Articles by Francesco Gabellone

The bronze quadriga of the National Archaeological Museum of Naples, recovered in fragments at different times in the history of the Herculaneum excavations, represent a case study of interdisciplinary importance. Its reconstruction has never been attempted so far, due to the many factors of uncertainty that weigh on its knowledge. A new study, reconstruction and enhancement project was launched in 2020-2021 by the CNR-ISMed in cooperation with the National Archaeological Museum of Naples with the aim of producing new scientific knowledge and restoring the beauty and uniqueness of the recomposed original monument to public use. The interpretative problems related to the quadriga are numerous, complex and, concerning archaeology and its methods, they span from the study of sources and excavations records to in-depth knowledge of Roman statuary, casting techniques and the iconographic and stylistic characteristics of Roman bronzes. In this scenario, the application of methodologies and technologies combined with traditional investigations represents an innovative integrated method. Thanks to the digital verification of hypotheses, it can produce, on solid scientific bases, a virtual reconstruction of the investigated monument. This not only makes the costs for scientific research more sustainable, but enables restoration work to be directed by optimising time and resources.

In a virtual archaeology project, a full transparency in methods, techniques and documentation is necessary in order to define quality standards that are crucial for a discipline that promises to inform, amaze and fascinate with increasing effectiveness and accuracy. However, documentation is often insufficient to guarantee a level of reliability. Comparisons, deductions and methods that allow experts to retrace the reconstructive process in all its parts are always needed. Based on the results of a case study carried out on the Monte Sannace site, several methods are described in order to evaluate the level of reliability of the 3D reconstruction. This process is related to qualitative factors not always easy to weigh up, but highly important in compliance with Principle no. 7 of the Seville Charter: transparency of information and specification of the methods applied. From a theoretical point of view, analogies and differences in modern restoration methods are analysed, and the results are described in relation to the communicative and emotional objectives of the project. The reconstruction of the Monte Sannace site represents a significant step towards the full appreciation of a little-known area with important archaeological and naturalistic features.

The 5G is the fifth generation of networks. It will officially arrive from 2020 to connect millions of devices all over the world with high speed and low latency, to enable advanced projects based on smart technologies, Internet of Things, smart cities and a new generation of smart houses. The use of this new high-speed connection will positively involve, in the near future, the virtual enjoyment of cultural heritage, allowing to offer new and more powerful solutions, especially in the field of immersive VR/AR visualization. On these premises we have carried out a project that aims to virtualize some spaces within the Diocletian Baths through innovative, immersive, emotional and persuasive solutions. The results are based on simple panoramas and 360° VR videos. However, they are enhanced with the stereoscopic vision and, above all, the animation of the scene, thus increasing the “sense of presence” of the user. The immersive visit within ancient spaces is populated with life, human figures and elements that increase the spatiality of reconstruction (sense of scale, presence, verisimilitude).

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.

This paper deals with the results of an experiment that was conducted as part of the CNR Project entitled Iraq Virtual Museum, the goal of which is the construction of a Virtual Museum that will allow the public to enjoy the main archaeological treasures of the ancient civilizations that flourished in the territory of modern-day Iraq. The work was aimed at the contextualization of the ancient objects in the territory of origin. This result was achieved by recourse to image-based technologies and remote sensing. In the exemplary case of the city of Ur, the process of contextualization began with the modelling of the golden helmet of king Meskalamdug, and continued with the reconstruction of the tomb in which it had originally been placed, together with the rest of the funerary objects. This tomb was then contextualized within the Royal Cemetery and the urban layout of Ur. High resolution satellite images made it possible to observe and document the archaeological area as it is today, for a virtual visit and in preparation for a potential real visit in the future. Furthermore, research activities have made it possible to acquire new knowledge of the objects, the monuments, the urban layout and the historical landscape.