Photogrammetry and 3D scanning are nowadays becoming common entries in the lexicon of contemporary archaeologists. For what it is worth, a quick search in the database "the Web of Science" shows a consistent and fast-growing reference to the use of such technologies in scientific papers of any field ("photogrammetry" and "laser scanning" had respectively 183 and 1020 entries in 2007 as against 882 and 2187 in 2017).More and more frequent is the use or the presentation of 3D models as a means of achieving a final documentation, in contrast to traditional "2D" pencil/ink drawings. Ease of use of processing software and affordability of required equipment (every day becoming more versatile and portable) are often an important factor in the spreading of these - as of other - new technologies, which therefore tend to be preferred to more time-consuming and resource demanding approaches. This paper aims at providing some food-for-thought on historical and modern aspects of the archaeological discipline with a series of case studies from Cretan cultural heritage, where the "3D approach" can be critically analyzed, compared and contrasted with more traditional means of documentation. The presented cases include Roman cisterns (Eleutherna, Rethymnon), archaeological excavations (Kalo Chorafi at Rethymnon and Magasins Dessenne at Malia), damaged modern heritage (Chandras, Ierapetra), and items of heritage under observation (soap factory in Rethymnon). In these case-studies, photogrammetry or 3D laser scanning replaced, existed alongside or integrated pencil drawings, thereby immediately creating a new set of information in the form of an unedited perspective, potentially assisting forthcoming research and - ideally - prompting new discoveries. Arguments are provided to fuel the current debate synthesized in the (non-rhetorical) question behind this paper: 3D as ultimate documentation or research tool?
The third dimension in Cultural Heritage: a new trend for final documentation or a research tool as a starting point? Applications at multiple scales in different Cretan contexts
Cantoro G.
2020
Abstract
Photogrammetry and 3D scanning are nowadays becoming common entries in the lexicon of contemporary archaeologists. For what it is worth, a quick search in the database "the Web of Science" shows a consistent and fast-growing reference to the use of such technologies in scientific papers of any field ("photogrammetry" and "laser scanning" had respectively 183 and 1020 entries in 2007 as against 882 and 2187 in 2017).More and more frequent is the use or the presentation of 3D models as a means of achieving a final documentation, in contrast to traditional "2D" pencil/ink drawings. Ease of use of processing software and affordability of required equipment (every day becoming more versatile and portable) are often an important factor in the spreading of these - as of other - new technologies, which therefore tend to be preferred to more time-consuming and resource demanding approaches. This paper aims at providing some food-for-thought on historical and modern aspects of the archaeological discipline with a series of case studies from Cretan cultural heritage, where the "3D approach" can be critically analyzed, compared and contrasted with more traditional means of documentation. The presented cases include Roman cisterns (Eleutherna, Rethymnon), archaeological excavations (Kalo Chorafi at Rethymnon and Magasins Dessenne at Malia), damaged modern heritage (Chandras, Ierapetra), and items of heritage under observation (soap factory in Rethymnon). In these case-studies, photogrammetry or 3D laser scanning replaced, existed alongside or integrated pencil drawings, thereby immediately creating a new set of information in the form of an unedited perspective, potentially assisting forthcoming research and - ideally - prompting new discoveries. Arguments are provided to fuel the current debate synthesized in the (non-rhetorical) question behind this paper: 3D as ultimate documentation or research tool?| File | Dimensione | Formato | |
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Descrizione: The third dimension in Cultural Heritage
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