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Reconstruction of the medieval church of Cluny III, exterior view (Copyright: Architectura Virtualis GmbH, Kooperationspartner der Technischen Universität Darmstadt).
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Construction--Deconstruction ......Ourscamp is an open access, digital publication. The article can be accessed through the Medieval Academy of America website, or through the University of Chicago Press website, which publishes the review Speculum for the Academy. The authors do not have a digital version they can upload because there is no need t...
Contexts in source publication
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... are fortunate to have a rich base of information on the sequence of deconstruction and reconstruction at Ourscamp. Not only do we have intact portions of the Romanesque and Gothic buildings, but our excavations on site from 2007-11 and our detailed survey of the surviving fabric have enhanced our understanding of the construction sequences (Fig. 10). 13 In addition, documentary sources, including a fourteenth-century (?) cartulary and a seventeenth-century procès-verbal describing the state of the abbey, a lithographic view of the north side of the church during deconstruction (Fig. 11), and nineteenth-century plans of the site converted to a factory all provide precious glimpses ...
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... our detailed survey of the surviving fabric have enhanced our understanding of the construction sequences (Fig. 10). 13 In addition, documentary sources, including a fourteenth-century (?) cartulary and a seventeenth-century procès-verbal describing the state of the abbey, a lithographic view of the north side of the church during deconstruction (Fig. 11), and nineteenth-century plans of the site converted to a factory all provide precious glimpses of the abbey and its changing construction history. 14 The direction of construction within the new work is not clear in any of these sources. Since the construction area is relatively small, we have presented a process that begins with the ...
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... excavations within the Gothic east end in 2009 and 2011 revealed the original eastern terminal wall of the Romanesque church, establishing the length of its east end as 12.5 m (Figs. 12 and 13). The Romanesque east end was thus 3 m longer than had been represented on any earlier plan. The excavated terminal wall also makes clear that the east end had to have two bays instead of one, as had been represented by all but one of the earlier ...
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... second observation concerning the surviving building allowed us to reconstruct the plan of the Romanesque nave and transept and to understand their relationship to the later east end. Although strikingly visible to the eye, the misalignment of the first piers east of the crossing in the Gothic east end had never been recorded on any previous plan (Fig. 14). 17 This disaxiality is not only important to record as mere description but is also the key to understanding the placement of piers in the destroyed Romanesque nave. In addition, it reveals the way in which the designers of the Gothic east end sought to connect their new construction to a preexisting nave and transept. Detailed ...
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... late thirteenth-century eastern crossing piers support earlier, twelfth-century vault forms, a fact that reveals that the cores of the earlier piers were reused in place (Fig. 15). In fact, the distinctly twelfth-century elements are barely supported by the newly transformed piers below them, which reveals that their original cladding was removed when they were remodeled into Gothic piers. These twelfthcentury forms are different from all other molding profiles in the Gothic east end. We return to this ...
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... reused piers are directly in line with the remains of the piers attached to the inside of the surviving west façade (Fig. 16a-b). The Gothic "remodelers" clearly desired a wider east end but needed to relate the new construction to the transept and nave of the earlier church (Fig. 17). Their rather ingenious solution was to remove the thick exterior ashlar courses of the Romanesque piers, retaining the rubble core of the piers, and then to wrap them in ...
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... reused piers are directly in line with the remains of the piers attached to the inside of the surviving west façade (Fig. 16a-b). The Gothic "remodelers" clearly desired a wider east end but needed to relate the new construction to the transept and nave of the earlier church (Fig. 17). Their rather ingenious solution was to remove the thick exterior ashlar courses of the Romanesque piers, retaining the rubble core of the piers, and then to wrap them in (thinner) Gothic masonry, a twostage process that most probably happened one course at a time. Retention of the eastern crossing piers, combined with a desire for a ...
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... the Gothic crossing piers retained masonry from the Romanesque ones allowed us to infer that the freestanding piers of the Romanesque nave (which no longer survive) must have been aligned not only with the reused crossing piers but also with the attached piers on the inside of the west façade. Thus our reconstruction of the Romanesque nave in Fig. 16a relies on these observations. Our measurements allowed us to reconstruct both the Romanesque and Gothic church plans and to realize the ways in which they were ...
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... construction at Ourscamp as a research question rather than simply re-presenting the final structure. Through our multiple reconstructions, we aim to raise questions about the ways in which construction may have unfolded and to test those interpretations. Our first stage relies heavily upon the archaeological evidence generated by our excavations (Figs. 12 and 13). Here, we propose that the eastern wall of the apse of the Romanesque church would have been dismantled, permitting the establishment of the sight line by which the builders would establish the center point on the chord of the new apse (Fig. 18: stage 3). From that sight line, the entire Gothic apse, ambulatory, and chapels could be ...
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... Our first stage relies heavily upon the archaeological evidence generated by our excavations (Figs. 12 and 13). Here, we propose that the eastern wall of the apse of the Romanesque church would have been dismantled, permitting the establishment of the sight line by which the builders would establish the center point on the chord of the new apse (Fig. 18: stage 3). From that sight line, the entire Gothic apse, ambulatory, and chapels could be generated. Once that point was established, the rest of the Romanesque apse could be taken down and foundations dug, leaving spur walls behind the eastern crossing piers and the intermediate ones along the east wall of the transept to buttress them ...
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... apse, ambulatory, and chapels could be generated. Once that point was established, the rest of the Romanesque apse could be taken down and foundations dug, leaving spur walls behind the eastern crossing piers and the intermediate ones along the east wall of the transept to buttress them and avoid destabilizing the crossing and transept vaults (Fig. 19: stage 6). At this point, the church could be temporarily walled off at the west side of the crossing and the liturgical functions of the old sanctuary transferred into the nave for the period of time when the Gothic choir was under construction (Fig. 20). 20 Actual construction on the Gothic east end would have followed the dismantling and ...
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... of the old sanctuary transferred into the nave for the period of time when the Gothic choir was under construction (Fig. 20). 20 Actual construction on the Gothic east end would have followed the dismantling and would have begun by establishing the Gothic foundations up to ground level, enabling the builders to locate pier and wall centers (Fig. 21: stage 8). The four Romanesque side chapels (two on each side) would then have been taken down to allow expansion into the double aisles of the Gothic east end (Fig. 22: stage 15). From there, construction on the new east end would have proceeded by erecting the piers and exterior walls up to the height of the capitals (Fig. 23: stage 25). Work ...
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... east end would have followed the dismantling and would have begun by establishing the Gothic foundations up to ground level, enabling the builders to locate pier and wall centers (Fig. 21: stage 8). The four Romanesque side chapels (two on each side) would then have been taken down to allow expansion into the double aisles of the Gothic east end (Fig. 22: stage 15). From there, construction on the new east end would have proceeded by erecting the piers and exterior walls up to the height of the capitals (Fig. 23: stage 25). Work on adapting the Romanesque crossing piers would advance at the corresponding level as this work moved upward (Fig. 24: stage ...
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... the level of the spandrels of Fig. 30: stage 30). Once the new Gothic apse was joined to the Romanesque transept, the eastern walls of the two Romanesque transept bays on each side of the crossing would be buttressed by the new construction and could then be partially dismantled. A massive relieving arch was inserted to frame new Gothic windows ( Fig. 31: stage 33). These arches survive and penetrate the entire thickness of the transept wall (Fig. 32). They were originally filled with Gothic tracery and were subsequently partially blocked (probably in the nineteenth century). After the relieving arches had been opened, the side aisles and chapels were vaulted and roofed (Fig. 33: stage 35) and ...
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... end (Fig. 38). This perspective emphasizes the remodeled aspects of the church: namely, a Gothic east end, new transept windows, and an increase in fenestration and light. In the view west from the new choir, however, the nave and western faces of the transepts remained unchanged, as Charles de Lasteyrie's lithograph reveals ( Fig. 39; and see Fig. 11). This was not, we believe, the result of limited funds, either of energy or imagination, but was rather a deliberate choice. The dual perspective, recaptured by our reconstructions, would have allowed the community to emphasize both the enduring traditions and longevity of their church and their embrace of new architectural ...
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... a corrective, we turn to the strategies of non-photorealistic representation (NPR) in our reconstructions of Ourscamp (Fig. 40). In this example, we use "unconvincing" or "deconvincing" modes in order to encourage debate about our work. In a second NPR representation (Fig. 41), we employ instead a "reliability console" for our reconstruction of the Romanesque church, using in this instance deliberately unrealistic colors (for masonry) in order to disrupt the viewer's experience. In dark blue, for example, are the portions of the building that survive or have been excavated and are thus 100 percent reliable. ...
Citations
... En el momento actual, se está trabajando ampliamente en la reconstrucción del patrimonio en diferentes ambientes geográficos e históricos y los resultados obtenidos son también diversos en función de los enfoques, metodologías u otros aspectos como también de las tipologías o su conservación, etc. (Karelin, Klimenko, & Klimenko, 2015). Entre todos estos trabajos destacan las reconstrucciones de: la Abadía de Nuestra Señora de Ourscamp (Bonde, Coir, & Maines, 2017) En el contexto específico de la Orden de Santiago se celebró un congreso en el año 2009 en Estepa en el que hubo aportaciones tanto a nivel teórico como arquitectónico a tener en cuenta (Ayala Martínez, 2014;Eiroa Rodríguez, 2014;Montaña Conchina, 2014;Palacios Ontalva, 2014). Más recientemente sobre la arquitectura de la Orden de Santiago destacan propuestas de reconstrucción como la del Hospital de ...
A finales de la Edad Media en la península ibérica la historia fue impulsora de una arquitectura en evolución hacia soluciones más racionales y eficientes. Entre los agentes promotores de este cambio, destacaron las órdenes militares que consiguieron solucionar un problema durante siglos imposible solventar: que las amplias llanuras de la meseta de la península habían resultado inconquistables para los cristianos hasta ese momento. Entre todas estas órdenes, la Orden de Santiago destacó porque en un territorio amplio consiguió configurar unos modelos arquitectónicos bastante homogéneos. La orden suministró muchos textos con información contenidos en los libros de visita; estos permiten un estudio que va desde lo general, como es la organización territorial, hasta lo particular que resulta la arquitectura construida en él a partir de descripciones de construcciones, usos, distribuciones, estructuras e incluso materiales. Este estudio no ha proporcionado toda la utilidad esperada sobre todo en cuanto a facilitar un análisis gráfico; se ha priorizado otros intereses, que sí han sido cubiertos con creces por la investigación. Los textos contenidos en los libros de visita resultan ser fuentes para el estudio histórico, proporcionando información más allá de lo supuesto; son fuentes para hipotetizar dibujos de construcciones, por su riqueza descriptiva, así como para su análisis, porque incluyen diversas descripciones; además, son fuentes para enriquecer el léxico histórico y arquitectónico. La integración de las tecnologías digitales al entorno arquitectónico permite extender el conocimiento del mismo mediante su incorporación a un registro que enumera construcciones, pero también a un análisis más amplio que profundiza en plantas y volumetrías, completando así un renovado catálogo arquitectónico que favorece el interés por el conocimiento de un legado que hasta hace unos años estaba destinado a perderse. Lo más destacado: El artículo contribuye al conocimiento del patrimonio arquitectónico de la Orden de Santiago profundamente degradado y mayormente desaparecido. Promueve una metodología científica pero también una difusión universal como recurso para la proyección cultural y educativa del patrimonio medieval. Introduce nuevas tecnologías permitiendo la proyección que influye en la llegada de recursos para laconservacióny restauración del patrimonio.
... Reconstruction of the medieval church of Cluny III, exterior view(Bonde et al., 2017). ...
... However, in this example, the connection between the physical and digital objects is static, rather than dynamic, as it is in most cases in digital heritage and virtual archaeology. Such connection is critical for the integration of digital twins, but it is usually lost due to external factors, such as the location of the physical asset, e.g., in restricted conflict areas [29], or the alternation or destruction of the original asset [5].In our case, we have faithfully reconstructed the library within the concept of digital twins; since the aforementioned factors do not stand in our case, we hope that this connection link between physical and virtual assets will remain active. ...
With the technological advancements and the widespread adoption of the internet, the physical library has lost its role as the main resource of information. As the Metaverse is becoming more and more apparent, a revolutionary change is expected in how we understand social relationships and consequently, education. It is therefore necessary for libraries to upgrade the services they provide to keep in line with the technological trends and be a part of this virtual revolution. We believe that the design and development of a Virtual Reality (VR) library can be the community and knowledge hub the society needs. In this paper we go through the process of creating a digital twin of the Limassol Municipal University Library, a landmark for the city of Limassol, by using photogrammetry and 3D modelling. By integrating the concept of digital twin, we developed a 3D platform where users have the perception that they are exhibiting the actual library. To do so, we conducted a perceptual study to understand the current usage of physical libraries, examine the users' experience in VR, and identify the requirements and expectations in the development of a virtual library counterpart. Following the suggestions and observations of our user study, we implemented five common case scenarios that demonstrate a potential use of a virtual library.
... This would be much more difficult, or even impossible, to achieve using analogue forms of dissemination. 33 Therefore, this feature makes it possible for us to be more rigorous when we analyse and show each historical change, as the latter has not been limited to just one moment or time period. The analysis and the final product encompass changes in their temporal continuity. ...
In this article we will examine how and why the animation ‘Creating the monastic site: from its origins to the nineteenth century’ allowed us to expand the digital art and architectural project ‘Digital Samos. A digital approach to the Monastery of San Julián de Samos’. On the one hand, by making the animation, we were able to create an easy-to-read and more effective visual product to disseminate our research results about the evolving nature of the monastic site of San Julián de Samos in north-western Spain, far beyond static computer-aided design reconstructions. On the other hand, we will see that the animation became a research tool that forced us as scholars to tackle the visualization of relational past realms in their entirety and on a short-term time basis, without compromising the rigour with which computer-based visualization methods and outputs should be used in the communication of and research into cultural heritage.
The evolution of digital technologies and recent episodes of the destruction of cultural heritage assets have been determinants for the large production of digital reconstruction models of monuments, sites, and historical artefacts. Also, the contemporary hybrid condition of the real and virtual world has demanded digitising the physical world and the construction of digital models applicable to various uses. The position of heritage protection agencies has often encouraged reconstruction as a form of political reaffirmation against extremists and strengthening the resilience of communities. Less controversial and reversible, digital reconstruction aims to represent disappeared monuments and objects, visually restoring them to a given moment in their history. It is also widely used as scientific documents in virtual archaeology, as a promotion of tourism and museum dissemination, as well as a form of resilience in overcoming the loss of destroyed heritage. This research starts from the hypothesis that the understanding of digital reconstruction models is a component of historical and archaeological narratives constructed by a narrator-modeller who makes choices, prioritises aspects and defines the story to be told. Thus, it aims to understand and demonstrate the dimension of digital reconstruction as a digital method and product and propose an extension of the concept of digital reconstruction from the perspective of understanding it as an interpretive process dependent on the interpreter and creator. To achieve these objectives, this thesis proposed to execute a practical project of digital reconstruction and develop digital reconstruction models of the buildings of the historical site of the Convent of Santo Antônio do Paraguaçu, proposing a form of registration and access to paradata and developing virtual narratives to contemplate the theoretical constructions raised. From the proposed developments, it was possible to identify that there is a conceptual simplification of digital reconstruction, as it does not comprehend all of its aspects. It was evidenced that digital reconstruction results from a series of interpretations and decisions, characterising the digital model produced as a cognitive object, a synthesis of an intellectual process based on references to the physical object it represents, while at the same time being a repository of knowledge and a synthesis of this knowledge, by bringing with it the knowledge of heterogeneous sources. Nevertheless, the importance of recording this intellectual process as a guarantee of transparency and scientific reliability has become a requirement of heritage institutions, and despite what many authors have proposed, the feasibility of simple solutions for these records (paradata) has been verified, once it is noted that the heart of this issue lies more in the ethical stance of the researcher-modeller than in the technology itself. In the conclusion of this research, it was verified that the virtual narratives developed serve as an arena for the constitution of different versions of history. These have been configured as the primary support for disseminating heritage and investigative, interpretive, and decision-making intellectual work that produces knowledge, not restricting but opening up new possibilities for interpreting history.
The Digital Humanities Coursebook provides critical frameworks for the application of digital humanities tools and platforms, which have become an integral part of work across a wide range of disciplines. Written by an expert with twenty years of experience in this field, the book is focused on the principles and fundamental concepts for application, rather than on specific tools or platforms. Each chapter contains examples of projects, tools, or platforms that demonstrate these principles in action. The book is structured to complement courses on digital humanities and provides a series of modules, each of which is organized around a set of concerns and topics, thought experiments and questions, as well as specific discussions of the ways in which tools and platforms work. The book covers a wide range of topics and clearly details how to integrate the acquisition of expertise in data, metadata, classification, interface, visualization, network analysis, topic modeling, data mining, mapping, and web presentation with issues in intellectual property, sustainability, privacy, and the ethical use of information. Written in an accessible and engaging manner, The Digital Humanities Coursebook will be a useful guide for anyone teaching or studying a course in the areas of digital humanities, library and information science, English, or computer science. The book will provide a framework for direct engagement with digital humanities and, as such, should be of interest to others working across the humanities as well.
A evolução das tecnologias digitais e os episódios recentes de destruição de bens da herança cultural, estão sendo determinantes para a larga produção de modelos de reconstrução digital de monumentos, sítios e artefatos históricos. O posicionamento dos órgãos de proteção, muitas vezes têm encorajado a reconstrução como forma de reafirmação política contra extremistas e de fortalecimento da resiliência das comunidades. Este fato é uma das principais justificativas para a ampla utilização dessas reconstruções digitais. Menos polêmico e reversível, este tipo de modelo digital, tem como objetivo representar monumentos e objetos desaparecidos, restaurando-os visualmente a um dado momento da sua história. A reconstrução de monumentos sempre foi um tema polêmico para a ciência da Conservação e do Restauro, considerada por Viollet-le-Duc como uma ferramenta corretiva importante para o restauro, mas também como prática condenável por Ruskin e Riegl, mas tida como inaceitável para Brandi, pois: "[...] a reconstrução tenta remodelar o antigo com o novo sem distingui-los e reduzir ao máximo o intervalo de tempo que separa esses dois momentos, enfim, tenta fazer com que um lapso de tempo desapareça." Apesar disto, a reconstrução digital é difundida como prática aceitável atestada por recomendação internacional. Na reconstrução digital assim como no restauro real, o aspecto de autenticidade do objeto é respaldado em pesquisas científicas e históricas, contudo nisto também reside um problema fundamental: a das muitas interpretações possíveis dos dados históricos, que é influenciada pela própria noção de valor histórico. Assim sendo, como deveriam ser tratadas as reconstruções digitais uma vez que se pretende delas a condição de documento histórico e de modelo de informação histórica? Constata-se em alguns trabalhos que a reconstrução digital pode se apresentar sob diferentes aspectos, como a de obra artística cuja função é predominantemente estética ou de entretenimento, normalmente utilizados em jogos eletrônicos e marketing turístico. Outro aspecto, varia de documento histórico à ilustração científica, sendo caracterizado pelo seu valor científico. Pesam sobre esses valores aspectos como autenticidade, integridade e rigor científico onde, a forma de reconstrução tende a seguir as recomendações oficiais e de manuais de boas práticas em salvaguarda e proteção da herança cultural. Nesse contexto, este artigo propõe refletir sobre a tese de que estas reconstruções digitais não devem ser vistas apenas como mera recuperação visual, mas também como a materialização (em meio digital) da herança cultural e isto implica na construção de modelos digitais capazes de representar e transmitir valores tanto do patrimônio material como imaterial, apresentando as diferentes versões da história, sem obliterar seu par real e seus significados. Palavras-chave: Herança Cultural, Autenticidade, Reconstrução Digital.
Despite the fact that digital reconstructions of historic structures and sites are a rich asset for understanding both humanistic and scientific facets of the past, tools to ease the generation of accurate models are lacking. This work presents an interactive database of historic Roman construction materials which was designed specifically for the purposes of aiding in digital reconstructions. For the scope of this work, only ancient Roman timber and stone construction materials were agglomerated. However, the framework for the database was constructed so that it could be easily expanded to other geographic locations, materials, and time periods. Based on the results of a survey, the user interface and schema for the database were developed. The information in the database can be searched in two main ways: (1) a user can click on an interactive geographic map to find pertinent materials if they know their location and (2) a user can search for where a material was found based on its name. Additionally, the database was generated in a flexible manner so that new information can be added by registered users. This promotes further development of the database and encourages future tools for digital reconstruction to be designed in a similarly dynamic manner.
