The paper compares two workflows for the achievement of 3D models aimed at in-depth studies on the geometric features of Cultural Heritage artefacts and their dissemination. The purpose is the outlining of pros and cons of different techniques coming from entertainment and video games industry, starting from highly reliable 3D documentation of cultural assets, i.e. architectural/archaeological/urban sites. Two different possible applications are described: (i) procedural modelling used for understanding and visualising reconstruction hypotheses of the vaulted pavilions at Hadrian’s Villa, Tivoli, Rome; (ii) optimisation of 3D high-detailed models, as input files, turned into visual reliable and highly portable assets for game-engines. The first case study is focussed on creating a flexible model for evalueting reconstruction hypotheses and supplying restorers with useful hints for shape completion of ruined pavilions. The second case study makes available detailed digital contents for storytelling historical and cultural events in an attractive way, as in the case of the urban explorative model of Chiuro, a small town in northern Italy.

The dissemination of reality-based models allows a more exhaustive knowledge of the object of study and enables a better access through real-time applications running on common devices connected to the web. In addition, difficult-to-appreciate works of art can become object of specifically designed serious educational games through the possibilities allowed by game engines. The definition of a pipeline that leads from a reliable acquisition of shape, color and BRDF features to a motivating and satisfying interactive experience is the focus of this paper. It will be analyzed, in an interdisciplinary perspective, and will undergo a series of steps aimed at preserving the features of the work of art without compromising its realistic and fluid visualization, as well as the characteristics at the base of the stylistic and artistic quality.

In-depth studies on the design of the domes of the Octagonal Hall of the Small Baths and the Vestibule of the Golden Court at Hadrian’s Villa in Tivoli have been conducted starting from 3D surveys carried out with active and passive sensors. Through the comparison of the ichnographia and orthographia of these emblematic examples of architectural experimentation, common elements and features have emerged which, thanks to the integrated use of new measurement technologies, have allowed us to hypothesise dimensioning systems of the vertical structures together with possible criteria for defining the intrados–extrados relationship. Hadrian’s architects’ use of precise grid-based designs to facilitate the achievement of target quantities (required areas and volumes) as well as modules aimed at defining alignments of horizontal and vertical structures emerge clearly, providing useful elements for an integrated reading of the individual buildings to support the archaeological investigation.

This paper presents an original methodology for planar development of a frescoed dome with an oval plan. Input data include a rigorous geometric survey, performed with a laser scanner, and a photogrammetry campaign, which associates a high-quality photographic texture to the 3D model. Therefore, the main topics include the development of geometry and, contextually, of the associated textures. In order to overcome the inability to directly develop the surface, an orthographic azimuthal projection is used. Starting from a prerequisite study of building methodology, the dome is divided into sectors and bands, each linked with the maximum acceptable deformations and the actual geometric discontinuities detectable by the analysis of Gaussian curvature. Upon definition of the development model, a custom automation script has been devised for geometry projection. This effectively generates a (u,v) map, associated to the model, which is used for model texturing and provides the planar development of the fresco.

Keywords: Digital Photogrammetry, Laser Scanning, Reverse Modelling, Best Fitting Circumferences, 3D models, Virtual Restoration, Virtual Anastylosis, Teatro Marittimo The Maritime Theatre is one of the iconic buildings of Hadrian’s Villa, Tivoli. The state of conservation of the theatre is not only the result of weathering over time, but also due to restoration work carried out during the Fifties of the past century. Although this anastylosis process had the virtue of partially restoring a few of the fragments of the compound’s original image, it now reveals diverse inconsistencies and genuine errors in the reassembling of the fragments. This study aims at carrying out a digital reinterpretation of the restoration of the architectural fragments in relation to the architectural order, with particular reference to the miscellaneous decoration of the frieze of the Teatro Marittimo (vestibule and atrium). Over the course of the last few years the Teatro Marittimo has been the target of numerous surveying campaigns using digital methodology (laser scanner and photogrammetry SfM/MVS). Starting with the study of the remains of the opus caementicium on the ground, it is possible to identify surfaces which are then used in the model for subsequent cross sections, so as to achieve the best fitting circumferences to use as reference points to put the fragments back into place.