Articles by Ivan Ferrari

The contribution aims to understand the architectural development of the Roman amphitheater of Venosa (Potenza, Italy), conducted through an analytical study of published sources combined with the technical analysis of archaeological evidence, achieved thanks to the support of metric acquisitions combined with laser scanners and photogrammetry from drone. The technical/constructive deductions allowed the development of a 3D reconstruction hypothesis, which was itself part of that cognitive process aimed at verifying those architectural solutions defining the original morphology of the monument.

The project focusing on the upgrade of the New Archaeological Museum of Ugento was created in the framework of the collaboration between the Municipality of Ugento and the Institute of Cultural Heritage Sciences of the CNR. The primary goals of this project are to improve the physical, sensory, and cognitive accessibility of the museum collections and to guide visitors in discovering the region and its rich, millennia-long history. To achieve these goals, we have designed cognitive and experiential pathways incorporating various ICT technologies: from gaming to virtual or augmented reality experiences for an immersive engagement of cultural heritage, from tactile interfaces for visually impaired users to installations inspired by the ‘Cracking Art’ artistic movement. This paper presents in detail the project requirements, the implemented solutions, their validation, and the achieved results.

The ISPC-CNR is conducting research activities aimed at identifying ancient quarries that supplied the public building sites in the Athenaion of Castro, where excavations revealed dry-stone city walls made of calcarenite blocks and built in three phases between the 4th and 2nd cent. BC. The paper is focused on the large coastal quarries of Porto Miggiano, located approximately 4.5 km NE of Castro, where the extraction was carried out in function of sea transportation of the blocks. The extraction sites were documented through laser scanning and photogrammetry by a drone. In the main quarry, which covers an area of approximately 0.4 hectares, thanks to the metrological analysis of the stepped faces, four extraction areas were identified corresponding to at least five cultivation phases. The oldest and most extensive one affects the central sector of the quarry, where large blocks compatible (for dimension and macroscopic aspect) with those of the third phase of the Castro city walls, dated to the beginning of the 2nd cent. BC, were extracted.

The Messapian necropolis of Monte D’Elia (used from the 6th to the 2nd cent. BC) is about 300 m S of the modern town of Alezio (Lecce, Apulia), which lays on one of the most important ancient settlements of the Salento peninsula (ancient Messapia). The site was investigated between 1981 and 1985 by the Apulian Archaeological Superintendence. In 2020, archaeological investigations have been resumed by the Department of Cultural Heritage of the University of Salento, with the participation of researchers from the Institute of Heritage Science of the National Research Council. Their research activities focused on geophysical prospecting and topographical surveys, performed thanks to the combined use of laser scanner and digital photogrammetry by drone. This contribution illustrates these research activities, which are aimed at understanding the general plan of the necropolis, through the integration of the information published in the 1980s with data from new investigations and surveys, and, more generally, at the reconstruction of its topographic organization and extension.

This work originated from a simple question: is it possible to reconstruct a destroyed architectural decorative element starting from documents that describe its details, shape and constitutive materials? An important limitation in the past was the lack of technologies and materials that could replicate an object like this in detail. Only a few years ago technology was not yet able to ensure accurate reconstruction characterized by an adequate formal aesthetic level both in terms of materials and finishes. Nowadays, this gap has been filled thanks to the development of Computer Numerical Control machines (CNC) in production processes. In this contribution, we present part of the restoration of Villino Florio in Palermo, built by the architect Ernesto Basile on behalf of the Florio family between 1899 and 1902 and partially destroyed by a fire in 1962: it is one of Italy’s first architectural works in the Art Nouveau style, and is considered a masterwork within the European panorama. The restoration, directed by the Soprintendenza BB.CC.AA. Di Palermo, also involved the monumental staircase, with a complex wooden floral pattern (‘ramage’) used to decorate the ceiling. Starting from the relief of the environment and from the old photographic documents, a 3D model of the ramage was retrieved. This formed the basis of information necessary for the subsequent reproduction of the subject with CNC machines on oak modules, assembled and finished just as they appeared in the photographs before the fire. A numerical approach made it possible to control the entire process by adopting structural solutions to avoid overloading the ceiling with excessive weight.

This paper demonstrates how low cost 3D visualization techniques can be easily used for the transmission of historical and cultural content in museum communication strategy. Specifically, we used computer 3D animation graphics to present information about Queen Nefertari, the Maya chapel and the tomb of Kha in the specific exhibition in the Egyptian Museum of Turin. Movie documentaries support the thematic itineraries of the rooms and offer a virtual trip to the places where the goods displayed were found. The same approach was used for the virtual reconstruction of two Pompeian contexts: the House of the Golden Bracelet and the House of Octavius Quartio. Our research allowed us to create an accurate representation of gardens, statues, architectural spaces, and pools with fountains and frescoed rooms, all virtually reproduced in their original context, using communication methods that combine technology with a synthetic and emotional approach. Techniques of close range photogrammetry made it possible to conduct a 3D survey of sixteen statues and other architectural elements; lost artefacts were reconstructed and areas destroyed by the eruption of 79 AD were evoked. The eruption was partially represented, with fluid dynamic simulations and computer graphics effects in order to transmit accurate scientific information in a simple and immediate language developed by lengthy technical experiments. The synthesis imposed by the short duration of the movie required matching all this information with a self-explanatory approach, which allows the visitor to understand the characteristics of the archaeological goods displayed in the exhibition in a general view that repeats colours, sounds and suggestions of the environments destroyed two thousand years ago.