The frescoes decorating the walls of the Samnite tombs in the Archaeological Park of ancient Capua, surveyed with photogrammetry, lend themselves well to a 3D reconstruction that allows visitors to the tomb to be immersed in the world of the deceased, creating a space of increased sharing. Using a direct method, the architecture of the four tombs was surveyed and modelled. The paintings were schematically traced by discretizing the architectural elements. The use of the photogrammetric technique was of fundamental importance to supplement the direct survey with a much more accurate, metric and three-dimensional data, to create the basis for a subsequent virtual restoration of the tombs and for the accurate analysis of the wall paintings. Then, starting from the orthophotos of the tombs’ interior walls, the wall paintings were analysed and restored, importing the metric images into graphics software (Photoshop), and reconstructing the missing geometries to recreate the original appearance of the pictorial decorations. Finally, an immersive extended reality (XR) environment was set up to highlight how these paintings were in effect the antecedent simulation of an immersive architectural space.

DAI – Il Disegno per l’Accessibilità e l’Inclusione

Sara Gonizzi Barsanti
2023

Abstract

The frescoes decorating the walls of the Samnite tombs in the Archaeological Park of ancient Capua, surveyed with photogrammetry, lend themselves well to a 3D reconstruction that allows visitors to the tomb to be immersed in the world of the deceased, creating a space of increased sharing. Using a direct method, the architecture of the four tombs was surveyed and modelled. The paintings were schematically traced by discretizing the architectural elements. The use of the photogrammetric technique was of fundamental importance to supplement the direct survey with a much more accurate, metric and three-dimensional data, to create the basis for a subsequent virtual restoration of the tombs and for the accurate analysis of the wall paintings. Then, starting from the orthophotos of the tombs’ interior walls, the wall paintings were analysed and restored, importing the metric images into graphics software (Photoshop), and reconstructing the missing geometries to recreate the original appearance of the pictorial decorations. Finally, an immersive extended reality (XR) environment was set up to highlight how these paintings were in effect the antecedent simulation of an immersive architectural space.
2023
GONIZZI BARSANTI, Sara
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11591/515650
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