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Virtual Museum” Context: the Permanent Challenge of Reconciliation of Diverging Scientific, Technical, Operational and Financial Objectives

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Virtual Museum” Context: the Permanent Challenge of Reconciliation of Diverging Scientific, Technical, Operational and Financial Objectives 38 FOTOGRAMA DEL AUDIOVISUAL "ALEJANDRÍA, EL SUEÑO DE ALEJANDRO MAGNO" EL RANCHITO IMAGEN DIGITAL. MADRID. ESPAÑA, MESA PONENTES_1/ TABLE OF LECTURES_1 REINVENTANDO LA DIFUSIÓN. PROYECTOD DE DIFUSIÓN/ RETHINKING HERITAGE PRESENTATION. INNOVATIONS PROJECTS III Congreso Internacional de Arqueología e Informática Gráfica, Patrimonio e Innovación Sevilla 21-24 de Junio de 2011 39 The Persepolis3D project, the methodology of the virtual reconstruction of Persepolis Kourosh Afhami and Wolfgang Gambke persepolis3D.com, DemanaVision Object Oriented Virtual Visualization of Architecture and Archaeology, Germany Resumen It is imperative for museums to help their visitors in understanding the relationship between the exhibited archaeological findings and their original architectural/constructive and artistic contexts. Only in the interrelationship between the exhibited items and their structures of origin do the exhibits unfold their full expression and may be understood by the non-expert visitor. The virtual visualization of the ancient palaces of Persepolis, the Persepolis3D project, was created for this aim as well as providing a comprehensive image of the ancient palace complex for both professionals and interested laymen alike. Palabras Clave : PERSEPOLIS3D, PERSIAN ARCHITECTURE, VIRTUAL VISUALIZATION Abstract The first systematic and scholarly excavation of Persepolis was conducted by Ernst Herzfeld and Friedrich Krefter which led to the onsite reconstruction of the so- called 'Harem' in 1931. About forty years later, the Harem reconstruction became the basis for Krefter's drawings published in Persepolis-Rekonstruktionen in 1971. Our goal with this virtual reconstruction project is to continue and expand on Krefter's work using modern tools and technology not only to show the different perspectives drawn by Krefter, but also to show Persepolis from every angle and point of view both in pictures and animation with its original materials, lighting, and mood. Virtual reconstruction also allows us to integrate and update our images with future archaeological findings. Key words : PERSEPOLIS, 3D-RECONSTRUCTION, VIRTUAL RECONSTRUCTION, VIRTUAL ARCHAEOLOGY, ACHAEMENID ARCHITECTURE 1. Architectural details Krefter’s discovery applies to all the buildings and paved the way for his reconstruction. Our work is based on the documentations obtained from the Before introducing our work, I would like to begin with a brief excavations led by E. Herzfeld, F. Krefter, and E. F. Schmidt, reference to Friedrich Krefter’s methodology of reconstruction. and collected by Schmidt in his book entitled Persepolis I as well We can say that Krefter found the key of his reconstruction as Krefter’s own work entitled Persepolis-Rekonstruktionen . when he drew the plans for rebuilding the so called “Harem”. Furthermore, we conduct, and continue to gather, our own In 1931, he began rebuilding that structure which was utilized as onsite research to complete our information. If there was a both a museum and expedition headquarters. contradiction between Krefter and Schmidt, we analyzed the evidence and chose the best supported view. For example, The two surviving portico pillars had incisions for the roof Schmidt measured the height of the stone door frames of the beams. From these incisions, Krefter discovered how the roof Gate of Nations at 11, 76 m as opposed to Krefter’s beams were situated. measurement of 10, 05 m. In this instance, we adopted Krefter’s measurement, because the evidence supported his conclusion. He noticed that the outer edge of the incisions for the beams was 85 cm behind the axis of the first row of columns. Since the We used Schmidt’s precise building plans in Persepolis I and the column could only centrally hold the weight of the beam, the height measurements from Krefter’s excellent view and section beam had to be about 1, 70 m wide which would have been drawings to create our digital reconstruction. impossible. So from this width, he made three normal size beams in which the middle beam rested centrally on the column For such reconstructions it is necessary to have an experienced and the other two were on the 2 ends of the crossbeam. The architect like Krefter. Our own experience in transferring crossbeam itself was between the 2 heads of the double bull- Krefter’s two-dimensional drawings in three-dimensional virtual headed capital. It was at this time that the constructional models would not have been possible without our knowledge as function of the bull-head capital and the roof construction – professional architects. A few examples show us to what extent forming a crosshead – was understood. cooperation between archaeologists and architects is beneficial A main triple roof beam created a shorter span for the secondary The Gate of All Nations beams which reduced the size of their cross-sections and The heights of the columns determine the height of the ceiling. required 50% less wood. Krefter built the four corners of the building in the form of III Congreso Internacional de Arqueología e Informática Gráfica, Patrimonio e Innovación Sevilla 21-24 de Junio de 2011 40 towers based on his knowledge of the ancient Middle Eastern placed the ceilings of the temples and palaces on columns which architecture. were symbolic of trees and adorned them with floral and various tree motives so as to bless the buildings. The columns in Persepolis had to give the same holy atmosphere to the visitors. Krefter made the two ends of the wall 1.37 m taller than the It is apparent that the designs on the columns entailed floral and middle section so they would resemble powerful towers. We tree motives were colorful and represented the green and have to take into consideration all corners and angles, in order to colorful holy gardens or paradise. Besides that, we know that avoid viewing buildings in a two-dimensional sense. This ancient architecture – both Near Eastern and Greek were always requires experience in construction and planning so that the colorful. And what has remained today of the color of dignity of the buildings are set forth in a three dimensional Achaemenid architecture is diverse and cheerful. This format. preference for cheerful colors even carried over to the architecture of the Islamic period. Let’s look at the inner corner of the tower, for example. As you can see, the battlement impressive construction continues in the other direction and results in a very beautiful conclusion in the form of a parapet. But it isn’t the end of the story. Look at the 3. Colors and Light steps at the top of the tower which were to compensate for the before mentioned difference of 1, 37 m. This gives us a composition consisting of the battlement, the parapet and the Persian architecture has always consisted not only of the form steps. It is functional and aesthetic. Here you can see the following the function but also of colors. The interaction incorporation of Louis Sullivan’s mandate: “Form Follows between architecture and light has always played a very Function”. And please allow me to say that it’s a small significant role in forming the shape of structures since ancient masterpiece. times. We use the natural light not only to provide it to the interior of the building for practical and functional purposes. It Let’s now look at the north façade. Through excavation we note is part of the architecture in both sacral and profane buildings. that its rhythm is made up of 5 niches or recesses, which are interposed with 6 graded bumps. The distances between the The considering of how the light hits the surface and the colors niches are of course equal. Now look at the top of the façade. and helps the forms taking effect has been an essential concern With elegance, Krefter builds three towers from this consistent of creators of Iranian architectural masterpieces from Iwan-e- pattern each having a niche and separated by a niche. This too is Khosrow in Tisfun to the Shah Mosque in Isfahan. Persepolis another masterpiece. Looking from the bottom to the top, we was not only no exception to this tradition but the beginning of can observe a metamorphosis from a wall into a powerful façade it. In Persepolis we can see the very begin of a new tradition of of a fortress. I may seem enthusiastic, but it is a small wonder of architecture in Iran which became the main survival tool for the architecture and design with very simple means. And it takes an Iranian culture in general and architecture in particular: the excellent architect like Krefter to understand and discover it. ability and openness to absorb alien elements, further developing With the same expertise and elegance, he also integrated the and transforming them to create something never before seen south door into the southern façade. Unfortunately, our yet unmistakably Iranian. limited time does not allow us to cover all of these examples . The reflection of the light can make a plaster surface of a mud- brick wall appear as exciting as it does with glittering color tiles. The creators of Iranian architecture since the ancient times have 2. Columns handled virtuously the use of light for both functional and aesthetical purposes, and the glazed bricks of Achaemenid Susa are early evidences of their skills. Without any doubt the beauty Each structure had its own unique columns with their specific of the Iranian architecture in the Islamic era owes its existence to proportions. For example, the columns in the Throne Hall are the efforts and achievements of the Achaemenid, Parthian and slimmer than the ones in the Apadana which gives more Sasanid artisans. elegance to the Throne Hall. We reconstructed the columns of As architects who have been always used to build plain models each building according to the original proportions so as to in white without colors when my partner, Wolfgang Gambke preserve that structure’s authentic character and charm.
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