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

我们寻求招聘和培训一名博士生，将在3D数字重建领域工作，及其相关的方法和标准。该项目将开发和应用创新的方法，将文艺复兴时期佛罗伦萨的艺术和建筑与国家美术馆的藏品联系起来，很可能是最初制作的一件或多件艺术品(约1400-1550年)。它将与国家美术馆和尼瓦拉教授的“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)正在进行的合作同步进行。博士项目的核心是将3D建模的技术应用于遗产和博物馆，围绕国家美术馆精选作品的关键案例建立，以重建它们的原始环境和环境。候选人将采用和进一步发展作为佛罗伦萨4D项目一部分的研究型建模工作流程；将特别注意建立将IIIF应用于3D模型的标准，并超越开发和解决这一过程中出现的一些研究问题的具体技术任务。项目案例集中于最初在佛罗伦萨制作的艺术品，通过空间数字技术，主要是可互操作的3D建模，将这些艺术品框起来。应该指出的是，该项目是“严密的”，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)，这意味着基于桌面的工作可以从输出开始。两个可能的案例将构成对艺术史学术做出重大贡献的基础，根据国家美术馆收藏的主要作品的现有知识：San Pancrazio(https://www.nationalgallery.org.uk/paintings/filippino-lippi-the-virgin-and-child-with-saints-jerome-and-dominic)的鲁切莱礼拜堂的菲利皮诺·里皮祭坛和美第奇宫殿的《泰雷纳相机》，包括国家美术馆收藏的绘画：保罗·乌切洛，《圣罗马诺之战》(https://www.nationalgallery.org.uk/paintings/paolo-uccello-the-battle-of-san-romano).对这些艺术品的艺术史研究正在由佛罗伦萨4D项目进行的持续研究中进行，必要的扫描数据已于2020年10月收集。研究数据将使用CiDOC-CRM本体在OmekaS数据库中构建，允许学生直接研究将支撑数据链接到所产生的3D模型的方法。该项目将作为与国家美术馆的合作进行，因为美术馆拥有无与伦比的相关艺术品收藏，并有可能通过基于研究的数字可视化来扩展对这些作品的情景理解。我们也欢迎学生与其他CDP机构，鲍斯博物馆和约克博物馆信托基金建立可能的联系，因为这两个机构的收藏品中都有意大利藏品。这可能涉及为虚拟3D房间开发简化的工作流程，其中填充了收藏对象，用于访问者可视化的目的。还有可能通过重新部署到3D/AR应用程序平台来探索这些模式的扩展，作为可复制的面向公众的产出。这项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，并扩大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.