Architecture and Urbanism Study Center

"The paper presents an interdisciplinary project which is a work in progress towards a 3D Geographical Information System (GIS) dedicated to Cultural Heritage with a specific focus application on the Castle of Shawbak, also known as the “Crac de Montréal”, one of the best preserved rural medieval settlements in the entire Middle East. We develop a set of tools for medieval archaeological analysis ranging from the production of traditional graphical  documentation like orthophotos and low-resolution 3D models (VRML) to the use of 3D/2D GIS through the creation of centralized and exhaustive object storage tool both for archaeological and photogrammetric data. Using these tools archaeologists will be able to produce, store, visualize and manage both archaeological and 3D data, according to their needs. The Shawbak archaeological project is a specific and integrated project between medieval archaeological research, conservative restoration and site's valorization. Focusing mainly on stratigraphical analysis of upstanding structures provides archaeologists with a huge amount of data to collect on site and useful records that will be used to understand the structures from stratigraphical and technological point of views. The foundation stone for this project is the analysis of documents produced and used by archaeologists in order to identify specific archaeological requirements.
The first phase is to give archaeologists traditional photogrammetric tools so that they can be autonomous in producing graphical documents (taking photographs, photo orientation and traditional orthophoto generation). The second step is to develop a common model structure for both photogrammetric and archaeological data storage using a unique database and allowing to link archaeological data with 3D measurements. Specific photogrammetry tools dedicated to stone by stone measurement have been under development since 2000 to help archaeologists to easily produce photogrammetric surveys. These tools are now integrated in a more complex system which allows automatic production of 2D or 3D representations from archaeological database queries. The graphical 2D documents produced through this process look like the handmade drawings done by archaeologists using orthophotos. The 3D GIS is the last step of this chain and aims the automatic production of 3D models through archaeological database queries: these 3D models are in fact a graphical image of the database and at the same time the interface through which the user is able to modify it. This approach enables automatic 3D thematic representation and new archaeological analysis through bidirectional-links between 3D representation and archaeological data. All these developments are written in Java within Arpenteur framework. (Arpenteur, 2008) "

"The use of non-intrusive digital technologies in Rock Art documentation as in other forms of art like paintings, sculpture, proto-sculpture or mosaics, as been applied by the authors in several projects, aiming the creation of digital virtual models that can provide researchers a new interpretation support that allows detailed inspection as well as to develop a new method for future memory registry.
Two case-studies are presented: the nº1 Salgueiros stele, from Picote in Miranda do Douro, and the cave paintings in the shelter 7 at Regato das Bouças from Serra de Passos in Mirandela. In the first case a three-dimensional scanning was done aiming to assess the existence of engraved drawings and traces of molding. In what concerns the shelter 7, the preliminary results from a on-going project concerning the combination of multi-spectral photography and structured light three-dimensional scanning are presented, aiming to improve the spectral limits of human vision. As in the engravings case, the creation of a three-dimensional model is aimed in order to facilitate the drawings interpretation allowing simultaneously to understand the spatial relation between drawings, of these with the rock morphology and its distribution throughout the support."

A Pedra das Cruzinhas, tomando a designação que lhe foi atribuída por um informante local, é uma ocorrência arqueológica, identificada, em Março de 2008, no decurso da elaboração do estudo de incidências ambientais (EincA) (1) do Parque Eólico da Benespera, projecto constituído por dois conjuntos de aerogeradores, espacialmente desconexos (2), situados nos concelhos de Sabugal, Guarda e Belmonte.
A singularidade desta rocha, profusamente gravada, maioritariamente com figuras cruciformes, e a circunstância de se conhecerem pouco arqueossítios deste tipo no concelho do Sabugal (AA VV, 2008), motivou o convite que nos foi gentilmente dirigido pelo arqueólogo Marcos Osório para elaboração do presente texto. Trata-se de uma notícia, cujo maior interesse reside na apresentação do método utilizado para “iluminar” os grafismos que cobrem a maior parte da superfície daquela rocha, trabalho executado por um dos signatários (HP).
A Pedra das Cruzinhas mantém-se preservada no interior do Parque Eólico da Benespera, cuja obra decorria em 2011, à data da elaboração deste texto. Reconhecendo-se como positivo o facto deste projecto ter contribuído para a identificação do monumento em apreço, considera-se conveniente, na linha do que é preconizado nos estudos ambientais que antecederam aquela obra, garantir a sua salvaguarda para o futuro, dado estar sujeito a maior risco com a nova acessibilidade instalada naquela área.

This article addresses the application of geomatic technologies in the field of painting conservation and restoration (C&R). It results from collaboration between geomatic professionals and conservators-restorers and intends to gradually integrate techniques like photogrammetry, laser scanning, multi-spectral analysis or geographic information systems in the daily work of C&R. In this phase we have focused our efforts in the specific field of retable wooden painting using as case-study paintings from the XVIth century belonging to the Convent of Christ in Tomar, Portugal, that are part of a large dimension retable composed originally by twelve pieces in the deambulatory chapel of the convent church. Until now, at least in Portugal, painting C&R does not use any of the documentation standard procedures already applied in other cultural heritage fields like archaeology or architecture. The conceptual plans for future research along with the results from the laser scanning and photogrammetry campaigns are presented. Preliminary achievements with a multi-spectral analysis system will also be stated as part of the work in progress.