 Dobro, nekaj, sreče. Vespoje, da je tudi priča sprijev. Mi je tudi, da ti všeč nekaj bil, je Britann Kareli. Jeste vse, ki se nesel, da se priče, da se priče. Sejla, Nikora, ljubi, ljubi ljubi ljubi ljubi ljubi ljubi. Zelo je bilo ljubi ljubi. nekako, ki jih bi uspešniti, izvršeli, in v štih da smo počasili in izvršili, naredimo se v vseh, da smo počasili o zelo, ki je vično, zelo, ki je možno, tega skupnja, za vseh, na vseh reženje. Lači, da smo počasili na toho priroča, možno, da Nekola Osella bi se pon spoiledalila. Protočenje, da se predstavili, da bomo pošličiti, so Rossella Franchino, in je ingenijer in P.H.D. Profesor o technologi, o vrkitečnih, v departmeni o vrkitečnih in industriji desajnih, o universiti, studi, kampanii, Viji Vangutelli, in Italy, Naples. Vrkitečnih in desajnih in desajnih in desajnih, poč fiber, o korisi svetkih, v pošličce, si sreaga nederkosti za dirge in s kistim titeljem kratenomega in kratarijstsi in zvalistimi. V drzdi o nekratenim vzjuženju, zove, ker, sv instructions. Protočenje, da bomo pošličiti, o kratenih in desajnih in desajnih in desajnih, za vrkitečnih in desajnih, veszkaj vzjuženju, vs. lajkitečnih in desajnih in desajnih, vs. lajkitečnih in desajnih in desajnih, vživavama, ende vse zračenje, rekovery, redevelopment in protekšnje. Še spavljali buks, kontribucije, naprejvacje v svetičnih rečernosti in poslednjih internečnih konkurenciju. Nikola Bizzacane je in architet in prof. dronim, survey in digital modeling v departementu architetenčnih in industrije designs in universitet. P.H.D. je in inberomentalna invitečnja subvenga in imegina vsekonda universiteta in je to NAPOLI in je to inberom svetljenja P.H.D. programu in načetek, industrie, design in kulturalne editaje o universiteta in je to P.H.D. in je to international international research teams author of scientific essays papers on journal and proceedings of conferences about landscape, architecture and scientists of all text representation modeling and survey and application on BIM modeling and GIS so today I look forward to your everything about what they have been doing until now on 3D modeling and development of cultural heritage in vzgleda način del v povrsta od vsovnja Italija. V izgledu se vse vsova Kaldino aquedo, v Italiji, z način Kaldino 3D modelo. Rešte, kaj je? Hvala razrednja. Sve spremno taj pa bo bilo kar na resumitacij, in da je pa pa vzgleda na vse, vzlušenju. Vseh mešče poslednjo zelo, da počekaj smo prišli v kratku, na vseh 10 letu, na kratku, na kratku. V sebe, da bomo so vse boši, da se boši, da se boši, da se boši, da se boši, da se boši, da se boši, da se boši, da se boši, da se boši, da se boši, in in ozvrčen za tudi in mladvena tukar. Na vzduk, pa zelo smo zelo izvršal toz vzduk v 3D modučnji, ki je sve vzduk, da vzduk vzduk v 3D modučnji, da smo vzduk vzduk vzduk vzduk v 3D modučnji. Vzduk bi se pri vzduk vzduk vzduk vzduk vzduk. prej actually, but the first experience that they would like to show you is a knowledge to RETA that in last June came to our university and take a lecture about the book of ZDIT applied to some Egyptian coffee. And the first example is an example that we carry out in 2007-2008 in does not have an date in the monumental history of Naples. In particularly the museum in the neighborhood asked the department to make a census of some one of the historical chapel inside this building. And in particular in an area of the cemetery there are some interesting example of architecture z drugi pač, druga pač do 19. sektor. In zelo smo prizalimo se naznelo oto zelo in v 3D laže skaner modeline, ki počužimo to vzelo, ki še so vzeli svojo zelo in vzeli. Kaj je izgledaj, kaj je izgledaj iz nekaj sektorskih sektorskih, in včasno, kaj mi se z otroj koleg, je zvukniti v 3D modeli in v sarebe tudi. Srednjih je tudi izgledaj izgledaj izgledaj izgledaj izgledaj izgledaj izgledaj izgledaj izgledaj izgledaj izgledaj. In prizupčenški instrument, ki sem zelo, je odličil, da se zelo načinimo različno, ki je tudi različnega ročnega. V sebe, ki je zelo všeč zelo način, je se zelo jah, zelo v števelje, v tudi način, in zelo vse izprav, ki je zelo vse zelo, ki je zelo vse zelo vse zelo način. To je protokol, da smo prišličili od GPS in tudi trili modeljenje in fotografici mapi. Kaj je zelo se poslušaš? V sej bolj smo poslušeli, da so pričeš, zato se je zelo, in je to počusti, da se obježujem, da bi se razkovno, je taj zelo, da se odpravimo, da je to, da je bočti, da bi se odpravimo, In zelo, da smo vzvečenje, ki seo je ovo napravil, je je veliko kratiljko, ali vzvečenje s vsičnjem vzvečenjem, na razvečenje, in vzvečenjem, ne vzvečenjem, ali vzvečenjem pospoživanje v laboratij. The first experiment to the difference between the glasbations, the chiska words in the rubbish and seems to be a navet problem before the end. zato je tudi vseh pomembnega, da je vseh pomembnega. Zelo je vseh pomembna, da je tudi vseh pomembna, So it's important to define which is the state of maintenance of this building. And so the 3D modeling survey that we acquired with laser standard after has been modulated and mapped with high resolution, full resolution picture. As you can see in detail on the right part of the slide, the definition is very, very high, so you can see the detail, for example, of the door or of all the sculptor parts, or, for example, of all the elements that are on the stones on the top of the door itself. And the sensors were so rich with historical detail, but as for the side of the 3D modeling, as completed, but plain view, elevation, plan, and so on, of this building. During the time, we also tried to integrate not only geometrical data taken from sensors such as photogrammetry, 3D, laser scan, and so on, but also integrate older, different data. And, in particular, I show you another experience that is in the Piumontenamizirikordia charge in the historical center of Naples, is one of the most rich Baroque church in Naples, that has a great problem for the floor, in particular because some, this is the main, this is the interior part of the something, but some historical documents, some archived documents tell us that there are an ancient aqueduct below the church itself, that is the cause of the presence and the problem of moisture inside the church itself that damaged the floor of the church. So, the integrated survey using not only laser scan, but using also some systems such as, for example, Gerada scanning, allow us to make a relationship, the cavity below the church, within the church itself, and so to understand, which is the area in particular, which is the point that determine the moisture inside the floor, the floor itself. And so, this is after the hypothesis that we make for the restoration of this apartment and the determination of all the elements that characterize the damage of this apartment. If we move into the archaeological area, we make some experience, particularly in Pompeii and in Ercolandium. In particular, this is one of the towers, an experience that we make from 2012 to 2014, is an experience in two different buildings inside the Ercolandium in Pompeii, particularly the Mercurio Tower, the Villa of Mysteries, and the Archipiader, are three buildings that are very different, not only for the church itself, not only for the constructive technique, but also for the approach that we use for the 3D modeling of this building. The first example is that we will show you is the Mercurio Tower, and after, we show you the Villa of Mysteries, and after the Envigrator. Also in this case, we use a different kind of a sensor, so we start from a GPS station for the referencing of this survey, and we use a special station and this glasses camera, after we make a photographic survey with a nice resolution camera, and we add this data with the drone sensor and by mapping sensor, so it's always an integrated activity of the scientists that we make inside this building. Each activity was completed by a complex activity of design of the survey, because we had to work in particular power, we have not to interfere, for example, with the touristic flux of peoples that come inside the archaeological area, we have to make a picture in particular times of the days and so on, so we have to design all this data and to maximize the possibility to acquire this kind of information. The first one as a clue is Mercurio Tower that is along the boundary of the archaeological area, even if it seems very simple in shapes, because it seems vertical wall and so on, this building was made using opus in chartum technique, so the use of 3D laser scanner produces a lot of data, regular data, in the phase of post-processing, in the following phase of post-processing, it's a very complex operation to make. In particular in this case we just make a 3D model and we extract from the 3D model the elevation, the plan and the vertical section of this building. But, I go fast on this building, it's more interesting instead the application that we make in the villa mysteries. Villa mysteries is a very huge villa inside the archaeological area of Potei and the activities that we carry out are before and after the restoration work. Inside the rooms of Villa mysteries are very rich in fresco decorative work and so on. And so it's important as the Italian ministry asked to us to make a comparative survey before and after the restoration value. Also the number, for example, in the case of fresco different color of the painting and so on. This is the project so we divided in five macro scanning project, the area of the villa itself and we acquired during 12 days on site more than 8 billion of coins. Then after we elaborate and we also make 275 scans inside the villa, because there are a lot of rooms inside the villa. And also we need a very high value of that. This is the I saw me made during the survey activity inside and outside the villa itself. We use this particular target. We do not use the target, such as the one in black and white, as we see in the previous example, but we use this spherical target and I will show you and I will explain why when I will show the video example. This is the most important rooms inside the villa itself, which is related to some Venezian image on the fresco of the villa itself. And the Italian Ministry asked us a survey to determine the different phases of the realization of this work, the different element, the precise color of the fresco before and after the restoration value. So we make a very high resolution survey inside this room and in other room. And this is the close range of the room for the villa itself. And after this is the point cloud model of the villa itself. And all the images we produce are the comparison between before and after restoration value. This is the model itself. As you can see, this is the room that I showed you before. And this is before and after restoration, because the Italian Ministry asked us to determine the right color of this villa. And in particular, we make also a work for the rooms from itself. The third example inside the logical area is the amphitheater. The amphitheater is a very huge and complex building. The activity is possible only in the first hour of the morning, because after there are two rooms inside the building. So we have to work only a few hours each day. As you can see, in this image, we do not use planar target, such as the one. We use just someone in the hippo gem of the villa. But we use this kind of spherical target. The targets are used for the alignment of different point clouds. Are realized in plastic. And the Italian Ministry avoid us to use something to fix on the wall or on the floor of the amphitheater itself. So we use just this kind of target that we move each day after the survey activities. These are some images. This is the drone survey inside the building. The survey was also integrated with a liner from AirBond survey, so from a laser scanner applied to an airport. This is the then digital elevation model of the archaeological area of the country. And after we start the processing activity of the amphitheater. In particular in the shape of a field that is without the planar world, is without elements that you can easily recognize in architecture. Ask to us to make some geometrical consideration of building because the activities that are that we are carried out during this period is the realization of a building information modeling of this element. And we do not recognize inside this building elements that are repetitive and so on. So we make some cooperation to determine the exactly shape of this element to determine which is the real slope, for example, of the sphere and so on. So we make a lot of operations on the dimensional model. We make some historical cooperation between the different amphitheaters of the country region, and also we take data from different kinds of sources, from a picture, postcards, or Washington, so different historical images of the amphitheater itself to compare, which are some parts that have been reconstructed and the original one. These are some geometrical operation that we need to determine if the shape of the amphitheater is an ellipse or an oval. And so it could be the different construction phase of the element, how it's possible to trace, for example, these ellipse inside during the construction, and during the construction activities. And at the end we are now developing the building information modeling, so in particular starting from which is the real shape of the carrier itself. Within the activity that we carry out in the archaeological area in Pompeii, but also in Arcolanio, we make a three-dimensional model in the survey of the sculptor group of Pan e la Capra, Pan is the God and the God. This is a sculptor that is in several cabinets in the archaeological museum of Naples. It has been found in Arcolanium at the end, in the middle, sorry, of the dating century. And the archaeological museum of Naples has to us to make a digital copy of this sculptor group, because they need to transfer this sculptor for a period to the land museum born in Germany. So we carry out an high-resolution three-dimensional model using a particular scanner laser, and after we prototype this. These are the three different phases that we carry out. So we start with a three-dimensional survey using a particular scanner that is not the scanner that we use, for example, in architecture, the one placed on a tripod. But this is an arm scanner, so it's like a gun, so it's not the scanner that is fixed and move inside the architecture, but this can move around the object, the sculptor, and so on. In particular, because we need an high-resolution model, we make a model that has an error of less than zero to one millimeters. After we transfer this model into a mesh model, and we start the prototyping with a prototyping machine. This is the point cloud mesh model of the sculptor. After, when we make the mesh model, we plan how it's possible to make the prototyping of this element, because it's impossible to make also for the national, the sculptor itself, to make a prototype, an digital prototype with only one piece, only one element. So we divide the element into eight parts, and after we start the prototyping of this element, we study where it's better to cut the prototype element, also to fix the different element itself. These are the some parts of the prototypes we use, so we transform the mesh model in an STL model, this one that I showed you before, and we make a prototyping for there. As you know, there are different kind of prototyping with addiction, with the subtraction of element. This is for addiction, in particular this kind of prototype, make some horizontal layer, very, very close one with the other one. We study also how it's possible to fix different element, different element each other, and we use for material, for the prototype, a synthetic gypsum, so it's possible to have a uniform color, the same color for all the element, because in the third phase, as I showed you before, the digital copy that is the one that you see nearest in the picture has been colored with, by an expert into restoration to make this copy similar to the digital one. And so, to the original one, sorry. And so, also to simulate the calcium oxolite that characterizes this bit itself. At the end, this is the digital prototype has been transferred into the original position in sacred cabinet in Naples, just for a few months. Next example is an example that we carry out in the last years. This is Salorenzo monastery that is the location of our department in Naversa. It is a Benedictine monastery with origin in the 12th century, but after with many addictions, transformations, and so on. And the work research that we carried out is to develop a digital information model, sorry, a building information model of building itself, and also, Susania, it's possible to integrate building information model in the reality. So, how it's possible to, in particular, using virtual reality for simulate restoration work. As you can see, this is an unseen building, so we make a lot of restoration work of different parts, and it's possible to use digital element tools to simulate the transformation of the building itself. So, this is the different steps that we carry out during these research, so we start from data collection that are not only the metric and geometrical survey of the building itself, but also to collect data, such as historical information from the energy. After we made the data processing, so the development of the model itself of the building, the cement cloud that I will show you later, and the building information model. In particular, we realize a building information model with an identity in the exo, where it's an S-built model. So, we assimulate the building itself as it was. This is the project of the scan world map, so the position of the scanner model during the survey activity. This is the point cloud model. As you can see, there is an resolution model that we carry out. There are some data in the top part of this building. And we start the model using this software we use for this project, the JR reconstruction software that is a software developed by an Italian university in particular applied for architect, because automatically recognize the architectural element inside the building. This is just an example of the work that is inside the main cloister of the cloister that model. And after we start with the building information modeling, as you know, building information model try to use and to transform each element that characterize architecturally, particularly into a parametric model. So, in their mind, parameters that characterize each element, a column, a bolt, a window, a floor ceiling, and so on, into the characteristic element. But if it is very easy for the elements, such as the floor ceiling, bolt, and so on, for other elements, it could be very, very different. So, we start the semantic modeling, so the parametric modeling, for example, of the column of the main cloister. In particuari, dividing each element into the different part of the itself. And this is the semantic modeling, so to classify each element, the ceiling, the bolt, the wall, the stairs, the different kind of the window itself, and for each we realize a beam family, so we determine parametric modeling of each element. This is the complete building modeling with different colors for the different phases of construction, 16th century, 19th century, and 18th century. But the interest for us is to try to apply a virtual reality model, an augmented reality model to this building information model that we are realizing. In particuari, we try to use three different kind of augmented reality. The first one that is a simple visualization of the 3D model inside a mobile device, such as tablet, mobile phone, and so on. The second one that is, and we use the augmented software, so you visualize the 3D model outside the building itself. Instead, this is a very interesting application that we make using HoloLens emulators, that allows to superimpose the reality of the model itself with some hypothesis of restoration. So it's possible to use this element to see, for example, some kinds of different restoration phases of restoration to use this kind of system. And so we make, for example, for the different element itself, this result, this explanation. Last, this one that are applied both to environmental scale, to architectural scale. This one is the Cabrino aqueduct that is in the image of the flyer of this lecture. The aqueduct is the aqueduct that takes the water to the royal palace in Casetta. The royal palace is characterized by this garden with many fountains and water layers. And there is an aqueduct long, about 14 kilometers, that takes between the mountain, the hills, and so on the water to the royal palace on Casetta and to the garden itself. In particular, this aqueduct is underneath, so we cannot explore this element, even if, in particular, infrastructure. This is the valley bridge that is one of the most interesting parts of the aqueduct itself. This is a bridge designed by the architect and engineer in regional retail that blocks this valley. Because as you know, Casetta and the royal palace is inside the UNESCO World Heritage List, it's important to try to realize a system that alone, also for tourist use, to know which is the path of the aqueduct itself. So we start with the survey of the few enemies that you can see of this element. So some ridges, some mills that are along the path itself, and after we collect all this data into the Google Air platform. So this is information that has been shared by the Casetta subintendents, and so it's possible for tourists to see the royal aqueduct path, and so to visit, for a virtual visit of this system itself. So there are the model of, for example, some mills along the path itself, and the valley bridge that should be in the aqueduct. The last case study that is also connected to some experience of the environmental restoration of this area is in Chile and Valonia National Park in South Park of Campania region. So we can read out the integrated survey from the airport, from the water system, from the boat, but also from the land itself. In particular, the National Park is characterized by a very complex choreography. This is a digital elevation model that we can read out from the survey from the airport, and it is characterized by a great presence of water through river canal and other kind of systems. And in the past this presence of water is characterized by the presence of many, many water mills. There are more than 1,050 water mills in all the area, and we start from a census and a digital survey of this building. This data has been collected inside a geographical information system, and are the opportunity for the restoration, environmental restoration of this area to be presented by Costela Franchino. Thank you. I am Costela Franchino and I am an engineer, and my father, Philip Dover-Hassels, is an environmental design system. In particular, the study that Thail Branson now takes into consideration the possibility of implementing some historical mills, and in particular, our three historical mills, water mills, and a significant example of the old hydromechanical technology used in the past. These historical mills located along the outer river in the territory of Ottapi, municipally located in the north-western part of the Chilean campania region in the South Italy, and inserted in the natural context of the national park. The house of watercourse, there are free water mills in the past building of considered social importance. The mills were used for the transformation of agricultural products, and at some time constituted a meeting place between the local population and the forens who were going to gain. Now some images of the historical water mills. Not a typical, but it is important to know how to make the entire project. Just a moment. This is one, two, and three historical water mills studied, also considered the relationship that the house of river ecosystem established with the cross-le territory, and will the activities that take place in the house of river context, in fact, as you can see, represent an area of a particular naturalistic valley. The main style of the objectives of this study are to safeguard the historical roads of the place and to identify environmental technologies for the control of the relationship between the system of water, political soil, and its use in order to define the reference framework for the use of an appropriate technology system to optimize the cycle of water. This study includes three phases. The first analysis of the hydraulic justice, the second, the solution for the activation of all the historical water mills, and the intervention of river banks for the renaturation of the river. In this field are represented the three areas in which the territory of the present start is being supplied, and where the remains of the old water mills are located. In the area one is located at pre-existing hydroelectric power station. Second area, and in the area three is located a new hydroelectric plant which has replaced the previous one, the hydroelectric power station. It was moved about three hours, 15 meters from Australia and it splashed me down for a significant geolesic jump. The present of this hydroelectric plant does not have the reactivation of the old mills to be carried out, because it absorbs much of the flow of the river. In order to reactivate the historical water mills, two solutions has been identified to restore the operation in practical terms. The first hypothesis moving the central hydroelectric in its original position. And the intervention regards restoring of the old power station moving from the upstream to the upstream, where the old hydroelectric plant was original. In the nation of hydroelectric plant the effects. The real estate that goes from the section one to the second is enlarged for the flow rate that comes in Charlotte, necessary for the creation of the hydroelectric plant after the use of the hydroelectric plant, retoms of the river and the flow rate used. This flow rate can be used for the reactivation of the historical mills system, water mills system, the free water mill system, because the second hypothesis of reactivation of the historical mill regards the realization of the flow rate necessary to reactivation of the mill upstream in only one water mill. The intervention extraction from the river from the river of the flow rate necessary to restore the mill placing upstream. At the starting water of the hydroelectric plant this flow then flow into the river and on stream of the mill after the use of the water is again returned to the river. Aspects, small reduction of the production capacity of the hydroelectric plant without its dissapres, a creation of natural flow rate expect in the short section of the relation of the mill. Reactivation of the mill is a representative example of the mechanical technologies used in the past and more environmentally friendly than the current one. In this case only one water mill was left in this system. We complete the presentation because northern to south one the quality of the water of the river is the same except the whole also in the previous system at the point where in the purification plant of the Santana Municipalities and of the Santana Infasanella enter in the absolute torque. The utilised technologies and natural purification plant made with plants were called Lena Tatec. In addition to south one the quality of the water of the river that belongs to an environmental or value system is assumed the realisation of a filter system in the river in the tanks. In the Santana there is some time for questions. How many days were you working on the little damage standing, did you say that? Let me see, because I think I told this, but I think I did this. I don't know, we walk 12 days for the Saturday. Just for the Saturday. But each before and after each time for a day. Before we did all that. And both is in very high resolution in some rooms because they require, for example, different steps in which the phrase where I saw the difference between the different part of different steps. And was Villa open to tourists during these 12 days? No, it was closed. Because during the restoration work so you had the liberty to sort of spend as long. And in the affidia that is open to tourists we have to work just from 6 in the morning in the evening. I was laughing because of course that was 2012-2014 in the big pyramid and the big pyramid. About the original Egyptianizing things. It's just before the war here we don't buy Francesco Venos. In the pyramid. It's just the beauty for and before the pink Floyd concert. Yes, yes, yes. So you're producing a lot of data. Is it being archived by the Italian government available online or is it sort of stored in... Some data has been made by and just made for Italian governments so we give all the information to someone, as they said such as the K-studies and just a research for the United States. But we make some data or some research piece for the Italian government or for the Italian superintendents that is the local office of the cultural heritage industry. So if somebody was interested in using your models in the 3D software Yes, yes, yes. What formats are you archiving? Sorry? What formats? What kind of files do you archive? In which kind of example? Because for example... Because in the example of dot it has been the one that is used for the prototyping machine. So we transform we see in STL model STL model is the format to share this up. Instead for example, when we realize a virtual model for example, virtual reality and so on we need to have low file, for example we see that in K and Z format. But those big models that we are making a video together Yes, yes, yes. Big model so we need to simplify geometry of this model and we have to save in a different form. I can make a question about pan and the boat. Since I am working right now on replicas and what is their function in relation to regionals and that picture that was the tourist taking a picture of the replica. Did they know that the original was moved to the inborn but it is important for example in some works that are in sacred cabinet of the archaeological we made was that all the collection has been there and so So they were still treating it as an asset. Yes, yes, yes. It is not at all but we have today to tell the tourists that the replicas so difficult to realize. But in artificial gypsum you said in synthetic gypsum and that is the original is not laser printed though it is cast in some way or how would you create the model in the artificial gypsum is it? Yes, we create the model in eight parts in synthetic gypsum we merge together we join together and after with one of the employees of the Italian subordinate they recreate also the condition the corner of the original. But it is 3D printed. It is 3D printed? Yes, it is 3D printed In different pieces. In eight pieces And the weight would be roughly then similar to the original weight. Yes, yes, yes. So it is a good idea for big objects to 3D prints of coffins for instance. Can you take pieces? Yes, yes. Because you cannot find a 3D printer that is this one is not a big sculpture but you don't find a 3D print that is larger than that one. And also in particular some element you need to divide into pieces. Particular decoration yes, when we have particular decoration we need to divide it into parts for example when you have some form, when you have some particular region to divide it into different parts. So in your department maybe it is all you that someone specializes in small portable objects as opposed to buildings are there different areas of specialization then where one person is an expert in buildings and other in small objects that aren't buildings So we are architects so we are not specializing in all objects. So we can work from architecture to the territorial sketch but sometimes we work also for object we make for example also the 3D model of the Herkolesan face itself. So we work but we are not archaeologists we are not we are architects but sometimes working with the lens we work also for a small object. And my interest would both be at the small scale. For example in the last month we made a traditional model using not the last scan but using photogrammetry of some tissue in the archaeological museum.