3D Recording, Documentation and Management of Cultural Heritage

417 Pages·2016·11.277 MB·English

by  Fabio Remondino, Efstratios Stylianidis (eds.)

3D Recording, Documentation and
Management of Cultural Heritage
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3D Recording, Documentation
and Management of
Cultural Heritage
Edited by
Efstratios Stylianidis
Fabio Remondino
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Published by
Whittles Publishing,
Dunbeath,
Caithness KW6 6EG,
Scotland, UK
www.whittlespublishing.com
© 2016 Efstratios Stylianidis and Fabio Remondino
ISBN 978-184995-168-5
All rights reserved.
No part of this publication may be reproduced,
stored in a retrieval system, or transmitted,
in any form or by any means, electronic,
mechanical, recording or otherwise
without prior permission of the publishers.
The publisher and authors have used their best efforts in preparing this book, but assume
no responsibility for any injury and/or damage to persons or property from the use or
implementation of any methods, instructions, ideas or materials contained within this
book. All operations should be undertaken in accordance with existing legislation, recognized
codes and standards and trade practice. Whilst the information and advice in this book is believed to be true
and accurate at the time of going to press, the authors and publisher accept no legal
responsibility or liability for errors or omissions that may have been made.
Thanks are due to the following for cover images:
András Patay-Horváth and Gábor Gedei; Guidi, G., Remondino, F., Russo, M.,
Menna, F., Rizzi, A. and Ercoli, S.; Michael Doneus; and the Zamani project.
Printed by
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Contents
Preface xi
The Authors xiii
Abbreviations and acronyms xvii
Chapter 1 Introduction – Current Trends in Cultural Heritage and
Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Mario Santana Quintero and Rand Eppich
1 .1 Innovation is human nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1 .2 Innovation in contrast to conservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
1 .3 Current trends, challenges and recommendations . . . . . . . . . . . . . . . . . . . .3
1.3.1 Trend 1 – Widening definition of the conservation profession ..........4
1.3.2 Trend 2 – Enlarging scale of cultural heritage .......................4
1.3.3 Trend 3 – Developing new themes in cultural heritage ................4
1.3.4 Trend 4 – Increasing threats .....................................5
1.3.5 Trend 5 – Increasing pace of innovation ............................6
1.3.6 Trend 6 – Fragmentation of data .................................6
1 .4 Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.4.1 Ensure that multidisciplinary teams are formed ......................7
1.4.2 Establish principles, guidelines and specifications ....................8
1.3.3 Engage communities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
1.4.4 Train and educate .............................................9
1.4.5 Identify good practice .........................................10
1.4.6 Focus on risk assessment and sustainability ........................10
1.4.7 Focus on value-centred assessment ...............................11
1 .5 Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Chapter 2 Conservation Techniques in Cultural Heritage . . . . . . . . . . . . .15
Minna Silver
2 .1 From a moment to preserving the past in 3D . . . . . . . . . . . . . . . . . . . . . . . 15
2.1.1 Encapsulating a moment in the past ..............................15
2.1.2 Protection, preservation and conservation .........................17
2.1.3 Three-dimensional view to the past ..............................18
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2 .2 The duty to protect and preserve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.2.1 Developments in protection ....................................21
2.2.2 Safeguarding bodies ..........................................22
2.2.3 Challenges for protection and preservation .........................23
2 .3 Landscapes, sites and structures in 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
2.3.1 Landscapes and contexts .......................................26
2.3.2 Applying remote sensing from air and space .......................27
2.3.3 Penetrating the ground: searching for sites and structures .............30
2.3.4 Digging deep at sites ..........................................31
2.3.5 On-site conservation and site conservation .........................33
2 .4 Prehistory in Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
2.4.1 From the first foot prints to rock art ..............................35
2 .5 Sacred spaces of Ancient Greece and stumbling blocks . . . . . . . . . . . . . 38
2.5.1 The Acropolis – the crumbling sacred rock of the Athenians ..........38
2.5.2 Augmented reality and sculptural modelling in 3D in Olympia .........39
2 .6 Reconstructing Ancient Roman public and domestic spaces . . . . . . . . . . 40
2.6.1 Virtual villas and palaces in ‘eternal’ Rome ........................40
2.6.2 The forum, insulae and villas in Pompeii and Herculaneum ............42
2 .7 Documenting caravan cities in the Ancient East . . . . . . . . . . . . . . . . . . . . 44
2.7.1 Hatra, Palmyra and Petra revisited ...............................44
2 .8 Capturing and saving architecture from the Common Era . . . . . . . . . . . . 47
2.8.1 Saving sacred spaces: churches, mosques and synagogues ..............47
2.8.2 Buddhist and Hindu temples ...................................51
2.8.3 Modelling historical castles, palazzos, houses and gardens .............52
2 .9 Viewing walls, ceilings and floors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
2.9.1 Wall paintings ..............................................56
2.9.2 Mosaics ....................................................58
2 .10 Documenting detailed features and artefacts . . . . . . . . . . . . . . . . . . . . . . . 59
2.10.1 Relevant methods for 3D ......................................59
2.10.2 Sculptured monuments, statues and ornamentation ..................61
2.10.3 Some types of artefacts and materials ............................65
2 .11 Inscriptions, tablets, scrolls and codices . . . . . . . . . . . . . . . . . . . . . . . . . . 70
2.11.1 Monumental Inscriptions ......................................71
2.11.2 Small inscriptions and coins ....................................72
2.11.3 Papyrus and parchment rolls, wax and wood tablets,
palm leaves, bark and paper ....................................73
2 .12 Graves, tombs and human remains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
2.12.1 Funerary monuments .........................................76
2.12.2 Underground Etruscan and Greco-Roman tombs and catacombs . . . . . . .76
2.12.3 3D printing of Tutankhamen’s tomb .............................77
2.12.4 Sarcophagi .................................................77
2.12.5 Scientific approaches to studying human remains ....................78
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2 .13 Underwater / maritime / nautical archaeology . . . . . . . . . . . . . . . . . . . . . . 80
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Chapter 3 Cultural Heritage Management Tools:
The Role of GIS and BIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Anna Osello and Fulvio Rinaudo
3 .1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
3 .2 GIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
3.2.1 GIS and cultural heritage .....................................109
3.2.2 GIS for cultural heritage documentation .........................109
3.2.3 GIS challenges in cultural heritage documentation .................110
3.2.4 GIS planning for cultural heritage documentation ..................111
3 .3 BIM (building information modelling) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
3.3.1 BIM and cultural heritage .....................................114
3.3.2 Challenges of BIM for the 3D recording of cultural heritage ..........117
3.3.3 Examples of using BIM in the management of cultural heritage .......119
3 .4 Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
References and further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Chapter 4 Basics of Photography for Cultural Heritage Imaging . . . . . .127
Geert Verhoeven
4 .1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
4 .2 The nature of electromagnetic radiation . . . . . . . . . . . . . . . . . . . . . . . . . . 129
4.2.1 Matter, charge and energy ....................................129
4.2.2 Visible or invisible: it is a matter of wavelength ....................131
4.2.3 Radiometry, photometry, visual psychophysics and their units .........133
4 .3 Imaging visible optical radiation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
4.3.1 General principle of imaging ..................................137
4.3.2 Human vision and colour perception ............................140
4.3.3 Digital imaging sensors .......................................145
4.3.4 Metamerism ...............................................150
4.3.5 Colour in the camera chain ....................................151
4 .4 Digitally recording images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
4.4.1 Signals and noise ............................................154
4.4.2 Pixels: quantised points samples that need reconstruction ............155
4.4.3 The Nyquist criterion ........................................160
4.4.4 Spatial resolution and resolving power ...........................162
4 .5 Essential lens and sensor characteristics . . . . . . . . . . . . . . . . . . . . . . . . . 163
4.5.1 Image formation in a pinhole camera ............................163
4.5.2 Focal length, principal distance and image scale ....................165
4.5.3 Prime lens versus zoom lens ...................................172
4.5.4 Lens mounts ...............................................173
4.5.5 Aberrations ................................................173
4.5.6 The PSF – diffraction and blur .................................181
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4.5.7 Sensor size ................................................184
4.5.8 Field of view ...............................................186
4.5.9 Digital crop factor ...........................................189
4.5.10 Lens classification – wide-angle, normal and long focus lenses ........191
4 .6 Key photographic foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
4.6.1 Photographic exposure: the secret exposed ........................193
4.6.2 White balance ..............................................224
4.6.3 Colour description ..........................................227
4.6.4 File formats: RAW – JPEG – TIFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
4.6.5 Image metadata .............................................236
4 .7 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Chapter 5 Basics of Image-Based Modelling
Techniques in Cultural Heritage 3D Recording . . . . . . . . . . .253
Efstratios Stylianidis, Andreas Georgopoulos
and Fabio Remondino
5 .1 Cultural heritage 3D documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
5.1.1 The documentation of cultural heritage ..........................253
5.1.2 The geometric documentation of cultural heritage ..................253
5.1.3 Tools for the geometric docmentation of cultural heritage ............255
5.1.4 ICT at the service of cultural heritage. . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
5 .2 Image properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
5.2.1 Classification of images .......................................259
5.2.2 Image characteristics .........................................260
5.2.3 Geometric properties of images ................................262
5 .3 Sensors and cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
5.3.1 Digital cameras .............................................265
5 .4 Data collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
5.4.1 Planning and image acquisition ................................267
5.4.2 Control points ..............................................268
5 .5 Photogrammetric procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
5.5.1 Image pre-processing general guidelines ..........................269
5.5.2 Interior orientation ..........................................269
5.5.3 Exterior orientation .........................................276
5.5.4 Image triangulation ..........................................285
5 .6 Photogrammetric production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
5.6.1 Dense image matching .......................................290
5.6.2 DSM / DTM modelling ......................................292
5.6.3 Quality issues for DSM / DTM ................................294
5.6.4 Production of a digital orthoimage ..............................294
5 .7 Case studies of image-based modelling techniques in
cultural heritage 3D recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
5.7.1 Example 1: Monitoring the deformations of a Byzantine church .......297
5.7.2 Example 2: Virtual restoration .................................299
5.7.3 Example 3: Virtual reconstruction ..............................300
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
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Chapter 6 Basics of Range-Based Modelling
Techniques in Cultural Heritage 3D Recording . . . . . . . . . . .305
Pierre Grussenmeyer, Tania Landes,
Michael Doneus and José Luis Lerma
6 .1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
6 .2 A few definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
6.2.1 Point cloud and coordinates ...................................306
6.2.2 Angular and spatial resolution .................................308
6.2.3 Point density ...............................................309
6.2.4 Intensity and RGB point clouds ................................310
6 .3 Classification of terrestrial laser scanner systems . . . . . . . . . . . . . . . . . . 311
6.3.1 Pulse-based scanners .........................................311
6.3.2 Phase-based laser scanners ....................................313
6.3.3 Triangulation-based scanners  .................................317
6.3.4 Handheld scanners ..........................................319
6.3.5 Miscellaneous aspects related to laser scanners .....................320
6 .4 Errors in TLS measurements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
6.4.1 Instrumental errors  .........................................321
6.4.2 Errors related to the scanned object .............................321
6.4.3 Environmental errors ........................................322
6.4.4 Methodological errors ........................................322
6 .5 Processing of TLS data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
6.5.1 Pre-processing of point clouds .................................323
6.5.2 Point cloud registration and/or georeferencing ....................323
6.5.3 Segmentation ..............................................329
6.5.4 Modelling ................................................329
6.5.5 Model texturing ............................................332
6 .6 ALS data processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
6.6.1 Data acquisition ............................................333
6.6.2 Type of scanning system, footprint size and echo detection ...........333
6.6.3 Date of data acquisition ......................................334
6.6.4 Point density ...............................................335
6.6.5 Georeferencing .............................................336
6.6.6 Choice of filtering software and parameters .......................337
6.6.7 Visualisation ...............................................337
6 .7 TLS and ALS cultural heritage applications . . . . . . . . . . . . . . . . . . . . . . . 339
6.7.1 Applications of TLS in architecture .............................339
6.7.2 Applications of TLS in archaeology .............................343
6.7.3 Applications of ALS .........................................357
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Chapter 7 Cultural Heritage Documentation with RPAS/UAV . . . . . . . . .369
Fabio Remondino and Efstratios Stylianidis
7 .1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
7.1.1 Terminology ...............................................370
7.1.2 Platforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
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