Articles de revues : « 3D digitisation »

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Mathys, A., J. Brecko, and P. Semal. "Cost Analyse of 3D Digitisation Techniques." Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (September 30, 2014): 206–12. http://dx.doi.org/10.55630/dipp.2014.4.24.

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In the framework of the Belgian BELSPO AGORA 3D and DIGIT03 programs, we have evaluated 3D digitising technologies with regards to the quality of the acquisition, the capacities and limitations of each technique and also the direct cost of the different 3D digitisation processes. It is on this latest topic that the paper is focused. In order to evaluate the cost of 3D digitisation, we considered the time for the digitisation, cost of the equipment and cost of the staff. Our preliminary results show that the real cost by specimen depends on the amount of specimens to digitise. Techniques that appear to be low-cost can be the most expensive in the framework of massive digitization programs, whilst more expensive equipment can be more efficient in the long term. Therefore low-cost equipment is mainly recommended for occasional digitisation or small series of digitisations.

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Kempthorne, Daryl Matthew, Mark Barry, Jerzy A. Zabkiewicz, and Joseph Young. "3D digitisation of plant leaves." ANZIAM Journal 54 (May 23, 2014): 138. http://dx.doi.org/10.21914/anziamj.v55i0.7850.

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Argyridou, E., A. Karaoli, M. Hadjiathanasiou, et al. "THE FIRST ATTEMPT FOR STANDARDISATION IN 3D DIGITISATION. THE EU STUDY ON QUALITY IN 3D DIGITISATION OF TANGIBLE CULTURAL HERITAGE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 103–9. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-103-2023.

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Abstract. This paper focuses on the exceptional results of the EU Study (Commission et al., 2022) to map the parameters, formats, standards, benchmarks and methodologies relating to the 3D digitisation of tangible cultural heritage (CH). The overall objective of our paper is to further the quality of the 3D digitisation process by enabling cultural heritage professionals, institutions, content developers, stakeholders and academics to define and produce high-quality digitisation standards and sustainable conservation models for the preservation, documentation, understanding, and accessibility of tangible cultural heritage assets. The aim is to achieve high quality results during the 2D and 3D recording process of CH tangible assets. This work identifies for the first time in this domain, key parameters of the digitisation process, estimated the relative complexity and how it is linked to technology, its impact on quality and its various factors. It also presents standards and formats used for 3D digitisation, including data types, data formats and metadata schemas for 3D structures within a holistic documentation approach. Finally, this work presents and describes all the features and parameters of the complexity and quality that influence the methodology and infrastructure to be used for high quality results regarding digital cultural heritage. These complexity and quality factors are illustrated in the form of radial charts with the corresponding relevant information at the end of the paper.

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Marshall, M. E., A. A. Johnson, S. J. Summerskill, Q. Baird, and E. Esteban. "AUTOMATING PHOTOGRAMMETRY FOR THE 3D DIGITISATION OF SMALL ARTEFACT COLLECTIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 751–57. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-751-2019.

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Abstract. The 3D digitisation of precious or delicate cultural heritage artefacts via photogrammetry is highly important for historical preservation purposes. Doing so can help mitigate against events such as natural disasters, war, and tourism damage, whilst enabling access to 3D data for researchers around the globe. While the digitisation of such artefacts offer many significant societal and academic benefits, the process in which data is captured is resource intensive and often results in inaccurate outcomes. This paper presents a novel small object scanner which automates the photogrammetry image acquisition process for the highly detailed and efficient 3D digitisation of cultural heritage artefacts across large museum collections.

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Mendricky, Radomir. "ASPECTS AFFECTING ACCURACY OF OPTICAL 3D DIGITISATION." MM Science Journal 2018, no. 01 (2018): 2267–75. http://dx.doi.org/10.17973/mmsj.2018_03_2017106.

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White, Suzanna, Cara Hirst, and Sian E. Smith. "The Suitability of 3D Data: 3D Digitisation of Human Remains." Archaeologies 14, no. 2 (2018): 250–71. http://dx.doi.org/10.1007/s11759-018-9347-9.

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Frank, Jiří, Josef Kortan, Miroslav Kukrál, et al. "Fotogrammetrie jako optimální technika pro 3D digitalizaci v muzejních institucích." Muzeum Muzejní a vlastivedná práce 59, no. 1 (2022): 3–18. http://dx.doi.org/10.37520/mmvp.2021.002.

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One of the challenges that museums often face is how to present their ‚treasures‘ in a form that is both comprehensive and relevant to today‘s audiences. Digital content alone is not enough in this context and 3D content is increasingly gaining importance. One of the most accessible and at the same time most effective 3D digitisation methods is photogrammetry. The result, if procedures are followed correctly, is not only high-quality content with a wide range of uses, but also potential stepping stones for effective business models. This can reduce acquisition costs quite significantly and make 3D digitisation accessible to a wider range of institutions.

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Lanzara, Emanuela, Simona Scandurra, Arianna Lo Pilato, Federica Itri, and Laura Simona Pappalardo. "3D digitisation and modelling of liturgical metal artefacts." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-2/W8-2024 (December 14, 2024): 281–88. https://doi.org/10.5194/isprs-archives-xlviii-2-w8-2024-281-2024.

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Abstract. The present work is aimed at showing the results obtained by testing different operational solutions for single-camera photogrammetric acquisitions of numerous complex metal liturgical artefact preserved in the Church of Santa Maria di Costantinopoli in Naples (Italy). The digitisation activity is aimed at supporting documentation, restoration, valorisation and dissemination of a rich liturgical collection that is not accessible to the public for security reasons. The number and diversity of the pieces required an expeditious surveying activity conducted in situ with low-cost instrumentation and image-based techniques adopted and compared with reference to the geometric-formal complexity and state of conservation of the objects. According to the level of difficulty acquisition, this work shows the results of the digitalisation of three different types identified among the many different liturgical objects of the collection about their different geometric, compositional and technological configuration in terms of topology, shape, composition, materials and manufacturing technique. The adopted workflow produced results that allow qualitatively assess the examined objects and their materials, supporting architects, experts in the restoration of metal artefacts and art historians: the produced digital documentation represents a 3D digital support for restoration activities and, above all, to plane activities aimed at conservation and preventive maintenance, as well as for valorisation and dissemination activities through digital information systems.

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Kalasarinis, Ioannis, and Anestis Koutsoudis. "Assisting Pottery Restoration Procedures with Digital Technologies." International Journal of Computational Methods in Heritage Science 3, no. 1 (2019): 20–32. http://dx.doi.org/10.4018/ijcmhs.2019010102.

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The fragmentary nature of pottery is considered a common place. Conservators are requested to apply a proper restoration solution by taking under consideration a wide range of morphological features and physicochemical properties that derive from the artefact itself. In this work, the authors discuss on a low-cost pottery-oriented restoration pipeline that is based on the exploitation of technologies such as 3D digitisation, data analysis, processing and printing. The pipeline uses low-cost commercial and open source software tools and on the authors' previously published 3D pose normalisation algorithm that was initially designed for 3D vessel shape matching. The authors objectively evaluate the pipeline by applying it on two ancient Greek vessels of the Hellenistic period. The authors describe in detail the involved procedures such as the photogrammetric 3D digitisation, the 3D data analysis and processing, the 3D printing procedures and the synthetic shreds post processing. They quantify the pipeline's applicability and efficiency in terms of cost, knowledge overhead and other aspects related to restoration tasks.

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Polčák, Radim. "Digitisation, Cultural Institutions and Intellectual Property." Masaryk University Journal of Law and Technology 9, no. 2 (2015): 121–41. http://dx.doi.org/10.5817/mujlt2015-2-7.

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Digitisation of cultural content represents one of most challenging problems of contemporary IP law. Cultural artefacts, let it be books, paintings or 3D objects, are often very old, so there are no issues in copyright protection of their content. However, the public availability of such content is in these cases strongly limited namely due to physical conditions of the carriers and subsequent conservation demands.Digitisation might serve here as powerful enabler of re-use of these works that are frequently of enormous cultural value. On the other hand, getting useful (and re-usable) digital images of 2D or 3D cultural objects means to invest into advanced technologies that are able to capture the respective content while protecting its fragile carriers from physical damage or destruction. Consequently, there is a need for business models that can motivate investors by offering them valuable consideration for such efforts.Recently, such business models are based namely on exclusive agreements between digitisers and cultural institutions that, together with specific copyright protection of digitised images in some jurisdictions, create new form of legal barriers to re-use of even very old cultural content. The paper critically discusses these new restrictive legal instruments namely in the light of the revised PSI re-use directive.

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Kontogianni, G., R. Chliverou, A. Koutsoudis, G. Pavlidis, and A. Georgopoulos. "ENHANCING CLOSE-UP IMAGE BASED 3D DIGITISATION WITH FOCUS STACKING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 421–25. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-421-2017.

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The 3D digitisation of small artefacts is a very complicated procedure because of their complex morphological feature structures, concavities, rich decorations, high frequency of colour changes in texture, increased accuracy requirements etc. Image-based methods present a low cost, fast and effective alternative because laser scanning does not meet the accuracy requirements in general. A shallow Depth of Field (DoF) affects the image-based 3D reconstruction and especially the point matching procedure. This is visible not only in the total number of corresponding points but also in the resolution of the produced 3D model. The extension of the DoF is a very important task that should be incorporated in the data collection to attain a better quality of the image set and a better 3D model. An extension of the DoF can be achieved with many methods and especially with the use of the focus stacking technique. In this paper, the focus stacking technique was tested in a real-world experiment to digitise a museum artefact in 3D. The experiment conditions include the use of a full frame camera equipped with a normal lens (50mm), with the camera being placed close to the object. The artefact has already been digitised with a structured light system and that model served as the reference model in which 3D models were compared and the results were presented.

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Mendřický, Radomír. "Precision Analysis of Optical 3D Digitisation of Shaped Elements." Applied Mechanics and Materials 693 (December 2014): 177–82. http://dx.doi.org/10.4028/www.scientific.net/amm.693.177.

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This paper presents results of a carried out research in the field of scanning precision of contactless optical 3D scanners. Results stated in this paper bring great benefits to practice, since it demonstrates the quality and limits of measuring by means of contactless optical systems in real conditions and therefore its possible use in the field of inspecting the dimensional and shape precision of industrial products.A measurement etalon of various shapes and sizes was designed and manufactured for the purpose of this analysis. The nominal dimensions of the etalon were set by measuring of the coordinate measuring machine and these real values were compared to the model obtained by optical digitisation of Atos II and RevScan. Based on the evaluation of results, scanner measurement precision diagrams were drawn according to the studied aspects, e.g. dependence on the shape of the measured element and its nominal size. Another essential part of the research was determining the ability of 3D scanners to capture detailed parts of the model and assessing the scanning limits for each of the optical systems.

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Hems, Edward, and Nigel J. Knott. "3D printing in prosthodontics." Faculty Dental Journal 5, no. 4 (2014): 152–57. http://dx.doi.org/10.1308/204268514x14096686726120.

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A technological revolution in dentistry is creating new paradigms of innovation that were unimaginable only a decade ago. A bull has entered the antique china shop and is running rampant among long-established manufacturing practices dependent upon expensive human skills and craftsmanship. Adventurous dental technophiles and their patients are beginning to enjoy a new world of peerless technical excellence with prodigious potential. The digitisation of dental processes, which includes 3D printing (or rapid prototyping) is beginning to deliver real firepower in dental surgeries.

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Farella, Elisa Mariarosaria, Luca Morelli, Simone Rigon, Eleonora Grilli, and Fabio Remondino. "Analysing Key Steps of the Photogrammetric Pipeline for Museum Artefacts 3D Digitisation." Sustainability 14, no. 9 (2022): 5740. http://dx.doi.org/10.3390/su14095740.

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In recent years, massive digitisation of cultural heritage (CH) assets has become a focus of European programmes and initiatives. Among CH settings, attention is reserved to the immense and precious museum collections, whose digital 3D reproduction can support broader non-invasive analyses and stimulate the realisation of more attractive and interactive exhibitions. The reconstruction pipeline typically includes numerous processing steps when passive techniques are selected to deal with object digitisation. This article presents some insights on critical operations, which, based on our experience, can rule the quality of the final models and the reconstruction times for delivering 3D heritage results, while boosting the sustainability of digital cultural contents. The depth of field (DoF) problem is explored in the acquisition phase when surveying medium and small-sized objects. Techniques for deblurring images and masking object backgrounds are examined relative to the pre-processing stage. Some point cloud denoising and mesh simplification procedures are analysed in data post-processing. Hints on physically-based rendering (PBR) materials are also presented as closing operations of the reconstruction pipeline. This paper explores these processes mainly through experiments, providing a practical guide, tricks, and suggestions when tackling museum digitisation projects.

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Khidas, Kamal, and Stéphanie Tessier. "Building Next-Generation Collections: Natural History Specimens, Just One Click Away!" Biodiversity Information Science and Standards 2 (July 4, 2018): e26145. http://dx.doi.org/10.3897/biss.2.26145.

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Digitisation has made significant advances in many natural history collections since the 1980s. The Vertebrate Zoology Collections team of the Canadian Museum of Nature (CMNVZC; ca. 1,250,000 catalogued specimens) has the ambition to go fully digital with our physical objects and associated data. Organising CMNVZC data electronically (primary digitisation) through computerisation for collection management purposes was initiated in 1972 and systematically implemented since the 1980s. This databasing process involved several stages, each with its own objectives and challenges. It resulted in ca. 100% of the CMNVZC being now digitised and core specimen data being retrievable from the Web (e.g., GBIF, and VertNet). Digitising requires regular updates to reflect the changing needs of the collections-based research community, and to capitalise on new opportunities that arise with the advances in technology. In this digital age, improving collections accessibility and usability through realistic and sustainable digitisation, while avoiding the downside of information overload, remains the most pressing challenge. Increasing CMNVZC accessibility necessitates further consolidation and information standardisation of various types (e.g. collecting data) to be retrieved from several sources (e.g., field notes, original data sheets, and maps). Optimising collections usability can be achieved by adding value to existing records (secondary digitisation) by means of additional information as mentioned above, georeferencing, as well as 2D and 3D imaging. Virtual sharing of 3D specimen images allows for remote examination of specimens usually inaccessible through loans, such as type and rare specimens, and the possibility for morphometric analyses. Digital imaging of the vertebrate collection, however, represents a major challenge given the complexity and variation of shapes and sizes among specimens. Limitations of current 3D surface imaging technology, none of which have been specifically designed for natural history specimens, hamper CMNVZC imaging workflows. Digital tools are key to the success of increasing usability of natural history collections and play an important role in preserving information. Digitisation activities should endeavour to improve online access of physical objects and their full array of data with optimized usability.

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Bocconcino, M. M., M. Piras, M. Vozzola, M. Pavignano, and L. Gioberti. "GIOVANNI CURIONI’S DIGITAL MUSEUM (1/2): COMPARATIVE SURVEY TECHNIQUES FOR THE DEFINITION OF A 3D DATA COLLECTION PROCEDURE WITH LOW-COST SYSTEMS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 235–42. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-235-2023.

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Abstract. The potential of Virtual Heritage, with particular attention to the field of knowledge dissemination, not only in the educational and scientific field, of museum collections, which are very often not accessible, have long been at the centre of the digitisation policies of major national and international institutions. Within this framework, the proposed research is part of a broader research, involving scientific figures from different disciplinary fields for the definition of a workflow for the 3D acquisition, digitisation and creation of a virtual model of miniatures of architectural artefacts kept at the Polytechnic of Turin. The paper describes part of the experimentation conducted for the creation of 3D surveys carried out using different tools, such as a portable LIDAR, Mantis F6, a low cost LIDAR, iPhone 13 Pro, and a digital camera, Nikon Z5, evaluating their performance not only from a metric point of view, but also from a methodological point of view and the subsequent sharing of models in accessible digital environments. The conducted study therefore initiates a process of memory digitisation in order to create a digital platform in which to insert, in an organised and digitised manner, models, data, historical morphological information, material, documentary, etc., in order to make interaction with the virtual reconstructions possible, promoting a new accessibility, all this to test, standardise and define a possible working protocol for massive low-cost 3D artefacts acquisition.

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Galanakis, George, Xenophon Zabulis, Theodore Evdaimon, et al. "A Study of 3D Digitisation Modalities for Crime Scene Investigation." Forensic Sciences 1, no. 2 (2021): 56–85. http://dx.doi.org/10.3390/forensicsci1020008.

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A valuable aspect during crime scene investigation is the digital documentation of the scene. Traditional means of documentation include photography and in situ measurements from experts for further analysis. Although 3D reconstruction of pertinent scenes has already been explored as a complementary tool in investigation pipelines, such technology is considered unfamiliar and not yet widely adopted. This is explained by the expensive and specialised digitisation equipment that is available so far. However, the emergence of high-precision but low-cost devices capable of scanning scenes or objects in 3D has been proven as a reliable alternative to their counterparts. This paper summarises and analyses the state-of-the-art technologies in scene documentation using 3D digitisation and assesses the usefulness in typical police-related situations and the forensics domain in general. We present the methodology for acquiring data for 3D reconstruction of various types of scenes. Emphasis is placed on the applicability of each technique in a wide range of situations, ranging in type and size. The application of each reconstruction method is considered in this context and compared with respect to additional constraints, such as time availability and simplicity of operation of the corresponding scanning modality. To further support our findings, we release a multi-modal dataset obtained from a hypothetical indoor crime scene to the public.

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Wefers, Stefanie, Ashish Karmacharya, and Frank Boochs. "Development of a platform recommending 3D and spectral digitisation strategies." Virtual Archaeology Review 7, no. 15 (2016): 18. http://dx.doi.org/10.4995/var.2016.5861.

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Spatial and spectral recording of cultural heritage objects is a complex task including data acquisition, processing and analysis involving different technical disciplines. Additionally, the development of a suitable digitisation strategy satisfying the expectations of the humanities experts needs an interdisciplinary dialogue often suffering from misunderstanding and knowledge gaps on both the technical and humanities sides.Through a concerted discussion experts from the cultural heritage and technical domains currently develop a so-called COSCHKR platform (Colour and Space in Cultural Heritage Knowledge Representation) which will give recommendations for spatial and spectral recording strategies adapted to the needs of the cultural heritage application. The platform will make use of an ontology through which the relevant parameters of the different domains involved in the recording, processing, analysis and dissemination of cultural heritage objects are hierarchically structured and are related through rule-based dependencies. Background and basis for this ontology is the fact that a deterministic relation exists between (1) the requirements of a cultural heritage application on spatial, spectral, as well as visual digital information of a cultural heritage object which itself has concrete physical characteristics and (2) the technical possibilities of the spectral and spatial recording devices. Through a case study which deals with the deformation analysis of wooden samples of cultural heritage artefacts this deterministic relationship is illustrated explaining the overall structure and development of the ontology.The aim of the COSCHKR platform is to support cultural heritage experts finding the best suitable recording strategy for their often unique physical cultural heritage object and research question. The platform will support them and will make them aware of the relevant parameters and limitations of the recording strategy with respect to the characteristics of the cultural heritage object, external influences, application, recording devices, and data.

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Singh, M. K., K. S. Venkatesh, and A. Dutta. "View planning method for complete 3D digitisation of the scene." Electronics Letters 54, no. 8 (2018): 490–92. http://dx.doi.org/10.1049/el.2017.4098.

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McPherson, A., J. Kärrholm, V. Pinskerova, A. Sosna, and S. Martelli. "Imaging knee position using MRI, RSA/CT and 3D digitisation." Journal of Biomechanics 38, no. 2 (2005): 263–68. http://dx.doi.org/10.1016/j.jbiomech.2004.02.007.

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Prochaska, Marcin, and Bartosz Mitka. "RevoScan – Automatic Device for 3D Digitisation: Concept, Application, Test Results." Geomatics and Environmental Engineering 10, no. 4 (2016): 81. http://dx.doi.org/10.7494/geom.2016.10.4.81.

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Leon, Iñigo, José Javier Pérez, and María Senderos. "Advanced Techniques for Fast and Accurate Heritage Digitisation in Multiple Case Studies." Sustainability 12, no. 15 (2020): 6068. http://dx.doi.org/10.3390/su12156068.

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All elements of heritage are exposed to more or less predictable risks. Even though they are in a good state of conservation with economic support for their repair or maintenance, they can suffer sudden accidents leading to their imminent destruction. It is therefore necessary to safeguard them in all scenarios, regardless of the respective scale or state of conservation. That process must at least be based on complete and accurate 3D digitisation. The evolution of devices, software/hardware and platforms nowadays allows such information to be gathered in a sustainable manner. Various existing resources were tried and compared at several heritage sites of different scales with dissimilar risk and protection, following the guidelines of different ICOMOS (International Council on Monuments and Sites) committees. Each case study addresses the choice of digitisation techniques and the characteristics of the end product obtained. The most suitable modality for each situation is analysed, depending on different factors such as accessibility and risks faced. Although the 3D laser scanner is clearly a very fast and very accurate resource, automated photogrammetry is one of the more accessible and affordable resources; along with the potential of UAVs (unmanned aerial vehicles), this enables the digitisation to be sustainably completed.

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Girelli, V. A., M. A. Tini, M. G. D’Apuzzo, and G. Bitelli. "3D DIGITISATION IN CULTURAL HERITAGE KNOWLEDGE AND PRESERVATION: THE CASE OF THE NEPTUNE STATUE IN BOLOGNA AND ITS ARCHETYPE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2020 (August 14, 2020): 1403–8. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2020-1403-2020.

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Abstract. In the field of Cultural Heritage, the availability of a complete, detailed and photo-realistic 3D model of the objects of interest permits to describe all the aspects related to geometry, colours and materials, as well as the work techniques and the decay state. Besides, it offers multiple possibilities for the documentation, the analysis and the study.This paper describes the experience, carried out by the DICAM Geomatics group of the University of Bologna, about the 3D digitisation of two important statues of Neptune, by means of the integration of 3D image-based and range-based techniques. The two artworks, both realized by the sculptor Giambologna, are the big bronze statue of the god adorning the homonymous fountain, one of the most symbolic monuments of the city of Bologna, and its archetype, exhibited in one of the civic museums.The obtained 3D models, beyond the important function of documentation, knowledge and preservation of the two objects, also permit a comparison between the small archetype, conveniently scaled, and the big final statue. In the manuscript all the surveying and data processing operations concerning the objects digitisation are described. Particular attention is paid to the problems related to the scale of the archetype and the comparison between the two obtained 3D models, with the aim to evaluate and represent the occurred changes.

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Carboni, N., G. Bruseker, A. Guillem, et al. "DATA PROVENANCE IN PHOTOGRAMMETRY THROUGH DOCUMENTATION PROTOCOLS." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences III-5 (June 6, 2016): 57–64. http://dx.doi.org/10.5194/isprsannals-iii-5-57-2016.

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Documenting the relevant aspects in digitisation processes such as photogrammetry in order to provide a robust provenance for their products continues to present a challenge. The creation of a product that can be re-used scientifically requires a framework for consistent, standardised documentation of the entire digitisation pipeline. This article provides an analysis of the problems inherent to such goals and presents a series of protocols to document the various steps of a photogrammetric workflow. We propose this pipeline, with descriptors to track all phases of digital product creation in order to assure data provenance and enable the validation of the operations from an analytic and production perspective. The approach aims to support adopters of the workflow to define procedures with a long term perspective. The conceptual schema we present is founded on an analysis of information and actor exchanges in the digitisation process. The metadata were defined through the synthesis of previous proposals in this area and were tested on a case study. We performed the digitisation of a set of cultural heritage artefacts from an Iron Age burial in Ilmendorf, Germany. The objects were captured and processed using different techniques, including a comparison of different imaging tools and algorithms. This augmented the complexity of the process allowing us to test the flexibility of the schema for documenting complex scenarios. Although we have only presented a photogrammetry digitisation scenario, we claim that our schema is easily applicable to a multitude of 3D documentation processes.

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Carboni, N., G. Bruseker, A. Guillem, et al. "DATA PROVENANCE IN PHOTOGRAMMETRY THROUGH DOCUMENTATION PROTOCOLS." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences III-5 (June 6, 2016): 57–64. http://dx.doi.org/10.5194/isprs-annals-iii-5-57-2016.

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Documenting the relevant aspects in digitisation processes such as photogrammetry in order to provide a robust provenance for their products continues to present a challenge. The creation of a product that can be re-used scientifically requires a framework for consistent, standardised documentation of the entire digitisation pipeline. This article provides an analysis of the problems inherent to such goals and presents a series of protocols to document the various steps of a photogrammetric workflow. We propose this pipeline, with descriptors to track all phases of digital product creation in order to assure data provenance and enable the validation of the operations from an analytic and production perspective. The approach aims to support adopters of the workflow to define procedures with a long term perspective. The conceptual schema we present is founded on an analysis of information and actor exchanges in the digitisation process. The metadata were defined through the synthesis of previous proposals in this area and were tested on a case study. We performed the digitisation of a set of cultural heritage artefacts from an Iron Age burial in Ilmendorf, Germany. The objects were captured and processed using different techniques, including a comparison of different imaging tools and algorithms. This augmented the complexity of the process allowing us to test the flexibility of the schema for documenting complex scenarios. Although we have only presented a photogrammetry digitisation scenario, we claim that our schema is easily applicable to a multitude of 3D documentation processes.

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Deligiorgi, Marissia, Maria I. Maslioukova, Melinos Averkiou, et al. "A 3D digitisation workflow for architecture-specific annotation of built heritage." Journal of Archaeological Science: Reports 37 (June 2021): 102787. http://dx.doi.org/10.1016/j.jasrep.2020.102787.

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Mendřický, Radomír. "Impact of Applied Anti-Reflective Material on Accuracy of Optical 3D Digitisation." Materials Science Forum 919 (April 2018): 335–44. http://dx.doi.org/10.4028/www.scientific.net/msf.919.335.

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Using optical 3D digitisation for dimensional and shape inspection of work-pieces became a trend recently. Before a 3D scanning process starts, surface of the measured part must usually be coated with a thin layer of anti-reflective material. Such surface coating can be performed by means of a wide range of products with various composition and application method. It is however important to know how the matt coating affects the quality and accuracy of digitization, what the structure and thickness of a coating are. The thickness of a coating may vary significantly from product to product and according to our research, it ranges between units and hundreds of µm. This article presents results of an extensive research of seven matt coating products commonly used in practice. The measurement was carried out on cylindrical and spherical elements using ATOS optical 3D scanner and an electron microscope. Thereafter, the measurement results were analysed to define how the applied coating product along with the material of measured object affect the work-piece dimensional properties. The ease of coating removal was evaluated in the research as well.

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Galantucci, L. M., G. Percoco, and U. Dal Maso. "Coded targets and hybrid grids for photogrammetric 3D digitisation of human faces." Virtual and Physical Prototyping 3, no. 3 (2008): 167–76. http://dx.doi.org/10.1080/17452750802259603.

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Lanzara, E., D. Catello, and M. Casciello. "SCAN TO HBIM FOR COMPLEX REFLECTIVE METAL ARTEFACTS. 3D DIGITISATION AND RESTORATION." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-2/W1-2022 (December 8, 2022): 121–28. http://dx.doi.org/10.5194/isprs-archives-xlviii-2-w1-2022-121-2022.

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Abstract. 3D digitisation of metal artefacts, regardless of the use of passive and active sensors and low or high costs technologies (digital photogrammetry, laser scanning, structured light 3D scanning) represents a challenge above all due to the high reflectivity, absorptivity and scattering of the materials, as documented by the specialistic literature (Frost et al., 2020, Hallot et al., 2019, Nicolae et al., 2014). Regardless of the size and material, mobility and immobility of the elements, artworks preservation and restoration involve intervention and collaboration between different specialists, such as restorers, conservators, diagnosts, architects, surveyors, modelers, archaeologists and art historians. This multidisciplinary process requires a virtual container aimed at systematisation and sharing of digital products and data deriving from heterogeneous diagnostic and applicative activities (Farella et al. 2022, Ferretti et al. 2022, Fiamma 2019). According to these premises, this paper shows a low-cost Scan to HBIM process aimed at digitisation of a complex reflective metal artefact, an altar frontal composed of several pieces characterized by different metal materials, functions, sizes and topological complexity (level of decorative detail). Therefore, this system is approached considering its individual components and its morphological-compositional complexity as a unique piece. The entire process has been tested both in research and didactic field, using low-cost tools for acquisition (cameras, smartphones, computers) and software open source for processing, filtering, editing and sculpting digital photogrammetric copies of highly reflective artefacts.

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Viziteu, D. R., A. Curteza, and M. L. Avadanei. "VIRTUAL 3D KINEMATIC HUMAN MODEL PROTOTYPE." TEXTEH Proceedings 2021 (September 22, 2021): 293–99. http://dx.doi.org/10.35530/tt.2021.35.

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In the past several years, the application of 3D technologies in the textile and clothing design industry has considerably increased and become more accessible to designers and patternmakers. With digitisation in garment engineering and virtual prototype and modelling techniques becoming more mainstream, a new generation of virtual human models starts to develop to fulfil the demand for protective and functional products designed for specific athletes, such as climbers and mountaineers. We must base our work on an improved understanding of the behaviour of the musculoskeletal system to develop garment patterns that minimise discomfort and improve performance under dynamic body deformations and muscle contractions associated with specific movements. For this study, we explored the possibilities of using existing software packages for virtual prototyping based on human kinematic models for functional clothing.

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Bocconcino, M. M., M. Vozzola, M. Pavignano, and L. Gioberti. "GIOVANNI CURIONI’S DIGITAL MUSEUM (2/2): POSSIBLE STRATEGIES FOR A DATA MANAGEMENT PLAN." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 243–50. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-243-2023.

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Abstract. In recent years, the Politecnico di Torino (Italy) is undertaking actions to promote and disseminate its historical archival and material heritage, both with onsite events and with digital tools and platforms dedicated to its digital museum. One of its most important collections is the Curioni’s one (1860–1887). It preserves reproductions of building structures used as teaching aids in the teaching of Construction Science. We are now working on the digitisation project of those artefacts, and we propose a study on the data management protocol structured to satisfy the FAIR principles (Findable, Accessible, Interoperable, Re-Usable). In fact, with the purpose of sharing and enhancing its materials, the Politecnico promotes the digitisation of its entire collection of Curioni’s models, to create a new section of its virtual museum. To this extent, one goal of our research is to foster the accessibility of this tangible heritage in the digital domain. In accordance with the Italian national digitisation plan, PND, we defined a Digital Management Plan for the cultural heritage products, DMP, to guarantee FAIR principles in sharing 3D digital artefacts of the Curioni’s collection. The DMP originated as public administration data management, but the result of this study demonstrates its usefulness also for digital cultural data management.

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Wyrley-Birch, Michael, Aman Kukreja, James Gopsill, Christopher Michael Jason Cox, and Chris Snider. "6 degree of freedom positional object tracking for physical prototype digitisation." Proceedings of the Design Society 4 (May 2024): 855–64. http://dx.doi.org/10.1017/pds.2024.88.

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AbstractUnderpinning much work on the use of Virtual Reality technologies in design prototyping, is the need to reliably track the 3D position of a physical object in real space, then allowing synchronisation with a digital counterpart. With many tracking methods requiring changes to object geometry, this work develops and benchmarks four minimally invasiveness 6 DoF tracking approaches, before discussing their use in a prototyping context. Results show that using AI and point cloud methods, accuracies of 20mm at 20Hz are achievable on low-end hardware with no alterations to the prototype needed.

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González-Domínguez, S., J. Balado, A. Novo, and P. Arias. "TREE DIGITISATION FROM POINT CLOUDS WITH UNREAL ENGINE." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-1/W1-2023 (December 5, 2023): 555–60. http://dx.doi.org/10.5194/isprs-annals-x-1-w1-2023-555-2023.

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Abstract. Trees are fundamental parts of urban areas and green urbanism. Although much effort is being put into the digitisation of urban areas, trees present great complexity and are usually replaced by predefined models. On the one hand, trees are elements composed of trunk, branches, and leaves, each with a completely different structure and geometry. On the other hand, the tree parts are closely related to each species. Therefore, in order to obtain a realistic digital urban environment, in 3D models such as CityGML or Metaverse, it is necessary that the trees correspond faithfully to reality. The aim of this work is to propose a method to digitise trees from Mobile Laser Scanning and Terrestrial Laser Scanning data. The process takes advantage of the differentiation between trunks and leaves for their segmentation by point cloud geometric features. Unreal Engine is then used to digitise each part. Trunk and branches are geometrically preserved. For dense canopy trees, predefined leaves according to the species are imported and the alpha shape of the crown is filled. For non-dense canopy trees, the canopy is imported and modified to fit the branches. The method was tested on four real case studies. The results show realistic trees, with correct trunk and foliage segmentation, but highly dependent on the life/canopy repositories. Unreal Engine was a very complete and useful tool for the digitisation of trees generating realistic textures and lighting options.

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Bitko, Sanita. "Digital technologies as a tool for identification the authorship of sacred sculpture." Landscape architecture and art 23, no. 23 (2023): 59–64. http://dx.doi.org/10.22616/j.landarchart.2023.23.08.

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Latvian sculptures created before the mid-19th century are located mainly in churches, not in museum collections. The most serious obstacle to research of Latvian art in the given period is lack of pertinent documentary material. As a result, Latvian art historians have mostly studied the sculptures for which written sources are available. This article will offer solutions for further research in cases when written sources are limited or altogether unavailable. How much and what can be discovered using digitisation solutions? The study of the sculptures of the Biķernieki Church in Riga provides a paradigmatic case for further research with the help of digitisation. In 1967, when the congregation of the Biķernieki Church was forced to abandon the church, the sculptures were transferred to museums. Today they can be seen in the exhibition of the Rundāle Palace Museum. The scant extant documentary evidence does not allow us to establish the authorship of the sculptures or the time of their creation with certainty. The study discussed in the article shows the importance of digitisation in art history research. The current research is based on 3D models of the sculptures of the Biķernieki Church obtained using 3D scanning technology. Supplementing them with high-resolution photographs and other digital solutions can confirm or, on the contrary, refute assumptions about their authorship and creation made by historians so far. The article outlines the methods used to identify stylistic influences on the sculptures of the Biķernieki Church, suggesting that they may have been modelled after similar sculptures in Gdańsk (Danzig) and Dresden and even after certain antique sculptures. The graphic methods used in the research have made it possible to precisely identify the style of execution of a single sculptor in several churches in Riga.

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Kersten, Thomas P., Florian Timm, and Kay Zobel. "Development of a Photogrammetric 3D Measurement System for Small Objects Using Raspberry Pi Cameras as Low-Cost Sensors." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-2/W8-2024 (December 14, 2024): 219–25. https://doi.org/10.5194/isprs-archives-xlviii-2-w8-2024-219-2024.

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Abstract. The digitisation of cultural objects in museums presents two distinct opportunities. Firstly, it allows for the preservation of the objects and collections themselves. Secondly, it enables their accessibility to the general public as 3D models in virtual exhibitions on the Internet. Cultural artefacts of significance can be recorded using laser scanners, 3D handheld scanners or photogrammetry employing the structure-from-motion method. In order to efficiently record and model the considerable number of culturally significant objects, automated recording systems and automated evaluation processes are required.This article presents a low-cost photogrammetric measurement system developed at HafenCity University Hamburg. The system comprises 24 Raspberry Pi cameras mounted on an aluminium frame, which enables the automatic and time-synchronous digitisation of small objects. To ascertain the veracity of the point clouds generated for the test objects, a comparison was conducted with the reference data obtained from the high-precision ATOS 5 structure light projection system. It was established that comprehensive coverage and a high degree of precision could only be achieved through the incorporation of a turntable and supplementary images of the objects, necessitated by minor rotations. The configuration of the photogrammetric low-cost measurement system and the requisite camera calibrations are delineated in the article.

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Altuntas, C. "TRIANGULATION AND TIME-OF-FLIGHT BASED 3D DIGITISATION TECHNIQUES OF CULTURAL HERITAGE STRUCTURES." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2021 (June 28, 2021): 825–30. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2021-825-2021.

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Abstract. This study aims to introduce triangulation and ToF measurement techniques used in three-dimensional modelling of cultural heritages. These measurement techniques are traditional photogrammetry, SfM approach, laser scanning and time-of-flight camera. The computer based approach to photogrammetric measurement that is named SfM creates dense point cloud data in a short time. It is low-cost and very easy to application. However traditional photogrammetry needs a huge effort for creating 3D wire-frame model. On the other hand active measurement techniques such as terrestrial laser scanner and time-of-flight camera have also been used in three-dimensional modelling for more than twenty years. Each one has specific accuracy and measurement effectiveness. The large or small structures have different characters, and require proper measurement configurations. In this study, after these methods are introduced, their superior and weak properties in cultural heritage modelling to make high accuracy, high density and labour and cost effective measurement.

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Rybenská, Klára, and Barbora Borůvková. "Review of Modern Approaches to 3D Digitization of Tangible Cultural Heritage." Journal of Digital Art & Humanities 5, no. 1 (2024): 20–30. http://dx.doi.org/10.33847/2712-8149.5.1_2.

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This review highlights modern technologies‘ pose in cultural heritage, digitization and accessibility. It provides a comprehensive view of the issue from the perspective of the digitisation centre, at the Czech University and cooperates with organizations of different sizes. Technology and Innovation offer countless possibilities, but not all are suitable for working with cultural heritage. Several rules must be followed to avoid damaging it while respecting the ethics related to the heritage in question. In addition, it is important to consider copyright law and other regulations that vary from state to state. However, these aspects are not the main concern of this study.

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Farella, E. M., L. Morelli, E. Grilli, S. Rigon, and F. Remondino. "HANDLING CRITICAL ASPECTS IN MASSIVE PHOTOGRAMMETRIC DIGITIZATION OF MUSEUM ASSETS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-2/W1-2022 (February 25, 2022): 215–22. http://dx.doi.org/10.5194/isprs-archives-xlvi-2-w1-2022-215-2022.

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Abstract. In recent years, a growing interest in the 3D digitisation of museum assets has been pushed by the evident advantages of digital copies in supporting and advancing the knowledge, preservation and promotion of historical artefacts. Realising photo-realistic and precise digital twins of medium and small-sized movable objects implies several operations, still hiring open research problems and hampering the complete automation and derivation of satisfactory results while limiting processing time. The work examines some recurrent issues and potential solutions, summing up several experiences of photogrammetric-based massive digitisation projects. In particular, the article presents some insights into three crucial aspects of the photogrammetric pipeline. The first experiments tackle the Depth of Field (DoF) problem, especially when digitising small artefacts with macro-lenses. On the processing side, two decisive and time-consuming tasks are instead investigated: background masking and point cloud editing, exploring and proposing automatic solutions for speeding up the reconstruction process.

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Symeonidis, A., A. Koutsoudis, G. Ioannakis, and C. Chamzas. "Inheriting texture maps between different complexity 3D meshes." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5 (May 28, 2014): 355–61. http://dx.doi.org/10.5194/isprsannals-ii-5-355-2014.

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3D digitisation has been applied in different application domains. Due to the continuous growing interest, commercial and experimental 3D acquisition systems have evolved. Nevertheless, there isn't an all-in-one solution, thus there is a need for combining different technologies in order to exploit the advantages of each approach. In this paper, we present a solution to a specific problem related to the combination of 3D data resulted from a non-colour laser triangulation scanner and a shape-fromsilhouette system. Our approach combines the data of these two 3D acquisition systems in order to produce a hybrid 3D mesh model with the geometric accuracy and detail captured by the laser scanner and the high resolution textural information of the shape-fromsilhouette system. We propose an algorithm that is based on virtual photo shooting and an inverse texture map projection phase. We present an example of our algorithm’s operation on exchanging the texture maps of a replica artefact which has been digitised by both systems.

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Bochenska, A., P. Kot, M. Muradov, et al. "CRITICAL EVALUATION OF CULTURAL HERITAGE ARCHITECTUAL STANDARD DOCUMENTATION METHODS ACROSS DIFFERENT EUROPEAN COUNTRIES." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 251–58. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-251-2023.

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Abstract. This article presents the current guidelines/standards for architectural documentation in various countries. Available regulations, applicable documents, technical guidelines, and good practices were analysed, together with selected examples of 3D digitisation projects. The results of the evaluation were compared with the guidelines for generating 3D documentation proposed by The Expert Group on Digital Cultural Heritage (EU) and Europeana. The analyses show no unambiguous hard technical guidelines. Still, there is a set of proposed guidelines and good practices to correctly carry out the 3D digitalisation process and the selection of equipment for the inventory of selected classes of object types. For this reason, it is recommended to detail the guidelines for the selection of equipment and the possible accuracy of the final architectural documentation derived from geospatial data.

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Kontogianni, G., A. T. Thomaidis, R. Chliverou, and A. Georgopoulos. "EXPLOITING MIRRORS IN 3D RECONSTRUCTION OF SMALL ARTEFACTS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2 (May 30, 2018): 531–37. http://dx.doi.org/10.5194/isprs-archives-xlii-2-531-2018.

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3D reconstruction of small artefacts is very significant in order to capture the details of the whole object irrespective of the documentation method which is used (Ranged Based or Image Based). Sometimes it is very difficult to achieve it because of hidden parts, occlusions, and obstructions which the object has. Hence, more data are necessary in order to 3D digitise the whole of the artefact leading to increased time for collecting and consequently processing the data. A methodology is necessary in order to reduce the collection of the data and therefore their processing time especially in cases of mass digitisation. So in this paper, the use of mirrors in particular high-quality mirrors in the data acquisition phase for the 3D reconstruction of small artefacts is investigated. Two case studies of 3D reconstruction are presented: the first one concerns Range-Based modelling especially a Time of Flight laser scanner is utilised and in the second one Image-Based modelling technique is implemented.

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Novak-Marcincin, Jozef, Jozef Barna, Jozef Torok, and Miroslav Janak. "Visual Reconstruction and Optimization of Real Workplace on the Base of Spatial Digitisation." Applied Mechanics and Materials 308 (February 2013): 175–78. http://dx.doi.org/10.4028/www.scientific.net/amm.308.175.

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This article provides perspective into creation of virtual 3D model of existing robotic workcell to optimize productive process and save space. Separate parts of the paper describe the process of creation of the environment with the usage of an alternative scanning device, namely Kinect in combination with various software applications. This alternative offers scans of environment and components surfaces that are from the viewpoint of precision and quality comparable with much more expensive devices but based only on open source elements.

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Molnár-Zékány, Szabina, and Szilvia Árvai-Homolya. "Three-dimensional reconstruction and evaluation of decubitus using a 3d scanner." Multidiszciplináris Tudományok 13, no. 2 (2023): 163–75. http://dx.doi.org/10.35925/j.multi.2023.2.15.

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The aim of this study is to improve the field of patient care in medicine by utilizing information technology, as well as to help, assist nurses and doctors in their work and accelerate patients' recovery. In the case of long-term, mostly elderly patients, a condition known as chronic pressure ulcer, decubitus, or pressure sore may develop. Treating these decubitus ulcers takes time and patience. In order to find the appropriate treatment, it can be helpful to gather as much data as possible about the wound and categorize the severity type based on these collected data. This problem will be addressed and explored using the potential of artificial intelligence and three-dimensional digitisation.

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Sotorrío Ortega, Guillermo, Javier Alonso Madrid, Nils O. E. Olsson, and José Antonio Tenorio Ríos. "The Application of 3D-Printing Techniques in the Manufacturing of Cement-Based Construction Products and Experiences Based on the Assessment of Such Products." Buildings 10, no. 9 (2020): 144. http://dx.doi.org/10.3390/buildings10090144.

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The construction industry has embraced digitisation and industrialisation in response to the need to increase its productivity, optimise material consumption and improve workmanship. Additive manufacturing (AM), more widely known as 3D printing, has driven substantial progress in these respects in other industries, and a number of national and international projects have helped to introduce the technique to the construction industry. As with other innovative processes not covered by uniform standards, appropriate assessments and testing methodologies to control the quality of the 3D-printed end products, while not obligatory, are advisable. This article shows that regulation is not an obstacle to the use of an innovative product, such as 3D printing, by proposing quality-control tests and an assessment methodology, in the understanding that standardisation ensures the viability of a technology. The information, including the methods and results, is based on the authors’ experiences in the development of three research projects pertaining to 3D printing. This paper also discusses whether the performance of the materials used in 3D printing could be superior to traditional ones.

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Hindmarch, J., M. Burioni, and M. Hess. "A FLEXIBLE WORKFLOW FOR MULTIMODAL 3D IMAGING OF VAULTED PAINTED CEILINGS IN HIGH DETAIL." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 133–41. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-133-2023.

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Abstract. 3D imaging is an increasingly common tool for the investigation of cultural heritage. Painted ceilings offer particular challenges as the art historical requirements necessitate highly detailed and accurate capture of colour textures with sub-millimetre resolution, even of large areas of 100s of square metres, situated in a wide variety of building environments. Geometrical information is also required to represent fully the three-dimensional nature of these sculpted and vaulted ceilings, again at the resolution necessary for both documentation and use by cultural heritage professionals including conservators, restorers, building researchers, architects and art historians. This paper describes a multi-modal campaign of 3D digitisation of three very different sites undertaken as part of the Franco-German Plafond 3D project. We introduce a flexible and adaptable methodology that allows the detailed imaging of large interiors and ceiling paintings in a short period of time and with varying levels of access.

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Tsiafaki, Despoina, Anestis Koutsoudis, Fotis Arnaoutoglou, and Natasa Michailidou. "Virtual reassembly and completion of a fragmentary drinking vessel." Virtual Archaeology Review 7, no. 15 (2016): 67. http://dx.doi.org/10.4995/var.2016.5910.

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A key issue in the study of cultural assets is theiroften fragmentary condition. This causes serious problems and questions regarding theirstudy and presentation. Pottery fragments are the most numerous findings in every excavation. Furthermore, pottery plays an essential role for the reconstruction of the past, since it providesinformation for all aspects of life (private, public, religion, death, economy, society, trade,etc.). Therefore,a thorough study and presentation of pottery fragments contribute to a better knowledge of the past.The focus of this work is the visualisation of an ancient Greek drinking vase, a kantharos, which was unearthed during the excavations at the settlement of Karabournaki (ancient Therme) in the area of Thessaloniki (Greece). It dates to the Archaic period (7th-6thc. B.C.) and it was found in fragments among the settlement's architectural remains. The vase is of great archaeological significance due to its peculiarities in terms of shape, decoration and function. Therefore,its digital completion and 3D reconstruction willcontribute to its betterstudy and scholarly publication along with a general contribution to the field of pottery studies.We discuss on the 3D digitisation of the kantharosfragments that werebased onStructure from Motion/Multiple View Stereovision (SfM/MVS) and a custom automated data collection system. A detailed description of the digitisation pipeline is given along with details related to the quality of the 3D digital replicas of the sherds. Furthermore, we presentour manual virtual reassembly and reconstruction pipelineof the kantharosby describing the challenges, issues and ambiguities discovered while analysing the geometrical features of each sherd. A number of photorealistic reconstruction visualisations of the artefact are presented in order to question the applicability of the solution for the actual reconstruction

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van Oudheusden, Alma van, Julieta Bolaños Bolaños Arriola, Jeremy Faludi, Bas Flipsen, and Ruud Balkenende. "3D Printing for Repair: An Approach for Enhancing Repair." Sustainability 15, no. 6 (2023): 5168. http://dx.doi.org/10.3390/su15065168.

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The availability and storage of spare parts are the main barriers to product repair. One possibility would be to 3D print spare parts, which would also enable the repair of products not intended to be repaired. Besides manufacturers, 3D printing spare parts is an interesting option for self-repair by consumers. However, the digitisation of spare parts for 3D printing is a challenge. There is little guidance on how to make a 3D-printed version of the original part. This paper establishes a framework through a literature review and experimental study to describe how to use 3D printing to produce spare parts for repair. Additionally, qualitative data coding was used to find the influence of previous experience, process implementation, and part complexity on the overall success of the 3D printing for repair (3DPfR) process. Our study showed that the 3DPfR process can be described as an iterative design for an additive manufacturing process that is integrated into a repair process. Additionally, it was found that the incorrect implementation of process steps was the most important predictor of the repair result. The steps that were performed incorrectly the most were synthesising design concepts (64%) and validating print quality (also 64%).

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БУЛДАКОВА Е.Ю., БУЛДАКОВА Е. Ю. "DIGITISATION OF THE BIM CONSTRUCTION MODEL ON A GEOTECHNICAL BASIS." Экономика и предпринимательство, no. 5(166) (June 28, 2024): 1228–32. http://dx.doi.org/10.34925/eip.2024.166.5.252.

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В статье рассматривается геотехническая модель BIM. В последнее время процесс оцифровки идет очень быстро, как и развитие моделирования BIM, поскольку оба они тесно связаны. В статье кратко оценивается этот процесс с разных уровней, при этом основное внимание уделяется концептуальному уровню. На первый план выходит трехмерная геотехническая модель грунта, так как этот грунт играет важную роль и в процессе BIM, так как практически все строительные конструкции расположены на нем. Расчетная модель в принципе основана на применении аналитических или численных методов. Сегодня процент использования численных методов (в основном МКЭ) увеличивается и во многих случаях, особенно в ситуациях, когда целесообразнее использовать пространственное решение в 3D, чем плоскостное решение в 2D. At present, attention to the BIM process has several levels, each of which is very important in itself for the overall significance. The conceptual level can be seen in one of the basic definitions of the BIM process. BIM is a shared source of knowledge, information about a device that provides a solid basis for decision making throughout its life cycle, defined from first concept to demolition. In other words, BIM is a process of optimizing the preparation, design, implementation and operation of building structures. Some ideas about the benefits of BIM include BIM is about changing processes, thinking, work habits, respectively. “To help improve the efficiency of construction projects by improving cooperation, information sharing and developing relationships. The benefits of this conceptual level for geotechnical design form the main content of this article.

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Chapman, Henry P., Vincent L. Gaffney, and Helen L. Moulden. "The Eton Myers collection virtual museum." International Journal of Humanities and Arts Computing 4, no. 1-2 (2010): 81–93. http://dx.doi.org/10.3366/ijhac.2011.0009.

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The digitisation of museum collections provides great opportunities for broad communication and access. However, currently the majority of online ‘virtual’ museums present information two-dimensionally. Three-dimensional data capture using laser scanning provides the potential to generate 3D virtual objects that can be used for a much greater interactive experience. This paper presents the results of a JISC-funded project aimed at the generation of a 3D online museum of an internationally important collection of Egyptological artefacts that have not previously been publicly available. The results from the project demonstrate the value of 3D museums, in addition to highlighting some of the future possibilities for interaction with objects and the ways in which such virtual museums can revolutionise access to collections for education and public interest. It also stresses ways in which such collections can benefit scholars in terms of reference collections, object analysis and interpretation. The question of objectivity and authenticity of virtual collections, in comparison with real objects is raised.

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Deng, Fucheng, Xiaorui Zhu, Xiaochun Li, and Meng Li. "3D Digitisation of Large-Scale Unstructured Great Wall Heritage Sites by a Small Unmanned Helicopter." Remote Sensing 9, no. 5 (2017): 423. http://dx.doi.org/10.3390/rs9050423.

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Articles de revues sur le sujet « 3D digitisation »

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