{"title":"Reconstrucción virtual del anfiteatro de Tarragona a través de la procesión inaugural","authors":"Carme Codina-Peñarroja","doi":"10.4995/VAR.2020.12806","DOIUrl":null,"url":null,"abstract":"This paper is focused on a three-dimensional (3D) reconstruction of Tarragona’s amphitheatre. The intention is to improve the current museography of the monument, which poorly performs its main purpose: cultural heritage dissemination. Firstly, most of the grandstands and the main entrance are the results of a partial restoration carried out during the 1960s, based more on pragmatic rather than scientific criteria, and with many historical inaccuracies. Secondly, the worship complex, consisting of a sanctuary on the arena and another one down of, goes unnoticed by most visitors. Finally, the only area where the grandstands remain, and the only one where someone can understand the vaulted construction technique, it is not available for public entrance.Facing this situation, the present reconstruction proposal provides people with a useful tool to comprehend the Roman building, especially where the remains are poorly preserved or inaccurately restored. In this regard, a set of rendered images has been created and, by such means, people can compare the reconstruction of the Roman building with its current remains. For this purpose, scientific methods have been employed, as well as 3D modelling technologies. First and foremost, all publications relating to Tarraco’s amphitheater have been thoroughly reviewed. Then, the archaeological remains have been redrawn using CAD tools. Henceforth, the plans and sections have been reconstructed, 3D modelled and rendered.While the reconstruction was being developed, Roman ludic processions were found to be an interesting topic that could serve as a common thread. This way, the sectors to be reconstructed were sequenced as follows. First, the eastern entrance or Porta Triumphalis, which led the entourage to the arena. Second, the upper sacellum, where the priests conducted the liturgies to inaugurate the games. Third, the southern area, through which the gladiators and the authorities left the arena to their positions (for the first group, the service's rooms located in the underground, while for the second one, the authorities stand). Last but not least, the sanctuary under the arena, where the gladiators could perform their last prayers before the combat began.Along with the text below, images of the reconstruction can be found next to photographs of the state of preservation, following the aforementioned sequence. Therefore, Figures 2, 3 and 4 explain the image and functioning of the main entrance (Porta Triumphalis): while Figures 2 and 4 show virtual restorations from the inside and the outside, Figure 3 presents the development of the corridor in section and plan. Figures 6 and 7 display how the upper sanctuary had looked like from the arena and once inside respectively. Figures 9 and 10 are a 2D restoration of the southern area, where its role as a hub can be understood. Figure 11 shows the southern sector from the outside, where the double entrance can be appreciated, as well as the outside stairs used by the authorities to climb to the first level and one of the multiple configurations that the façade could have taken. Figure 12 reproduces the authorities stand as the Roman spectators would have seen it. Finally, Figures 13 and 14 are images of the lower sacellum, as seen by the gladiators down the arena and in axonometry together with the upper sanctuary.In summary, this work aims to improve the museography of Tarragona’s amphitheatre. An immediate application would be including the images in the signposting. Furthermore, they can be used as a basis to undertake a bigger project to adapt the whole museography to be better understood by society.Highlights:Reconstrucción del anfiteatro de Tarragona presentada a través de un catálogo de imágenes realizadas mediante software de tratamiento 3D.Propuesta para la divulgación del patrimonio arqueológico a través de una reconstrucción virtual didáctica e históricamente rigurosa.Interpretación de los restos arqueológicos del anfiteatro de Tarraco desde una nueva óptica: las ceremonias de inauguración de los juegos.","PeriodicalId":44206,"journal":{"name":"Virtual Archaeology Review","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2020-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Virtual Archaeology Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4995/VAR.2020.12806","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHAEOLOGY","Score":null,"Total":0}
引用次数: 1
Abstract
This paper is focused on a three-dimensional (3D) reconstruction of Tarragona’s amphitheatre. The intention is to improve the current museography of the monument, which poorly performs its main purpose: cultural heritage dissemination. Firstly, most of the grandstands and the main entrance are the results of a partial restoration carried out during the 1960s, based more on pragmatic rather than scientific criteria, and with many historical inaccuracies. Secondly, the worship complex, consisting of a sanctuary on the arena and another one down of, goes unnoticed by most visitors. Finally, the only area where the grandstands remain, and the only one where someone can understand the vaulted construction technique, it is not available for public entrance.Facing this situation, the present reconstruction proposal provides people with a useful tool to comprehend the Roman building, especially where the remains are poorly preserved or inaccurately restored. In this regard, a set of rendered images has been created and, by such means, people can compare the reconstruction of the Roman building with its current remains. For this purpose, scientific methods have been employed, as well as 3D modelling technologies. First and foremost, all publications relating to Tarraco’s amphitheater have been thoroughly reviewed. Then, the archaeological remains have been redrawn using CAD tools. Henceforth, the plans and sections have been reconstructed, 3D modelled and rendered.While the reconstruction was being developed, Roman ludic processions were found to be an interesting topic that could serve as a common thread. This way, the sectors to be reconstructed were sequenced as follows. First, the eastern entrance or Porta Triumphalis, which led the entourage to the arena. Second, the upper sacellum, where the priests conducted the liturgies to inaugurate the games. Third, the southern area, through which the gladiators and the authorities left the arena to their positions (for the first group, the service's rooms located in the underground, while for the second one, the authorities stand). Last but not least, the sanctuary under the arena, where the gladiators could perform their last prayers before the combat began.Along with the text below, images of the reconstruction can be found next to photographs of the state of preservation, following the aforementioned sequence. Therefore, Figures 2, 3 and 4 explain the image and functioning of the main entrance (Porta Triumphalis): while Figures 2 and 4 show virtual restorations from the inside and the outside, Figure 3 presents the development of the corridor in section and plan. Figures 6 and 7 display how the upper sanctuary had looked like from the arena and once inside respectively. Figures 9 and 10 are a 2D restoration of the southern area, where its role as a hub can be understood. Figure 11 shows the southern sector from the outside, where the double entrance can be appreciated, as well as the outside stairs used by the authorities to climb to the first level and one of the multiple configurations that the façade could have taken. Figure 12 reproduces the authorities stand as the Roman spectators would have seen it. Finally, Figures 13 and 14 are images of the lower sacellum, as seen by the gladiators down the arena and in axonometry together with the upper sanctuary.In summary, this work aims to improve the museography of Tarragona’s amphitheatre. An immediate application would be including the images in the signposting. Furthermore, they can be used as a basis to undertake a bigger project to adapt the whole museography to be better understood by society.Highlights:Reconstrucción del anfiteatro de Tarragona presentada a través de un catálogo de imágenes realizadas mediante software de tratamiento 3D.Propuesta para la divulgación del patrimonio arqueológico a través de una reconstrucción virtual didáctica e históricamente rigurosa.Interpretación de los restos arqueológicos del anfiteatro de Tarraco desde una nueva óptica: las ceremonias de inauguración de los juegos.
本文的重点是塔拉戈纳圆形剧场的三维重建。其目的是改善纪念碑目前的博物馆学,因为博物馆学未能实现其主要目的:文化遗产传播。首先,大多数看台和主入口是20世纪60年代进行的部分修复的结果,更多的是基于务实而非科学的标准,并且有许多历史上的不准确之处。其次,由竞技场上的一个避难所和竞技场下的另一个避难所组成的礼拜综合体,大多数游客都没有注意到。最后,看台是唯一保留的区域,也是唯一一个有人能理解拱形建筑技术的区域,它不可供公众进入。面对这种情况,目前的重建建议为人们提供了一个了解罗马建筑的有用工具,尤其是在遗迹保存不佳或修复不准确的地方。在这方面,已经创建了一组渲染图像,通过这种方式,人们可以将罗马建筑的重建与其目前的遗迹进行比较。为此,采用了科学方法以及三维建模技术。首先,所有与塔拉科露天剧场有关的出版物都经过了彻底审查。然后,使用CAD工具对考古遗迹进行了重新绘制。此后,对平面图和剖面图进行了重建、三维建模和渲染。在重建过程中,罗马滑稽游行被发现是一个有趣的话题,可以作为一个共同的线索。通过这种方式,将要重建的扇区按如下顺序排列。首先是东方入口或凯旋门,带领随行人员前往竞技场。第二,上赛克勒姆,牧师们在这里举行仪式,为奥运会揭幕。第三,南部区域,角斗士和当局通过该区域离开竞技场,回到他们的位置(对于第一组,服务室位于地下,而对于第二组,当局站着)。最后但同样重要的是,竞技场下的避难所,角斗士们可以在战斗开始前在那里进行最后的祈祷。除了下面的文字,重建的图像可以在保存状态的照片旁边找到,遵循上述顺序。因此,图2、图3和图4解释了主入口(Porta Triumphalis)的图像和功能:图2和图4从内部和外部显示了虚拟修复,图3在剖面和平面图中显示了走廊的发展。图6和图7分别显示了从竞技场和进入竞技场后的上层避难所的样子。图9和图10是南部地区的二维复原图,可以理解其作为枢纽的作用。图11显示了从外面看的南部地区,在那里可以欣赏到双入口,以及当局用来爬到第一层的外部楼梯,以及立面可能采用的多种配置之一。图12再现了罗马观众所看到的官方看台。最后,图13和图14是角斗士在竞技场下方和与上部避难所一起进行轴测时所看到的下部sacellum的图像。总之,这项工作旨在改善塔拉戈纳圆形剧场的博物馆形象。一个即时的应用程序是将图像包括在路标中。此外,它们可以作为开展更大项目的基础,以使整个博物馆学更好地为社会所理解。亮点:塔拉戈纳的重建展示了一个实现3D媒体软件的基因标志。这是一个重建虚拟现实和历史的过程。对Tarraco de anfitatro de una nuevaóptica重新开放的解释:新开放的仪式。
期刊介绍:
Virtual Archaeology Review (VAR) aims the publication of original papers, interdisciplinary reviews and essays on the new discipline of virtual archaeology, which is continuously evolving and currently on its way to achieve scientific consolidation. In fact, Virtual Archaeology deals with the digital representation of historical heritage objects, buildings and landscapes through 3D acquisition, digital recording and interactive and immersive tools for analysis, interpretation, dissemination and communication purposes by means of multidimensional geometric properties and visual computational modelling. VAR will publish full-length original papers which reflect both current research and practice throughout the world, in order to contribute to the advancement of the new field of virtual archaeology, ranging from new ways of digital recording and documentation, advanced reconstruction and 3D modelling up to cyber-archaeology, virtual exhibitions and serious gaming. Thus acceptable material may emerge from interesting applications as well as from original developments or research. OBJECTIVES: - OFFER researchers working in the field of virtual archaeology and cultural heritage an appropriate editorial frame to publish state-of-the-art research works, as well as theoretical and methodological contributions. - GATHER virtual archaeology progresses achieved as a new international scientific discipline. - ENCOURAGE the publication of the latest, state-of-the-art, significant research and meaningful applications in the field of virtual archaeology. - ENHANCE international connections in the field of virtual archaeology and cultural heritage.