This paper investigates the method of utilizing CNC (Computer Numerical Control) technology to create three-dimensional models from photogrammetric images of selected Gothic choir stall components. Due to its ability to provide thorough recording of historical items and architecture, photogrammetry has emerged as a crucial instrument in the study and preservation of cultural heritage. This paper describes the procedure for collecting photogrammetric data in Gothic choir stalls, creating 3D models, and then producing those models using a CNC machine. This interdisciplinary approach discusses the benefits and drawbacks of combining digital technology with traditional craftsmanship. It also presents instances of real-world applications in the conservation and distribution of Gothic art.

This paper investigates the method of utilizing CNC (Computer Numerical Control) technology to create three-dimensional models from photogrammetric images of selected Gothic choir stall components. Due to its ability to provide thorough recording of historical items and architecture, photogrammetry has emerged as a crucial instrument in the study and preservation of cultural heritage. This paper describes the procedure for collecting photogrammetric data in Gothic choir stalls, creating 3D models, and then producing those models using a CNC machine. This interdisciplinary approach discusses the benefits and drawbacks of combining digital technology with traditional craftsmanship. It also presents instances of real-world applications in the conservation and distribution of Gothic art.

The Sansalvador villa, the first project exclusively designed by Josep Maria Jujol in Barcelona, is a unique architectural complex that piques curiosity about its origins and conception. Its incomplete state, limited documentation, and blend of modernist and organic elements contribute to its exceptional nature. This article delves into its history and conceptualization by examining original documents and conducting a detailed photogrammetric survey of the built architectural complex as it is today. By overlaying new planimetry derived from fieldwork onto the original plans, certain peculiarities, discrepancies, and unforeseen changes emerge, shedding light on Jujol’s creative process. The Sansalvador villa reveals the profound connection between the project and its surroundings, showcasing Jujol’s keen awareness of the site’s pre-existing conditions. His architecture is defined by a critical approach to these conditions, integrating them as essential elements in defining the project’s character.

The choir of Tarragona Cathedral, installed in the centre of the nave in the 12th century, underwent the partial dismantling of the retrochoir in 1963, a trend that has continued into the past century, when retrochoirs began to be removed, creating the open space that the temple’s new uses have demanded. In this case, however, in addition to preserving the two rows of perpendicular chairs, the dismantled elements were repositioned in various parts of the presbytery. The restoration of missing architectural components within their historical context presents a challenge for heritage conservation and interpretation. This study confronts this difficulty by employing a methodology that integrates digitization, virtual archaeology, and augmented reality (AR) to realistically reconstruct the Gothic retrochoir of Tarragona Cathedral. The procedure commences with the photogrammetric acquisition of the scattered fragments, producing high-precision 3D models. These are constructed by virtual anastylosis, grounded in the examination of historical sources and material evidence. The resultant model is integrated into a geolocated augmented reality application that overlays the reconstruction at its precise location within the cathedral nave, facilitating visualization via mobile devices. This work's primary contribution is a comprehensive workflow that links the documentation of dispersed elements with in-situ experience, illustrating that AR effectively bridges academic research and public perception, significantly enhancing the spatial comprehension of the lost monument.

La Fuente de los Tres Mares, diseñada por Josep Maria Jujol para la Plaza de España de Barcelona (1929), ha sido objeto de un estudio que combina investigación archivística y tecnología digital. Mediante fotogrametría basada en Structure from Motion (SfM) y Multi View Stereo (MVS), se comparó la maqueta preliminar en plomo con la obra construida, generando nubes de puntos de alta densidad para ambos modelos. Los análisis de alineación ICP y distancia Cloud-to-Cloud revelaron una gran fidelidad dimensional entre maqueta y monumento, confirmando que aquella funcionó como instrumento de control durante la construcción. Las diferencias detectadas se limitan a elementos ornamentales de pequeña escala. Paralelamente, la investigación documental sugiere que el supuesto concurso público fue en realidad un mecanismo administrativo para adjudicar el encargo directamente a Jujol. El estudio aporta evidencia empírica sobre sus prácticas proyectuales y valida el uso de metodologías digitales en el análisis del patrimonio arquitectónico.