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Ingeniería De Edificación Estudio Y Levantamiento INGENIERÍA DE EDIFICACIÓN PROYECTO FINAL DE GRADO ESTUDIO Y LEVANTAMIENTO ARQUITECTÓNICO CON LÁSER ESCÁNER 3D DE LA IGLESIA DE SANT PERE DE RODES Proyectistas: Montells de Bobes, Anna y Rubio de la Torre, Raúl. Directores: Xiqués Triquell, Jordi y Serra Santasusagna, Joan. Convocatoria: Febrero 2013 Estudio y levantamineto arquitectónico con tecnología láser escáner 3D de la iglesia de Sant Pere de Rodes. 1 RESUMEN El primer objetivo de este trabajo ha sido realizar un estudio sobre la historia del Monasterio de ‘Sant Pere de Rodes’, conocer el impacto social en la región y reforzar nuestros conocimientos sobre construcción prerrománica y románica. Como segundo objetivo, se ha planteado la realización del levantamiento arquitectónico exhaustivo de la iglesia del monasterio. Para llevarlo a cabo con la mayor exactitud posible, se ha empleado la tecnología de escaneado láser 3D. Esta novedosa técnica de medición, ofrece un elevado potencial a la hora de conseguir mediciones precisas y fiables de objetos en 3D. El láser escáner es un dispositivo portátil de medición 3D sin contacto que se sirve de la tecnología láser para generar imágenes 3D de entornos y geometrías complejas. Y como tercer objetivo se ha utilizado la nube de puntos de alta precisión para analizar diferentes deformaciones presentes en la iglesia, demostrando el uso de esta tecnología para diferentes aplicaciones. El presente proyecto muestra, no sólo la toma de datos necesarios para la georeferenciación en detalle de la iglesia, sino también los procedimientos necesarios para procesar toda la información obtenida y su presentación posterior para representar la forma, volumen y tamaño del objeto escaneado. La documentación final que se presenta es: - Planos con ortoimágenes georeferenciadas, definiendo plantas a distintos niveles, sección longitudinal, transversal, fachada principal, planta cenital y detalles. - Planos con varias ortoimágenes georeferenciadas y vectorizadas las líneas principales extraídas de las imágenes ortogonales. - Estudio de deformaciones a partir del análisis de la nube de puntos. La metodología de trabajo utilizada se resume en: - Levantamiento topográfico ubicando bases de apoyo para el posicionamiento del láser escáner. - Toma de datos con láser escáner. - Post-proceso de las nubes de puntos. - Generación de ortoimágenes e importación a CAD. - Generación de planos 2D a partir de ortoimágenes. 2 Estudio y levantamiento arquitectónico con tecnología láser escáner 3D de la iglésia de Sant Pere de Rodes. Estudio y levantamineto arquitectónico con tecnología láser escáner 3D de la iglesia de Sant Pere de Rodes. 3 4.1 INTRODUCCIÓN 31 INDICE 4.2 PLANOS 33 1 INTRODUCCIÓN 05 - P-01/18. Plano de situación 2 HISTORIA: ARQUITECTURA ROMÁNICA DEL MONESTIR DE SANT PERE - P-02/18. Emplazamiento iglesia DE RODES’ 07 - P-03/18. Sección horizontal ortofoto (+2.20m) 2.1 FICHA TÉCNICA 07 - P-04/18. Sección horizontal (+2.20m) 2.2 ROMÁNICO CATALÁN 07 - P-05/18. Sección horizontal cotas (+2.20m) 2.2.1 EUROPA EN EL MOMENTO DE LA APARICIÓN DEL ROMÁNICO 08 - P-06/18. Sección horizontal cripta (-1.60m) 2.2.2 LA EXPANSIÓN DEL ROMÁNICO 08 - P-07/18. Sección horizontal (+6.20m) 2.2.3 EL ARTE ROMÁNICO QUE SE IMPLANTA EN CATALUÑA 08 - P-08/18. Sección horizontal (+12.20m) 2.3 CONTEXTO HISTÓRICO DEL MONASTERIO 15 - P-09/18. Sección horizontal ortofoto cenital (+2.20m) 2.4 LA ARQUITECTURA DEL MONASTERIO 16 - P-10/18. Sección transversal ortofoto 2.5 RESTAURACIÓN DEL MONASTERIO 19 - P-11/18. Sección transversal 3 LEVANTAMIENTO ARQUITECTÓNICO 21 - P-12/18. Sección longitudinal ortofoto 3.1 FASES DE TRABAJO 21 - P-13/18. Fachada principal ortofoto 3.2 TECNOLOGÍA DE ESCANEADO LÁSER 3D 21 - P-14/18. Detalle capitel 3.2.1 INFLUENCIA DE LES CARACTERÍSTICAS DEL OBJECTO EN - P-15/18. Sección horizontal. Deformación planta (+2.20m) LA REFLECTIVIDAD 22 - P-16/18. Sección horizontal cenital. Deformación bóvedas (+2.20m) 3.2.2 FACTORES EXTERNOS QUE INFLUYEN EN EL ESCANEADO 22 - P-17/18. Deformación bóvedas. Estudio en detalle 3.3 METODOLOGIA DE CAMPO 22 - P-18/18. Sección longitudinal. Deformación pilares 3.3.1 LEVANTAMIENTO TOPOGRAFICO 23 3.3.2 TOMA DE DATOS CON LÁSER ESCÁNER 23 5 CONCLUSIONES 35 3.4 POST-PROCESADO 26 6 BIBLIOGRAFÍA 37 3.4.1 GEOREFERENCIACIÓN DE LAS NUBES DE PUNTOS 26 7 GLOSARIO 39 3.4.2 FILTROS 27 8 CONTENIDO DEL CD 41 3.4.3 LIMPIEZA MANUAL DE LAS NUBES DE PUNTOS 28 9 ANEXO1. POSICIONES DE ESCANEO Y VISTAS 360º 43 3.4.4 DENSIDAD DE PUNTOS 28 10 ANEXO 2. CARACTERÍSTICAS TÉCNICAS DE LOS EQUIPOS DE 3.4.5 GENERACIÓN DE ORTOIMÁGENES 29 MEDICIÓN 45 4 DOCUMENTACIÓN TÉCNICA 31 4 Estudio y levantamiento arquitectónico con tecnología láser escáner 3D de la iglésia de Sant Pere de Rodes. Estudio y levantamineto arquitectónico con tecnología láser escáner 3D de la iglesia de Sant Pere de Rodes. 5 1 INTRODUCCIÓN Sant Pere de Rodes es un antiguo monasterio benedictino situado en la montaña de Verdera, a unos 520 metros sobre el nivel del mar, en un sitio privilegiado que ofrece un paisaje impresionante. Próximo a este, en la cumbre de la montaña, se encuentra el castillo de Sant Salvador de Verdera y a un kilómetro al norte del monasterio la iglesia prerrománica de Santa Creu de Rodes, envuelta de las ruinas del pueblo de mismo nombre. A la importancia histórica del entorno se une el hecho de que todo el conjunto se encuentra dentro del Parque Natural del cap de Creus. Figura 1.1: Monasterio de Sant Pere de Rodes 6 Estudio y levantamiento arquitectónico con tecnología láser escáner 3D de la iglésia de Sant Pere de Rodes. Estudio y levantamineto arquitectónico con tecnología láser escáner 3D de la iglesia de Sant Pere de Rodes. 7 2 ARCHITECTURE ROMANESQUE OF THE MONASTERY OF SANT PERE DE RODES 2.2 THE CATALAN ROMANESQUE 2.1 TECHNICAL SHEET From a stylistic view point, it is accepted the division of the catalan romanesque architecture into The monastery of Sant Pere de Rodes is located on Mount Verdera in the Cap de Creus Natural three long periods: pre-Romanesque architecture of the tenth century, the first Romanesque or Park, in the town of Port de la Selva, the Alt Empordà, Girona province. Lombard Romanesque of the eleventh century, and the second Romanesque or the international It was founded in 926 and consecrated in 1022. Romanesque of the twelfth century, by the thirteenth century there is a common name given the The developer was the noble Tassi and his son Hidesing. heterogeneity of artistic phenomena (Cistercian architecture, Lleida school or the work in La Seu Type: Benedictine Abbey of Tarragona). Location: UTM X: 513817 UTM Y: 4685913 Catalan Romanesque was the first medieval art, or way to build and decorate buildings under Longitude: 03 º 09'59, 6'' one set of rules and features, covering almost all Western Europe. Latitude: 42 º 19 '24.6'' Preceded by a number of previous constructive ways of each region or political dominance, which in some places had reached a high degree of perfection, but to be abandoned or at most partially integrate the new art or style, spread just begun the second millennium. From a chronological view point, the one which is known as Romanesque extends between the eleventh and thirteenth centuries, with a clear differentiation and evolution throughout time, but also with common features that allow it to individualize the space and time. The word Roman is creating quite late and far from the time when style predominated. The first mention of the name is attributed to Charles de Gerville, French architect, in a letter to his friend and architect Le provost. During the same century was accepted in France and elsewhere, and at the beginning of the twentieth century in Catalonia, where it replaced the word of Byzantine art, with which, very improperly, long time ago the buildings with that style used to be identified. From the beginning the term was used only in reference to religious architecture, but as we went deeper into the study of the life and times, his use was also extended to vicils works from the same time. And later it was applied to all artistic complementary like writing, painting, jewelry, furniture, among others, that kept common features and characteristic and occurred during the centuries when there used to construct in Romanesque style, until calling the whole realization SITUATION in that time, the eleventh century to the thirteenth, the "world of Romanesque art". The appearance of the new style did not score a total break with the times that preceded it but the opposite. The new concept art integrated many new contributions from previous centuries that complemented some derived forms and influences of Byzantine art. An art, bizntí, wich preceded and replaced during the same time our prevailing Romanesque, and it was refined and modified in Eastern Europe, where there kept the old Eastern Roman Empire or Byzantine Empire. Therefore, we must look only Romanesque art in Western Europe. His appearance at the same time the Byzantine initially wanted to have them include the Romanesque as a GCC extension or art derivation. The impact of this will be evident in the Romanesque painting and some solutions of the same architecture, specially in Sicily, where the Romanesque entered in a long time under domination and influence of Byzantium or Constantinople. The search for the Roman art origins was a subject discussed for a long time, but now there is unanimity that it was in Lombardy, where X advanced century originated a new style or way of building , son of contacts with the Roman structures and even existing Byzantine in the country, LOCATION although simplified and modified to create a way of building and decorating it very quickly spread all over Europe in the first decades of the second millennium, as it widely will be exposed.
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