this large amount of collected data was to provide a metric documentation of the site, the completeness and the high detail of the survey suggested also a possible use for dissemination and virtual presentation. Thus, we exploited the 3D digital models to design and build a virtual visit of the church, oriented to scholars, museums and tourists. This paper describes the design and implementation of this educational experience, closely related to the bibliographic sources of the artistic heritage, fully enriched with hyper-textual information, intuitive and easy to use for all users regardless of their level of familiarity with the 3D medium.Source: AVR 2016 - Augmented Reality, Virtual Reality, and Computer Graphics. Third International Conference, pp. 158–171, Lecce, Italy, 15-18 June 2016
DOI: 10.1007/978-3-319-40651-0_13
Metrics:
See at:
doi.org | link.springer.com | 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
2015
Conference article
Restricted
LecceAR: an augmented reality App
Banterle F., Cardillo F. A., Malomo L., Pingi P., Gabellone F., Amato G., Scopigno R.
This paper discusses a case study on the use of augmented reality (AR) within the context of cultural heritage. We implemented an iOS app for markerless AR that will be exhibited at the MUST museum in Lecce, Italy. The app shows a rich 3D reconstruction of the Roman amphitheater, which is nowadays only partially visible. The use of state-of-the-art algorithms in computer graphics and computer vision allows the viewing and the exploration of the ancient theater in real-time.Source: DiPP2015 - Digital Presentation and Preservation of Cultural and Scientific Heritage. International Conference, pp. 99–108, Veliko Tarnovo, Bulgaria, 28-30 September 2015
Banterle F., Cardillo F. A., Malomo L., Pingi P., Gabellone F., Amato G., Scopigno R.
This paper discusses a case study on the use of augmented reality (AR) within the context of cultural heritage. We implemented an iOS app for markerless AR that will be exhibited at the MUST museum in Lecce, Italy. The app shows a rich 3D reconstruction of the Roman amphitheater, which is nowadays only partially visible. The use of state-of-the-art algorithms in computer graphics and computer vision allows the viewing and the exploration of the ancient theater in real-time.Source: DiPP2015 - Digital Presentation and Preservation of Cultural and Scientific Heritage. International Conference, pp. 99–108, Veliko Tarnovo, Bulgaria, 28-30 September 2015
See at:
www.ceeol.com | CNR ExploRA
2015
Conference article
Restricted
Alchemy in 3D: a digitization for a journey through matter
Callieri M., Pingi P., Potenziani M., Dellepiane M., Pavoni G., Lureau A., Scopigno R.
In this work, we will present the outcomes of the 3D diagnostic investigations carried out on the painting Alchemy by Jackson Pollock. Thanks to an accurate digitization and a careful processing, we were able to generate a very precise high-resolution 3D model that proved to be useful in different stages of the diagnostic and conservation campaign. The 3D model was integrated in the conservation process, along with the other diagnostic investigations; the geometric data was also used to produce images and video sequences for dissemination purposes. The most interesting aspect of the work, however, was the idea of going beyond photo-realism and the use of the scanner-measured geometry to try to interpret and understand the traces and signs on the surface of the painting, in relation with the gestures and techniques used by Pollock while painting this masterpiece. Combining the knowledge of the curators and the metric data gathered in the digitization, we were able to discover and validate several interesting aspects of the painting, in the direction of trying to better understanding the painting process which was, in the idea of the artist, an essential part of the artwork. The 3D model of the artwork played a central role also in the temporary exhibition created for the dissemination of the conservation and the diagnostic campaign to the museum visitors. This was also done following the idea of using the geometry to explain the gestures, actions and techniques of Jackson Pollock at work. The 3D model was used to create an interactive kiosk, to have the visitors navigate the model and access explanations of relevant geometrical details and to produce a 1:1 physical reproduction to give the public the possibility to physically interact with the artwork.Source: International Congress on Digital Heritage, pp. 223–231, Granada, Spain, 28/08/2015-02/10/2015
DOI: 10.1109/digitalheritage.2015.7413875
Metrics:
Callieri M., Pingi P., Potenziani M., Dellepiane M., Pavoni G., Lureau A., Scopigno R.
In this work, we will present the outcomes of the 3D diagnostic investigations carried out on the painting Alchemy by Jackson Pollock. Thanks to an accurate digitization and a careful processing, we were able to generate a very precise high-resolution 3D model that proved to be useful in different stages of the diagnostic and conservation campaign. The 3D model was integrated in the conservation process, along with the other diagnostic investigations; the geometric data was also used to produce images and video sequences for dissemination purposes. The most interesting aspect of the work, however, was the idea of going beyond photo-realism and the use of the scanner-measured geometry to try to interpret and understand the traces and signs on the surface of the painting, in relation with the gestures and techniques used by Pollock while painting this masterpiece. Combining the knowledge of the curators and the metric data gathered in the digitization, we were able to discover and validate several interesting aspects of the painting, in the direction of trying to better understanding the painting process which was, in the idea of the artist, an essential part of the artwork. The 3D model of the artwork played a central role also in the temporary exhibition created for the dissemination of the conservation and the diagnostic campaign to the museum visitors. This was also done following the idea of using the geometry to explain the gestures, actions and techniques of Jackson Pollock at work. The 3D model was used to create an interactive kiosk, to have the visitors navigate the model and access explanations of relevant geometrical details and to produce a 1:1 physical reproduction to give the public the possibility to physically interact with the artwork.Source: International Congress on Digital Heritage, pp. 223–231, Granada, Spain, 28/08/2015-02/10/2015
DOI: 10.1109/digitalheritage.2015.7413875
Metrics:
See at:
doi.org | ieeexplore.ieee.org | CNR ExploRA
2015
Conference article
Unknown
Digitizing and navigating unaccessible archaeological sites on mobile devices
Malomo L., Banterle F., Pingi P., Callieri M., Dellepiane M., Scopigno R.
A very large number of sites, probably the large majority of our Cultural Heritage (CH), are unaccessible to the public due to the lack of infrastructure, improper security conditions or lack of personnel. Digitizing in 3D those sites is not very complicated nowadays. We will briefly review the technology available for cheap 3D digitization, from 3D scanning to cheaper photogrammetric solutions. However, digitization per se is not a solution: 3D models have to be shared in the widest and easiest manner. We will present the design and results of a software instrument that aims at supporting easy navigation of 3D digitized spaces, running on top of mobile devices such as tablets or smartphones. The main goal of this project is to guarantee navigation with ease for users without experience in computer graphics and videogames, while providing high-fidelity rendering of the digital 3D model.Source: 1st International Conference on Metrology for Archaeology, pp. 43–48, Benevento, Italy, 22-23/10/2015
Malomo L., Banterle F., Pingi P., Callieri M., Dellepiane M., Scopigno R.
A very large number of sites, probably the large majority of our Cultural Heritage (CH), are unaccessible to the public due to the lack of infrastructure, improper security conditions or lack of personnel. Digitizing in 3D those sites is not very complicated nowadays. We will briefly review the technology available for cheap 3D digitization, from 3D scanning to cheaper photogrammetric solutions. However, digitization per se is not a solution: 3D models have to be shared in the widest and easiest manner. We will present the design and results of a software instrument that aims at supporting easy navigation of 3D digitized spaces, running on top of mobile devices such as tablets or smartphones. The main goal of this project is to guarantee navigation with ease for users without experience in computer graphics and videogames, while providing high-fidelity rendering of the digital 3D model.Source: 1st International Conference on Metrology for Archaeology, pp. 43–48, Benevento, Italy, 22-23/10/2015
See at: CNR ExploRA
2015
Conference article
Open Access
VirtualTour: a system for exploring cultural heritage sites in an immersive way
Malomo L., Banterle F., Pingi P., Gabellone F., Scopigno R.
In the last few years, mobile or wearable virtual reality has gained new interest amongst the industry and researchers. The rapid development of new technologies such as high quality head mounted displays, accurate and cheap motion sensors (e.g. accelerometers, gyroscopes, depth cameras, etc.), localization sensors (e.g. GPS, compass, etc.) etc. have led to new opportunities that just a few years ago were not possible to achieve with off-the-shelf components. This renaissance of virtual reality is happening in both research and practical applications, such as computer games, movies, documentaries, learning, urban planning, etc. In this work we propose a system, VirtualTour, offering virtual exploration of Cultural Heritage (CH) sites on mobile devices based on a natural interaction approach; a few easy to understand (and to be tracked) actions performed by the user in the real world are translated into navigation instructions in the virtual world. To achieve this goal, we have exploited embedded sensors and the fast hardware of modern mobile devices.Source: 2015 Digital Heritage International Congress, pp. 309–312, Granada, Spain, 28/09/2015-02/10/2015
DOI: 10.1109/digitalheritage.2015.7413889
Project(s): VASCO
Metrics:
Malomo L., Banterle F., Pingi P., Gabellone F., Scopigno R.
In the last few years, mobile or wearable virtual reality has gained new interest amongst the industry and researchers. The rapid development of new technologies such as high quality head mounted displays, accurate and cheap motion sensors (e.g. accelerometers, gyroscopes, depth cameras, etc.), localization sensors (e.g. GPS, compass, etc.) etc. have led to new opportunities that just a few years ago were not possible to achieve with off-the-shelf components. This renaissance of virtual reality is happening in both research and practical applications, such as computer games, movies, documentaries, learning, urban planning, etc. In this work we propose a system, VirtualTour, offering virtual exploration of Cultural Heritage (CH) sites on mobile devices based on a natural interaction approach; a few easy to understand (and to be tracked) actions performed by the user in the real world are translated into navigation instructions in the virtual world. To achieve this goal, we have exploited embedded sensors and the fast hardware of modern mobile devices.Source: 2015 Digital Heritage International Congress, pp. 309–312, Granada, Spain, 28/09/2015-02/10/2015
DOI: 10.1109/digitalheritage.2015.7413889
Project(s): VASCO
Metrics:
See at:
ieeexplore.ieee.org | doi.org | 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
2015
Other
Unknown
Jackson Pollock: Alchemy in 3D
Callieri M., Pingi P., Potenziani M., Dellepiane M., Pavoni G., Lureau A., Scopigno R.
For the exhibition "Alchemy of Jackson Pollock. Discovering the Artist at Work" (February - October 2015, Peggy Guggenheim Collection, Venice), the ISTI-CNR Visual Computing Laboratory created an interactive kiosk to explore the geometry of the painting Alchemy by Jackson Pollock. The kiosk created aims to show the technique and secrets of the artist at work, and enriches an innovative and successful exhibition (more than 180,000 visitors in eight months), replicated shortly afterwards in the same form at the Guggenheim Collection Museum in New York, and adapted for the traveling exhibition "The Art of Science" held in 2021 in Mexico and 2022 in Chile). The interactive kiosk, entirely developed by ISTI-CNR Visual Computing Laboratory, allows you to view the high-resolution 3D model of the entire painting through a touch-screen. The visitor can closely observe the geometry and color of the painting, move the light to appreciate its surface, and select the hot-spots that highlight areas of interest. The kiosk was developed with HTML/JavaScript technology, and is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as for the exhibition) but at the same time publication on the web. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, developed by ISTI-CNR Visual Computing Laboratory. The multimedia product "Jackson Pollock: Alchemy in 3D" was nominated in the "Best Use of DH For Public Engagement" category at the Digital Humanities 2015 Awards, placing first.
Callieri M., Pingi P., Potenziani M., Dellepiane M., Pavoni G., Lureau A., Scopigno R.
For the exhibition "Alchemy of Jackson Pollock. Discovering the Artist at Work" (February - October 2015, Peggy Guggenheim Collection, Venice), the ISTI-CNR Visual Computing Laboratory created an interactive kiosk to explore the geometry of the painting Alchemy by Jackson Pollock. The kiosk created aims to show the technique and secrets of the artist at work, and enriches an innovative and successful exhibition (more than 180,000 visitors in eight months), replicated shortly afterwards in the same form at the Guggenheim Collection Museum in New York, and adapted for the traveling exhibition "The Art of Science" held in 2021 in Mexico and 2022 in Chile). The interactive kiosk, entirely developed by ISTI-CNR Visual Computing Laboratory, allows you to view the high-resolution 3D model of the entire painting through a touch-screen. The visitor can closely observe the geometry and color of the painting, move the light to appreciate its surface, and select the hot-spots that highlight areas of interest. The kiosk was developed with HTML/JavaScript technology, and is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as for the exhibition) but at the same time publication on the web. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, developed by ISTI-CNR Visual Computing Laboratory. The multimedia product "Jackson Pollock: Alchemy in 3D" was nominated in the "Best Use of DH For Public Engagement" category at the Digital Humanities 2015 Awards, placing first.
See at: CNR ExploRA | vcg.isti.cnr.it