Research-based 3D modelling of Renaissance built environments: workflow, uncertainty and standards

我们寻求招募和培养一名博士研究生，将在3D数字重建领域工作，以及相关的方法和标准。该项目将开发并应用创新的方法来研究与文艺复兴时期佛罗伦萨艺术和建筑相关的例子，这些例子与国家美术馆的藏品有关，最有可能是一件或多件最初生产的艺术品（约1400-1550年）。它将与国家美术馆和Nevola教授的“沉浸式文艺复兴”项目（由盖蒂基金会通过其数字艺术史倡议资助）正在进行的合作同时交付。博士项目的核心重点是3D建模在遗产和博物馆环境中的技术应用，围绕以国家美术馆精选作品为中心的关键案例，重建其原始设置和环境。候选人将采用并进一步开发已开发的基于研究的建模工作流程，作为Florence4D项目的一部分；将特别关注建立fiiif在3D模型中的应用标准，并超越具体的技术任务，开发和解决该过程中出现的一些研究问题。项目案例集中在佛罗伦萨最初生产的艺术品上，通过空间数字技术，主要是可互操作的3D建模来构建这些艺术品。应该指出的是，该项目是“防冠状病毒”的，因为已经进行了许多必要的数据收集（以高分辨率激光雷达扫描和摄影测量的形式），这意味着桌面工作可以从头开始。两个可能的案例将构成对艺术史学术的重大贡献的基础，以及对国家美术馆收藏的主要作品的现有知识：圣潘克拉齐奥Rucellai教堂的Filippino Lippi祭坛（https://www.nationalgallery.org.uk/paintings/filippino-lippi-the-virgin-and-child-with-saints-jerome-and-dominic）和美第奇宫的“Camera terrena”，包括国家美术馆收藏的绘画。保罗·乌切罗，《圣罗马诺之战》（https://www.nationalgallery.org.uk/paintings/paolo-uccello-the-battle-of-san-romano）。佛罗伦萨4d项目正在进行的基础艺术史研究正在进行中，并于2020年10月收集了必要的扫描数据。研究数据将使用CiDOC-CRM本体在OmekaS数据库中进行结构化，允许学生直接研究将基础数据链接到生成的3D模型的方法。该项目将与英国国家美术馆合作进行，因为该美术馆拥有无与伦比的相关艺术品收藏，并且有可能通过基于研究的数字可视化来扩展对这些艺术品的背景化理解。我们也欢迎学生与其他CDP机构建立可能的联系，鲍斯博物馆和约克博物馆信托基金，因为这两个机构都收藏了意大利藏品。这可能与虚拟3D房间的简化工作流程的开发有关，其中填充了收集对象，以便为访问者提供可视化。通过将这些模型重新部署到3d /AR应用平台，作为可复制的面向公众的输出，也有可能探索这些模型的扩展。该活动将建立在国家美术馆通过数字方法进行研究和观众参与的日益增长的活动的基础上，同时还将发展博士生的技能，并扩展埃克塞特大学的数字艺术史能力和专业知识。

We seek to recruit and train a PhD student that will work in the field of 3D digital reconstruction, and its associated methods and standards. The project will develop and apply innovative methodologies to examples relating to the art and architecture of Renaissance Florence connecting with the National Gallery collections, most likely one or more artworks originally produced (c. 1400-1550). It will be delivered in parallel to an ongoing collaboration between the National Gallery and Prof. Nevola's 'Immersive Renaissance' project (funded by the Getty Foundation, through its Digital Art History initiative).The PhD project has a core focus on the technical application of 3D modelling to heritage and museums contexts, built around key case examples centred on selected works in the National Gallery, to reconstruct their original settings andenvironment. The candidate will adopt and further develop the workflow that has been developed for research-based modelling as part of the Florence4D project; particular attention will be given to establishing standards for the application ofIIIF to 3D models and going beyond the specific technical task to develop and resolve some of the research questions that arise from the process. The project case examples focus on artworks originally produced in Florence, framing thesethrough spatial digital technologies, primarily interoperable 3D modelling. It should be noted that the project is 'covid-proof' in that much of the necessary data collection (in the form of high resolution lidar scans and photogrammetry) has already been conducted, meaning that desk-based work can begin from the outset.Two likely case examples will form the basis for a significant contribution to the art-historical scholarship, and to the existing knowledge on major works in the National Gallery collections: Filippino Lippi altar for the Rucellai chapel at San Pancrazio (https://www.nationalgallery.org.uk/paintings/filippino-lippi-the-virgin-and-child-with-saints-jerome-and-dominic) and the 'Camera terrena' of the Palazzo Medici including paintings in the National Gallery collection: Paolo Uccello, 'Battle of San Romano' (https://www.nationalgallery.org.uk/paintings/paolo-uccello-the-battle-of-san-romano). The underpinning art historical research for these is underway in ongoing research conducted by theFlorence4D project, and necessary scan data was collected in October 2020. The research data will be structured in an OmekaS database using a CiDOC-CRM ontologies, allowing the student to directly work on methodologies for linking underpinning data to the 3D models produced.This project will be conducted as a collaboration with the National Gallery on account of the Gallery's unrivalled collection of relevant artworks and the potential of extending the contextualized understanding of these through research-based digital visualisation. We would also welcome the student developing possible connections with the other CDP institutions, the Bowes Museum and York Museums Trust, as both have Italian holdings in their collections. This could perhaps relate to the development of a simplified workflow for a virtual 3D room, populated with collections objects, for the purposes of visualisation for visitors. There is also potential for exploring the extension of these model through redeployment to a3D/AR app platform as a replicable public-facing output. The activity will build on growing activity the National Gallery is involved in through digital approaches to research and audience engagement, while also developing the skills of the PhD student and extending the digital art history capacity and expertise at the University of Exeter.