1. Introduction
1.1. Sustainable Cultural Tourism in Digital Ages
The intersection of tourism and culture, coupled with the growing demand for cultural experiences among visitors, presents both unique opportunities and complex challenges for the tourism industry. The 2030 Agenda for Sustainable Development SDG proposed by United Nations Target 8.9 aims to, “by 2030, devise and implement policies to promote sustainable tourism that creates jobs and promotes local culture and products”. The relevance of sustainable tourism is also emphasised in SDG Target 12. In this context, the virtualisation of museums reduces the need for physical travel by facilitating the creation of virtual museums in the metaverse, thereby reducing the carbon emissions associated with traditional tourism as well as the travel associated with research. In addition, the digitisation of historical artefacts allows their preservation, analysis, and dissemination without the risks of physical deterioration, ensuring their availability for future generations. This meeting point between technology and heritage not only promotes cultural preservation, but also aligns tourism with the objectives of sustainable development, minimising the environmental impact and optimising the use of natural resources at our disposal.
1.2. Need to Change the Traditional Tourism Sector in the Digital Age
The traditional concept of the museum has been modified due to the digital age [1]. Traditional tourism must be transformed into smart tourism, acting on the different fields known as “the five As”: attraction, accessibility, accommodation, amenities, and activities [2]. It is necessary to dismiss the preconceived idea of tourism as a temporal movement of people [3]. Tourist agents and hospitality services must update their offers in order to remain connected to possible clients [4]. In this context, and providing a presence in the metaverse, people can connect with the client without the need to move anywhere [5].
1.3. State-of-the-Art of the Metaverse
The metaverse allows interacting with new spaces that fuse the physical world with the virtual world. The development of this technology shows an evident usefulness in fields focused on heritage research [6] (Marto et al., 2019). In this work, it was applied by incorporating, with historical rigour, a reconstruction hypothesis into the constructed reality. Although the physical and virtual realities have often been regarded as opposites, this perception is about to change with the latest advances. The most advanced case of the metaverse is when the virtual object is totally integrated in the real space in which it is shown, unlike in other simple cases such as QR code generation or virtual added layers. That is, using a device, a real object is visualised through an application in the device that uses the programming language (Apple ARKit (augmented reality for iOS users) or Google ARCore (new AR experiences of Google that perfectly combine the digital and physical worlds)), and a virtual object is added; thus, they are fused in a “no place” or “metaverse”. For this interaction to seem real, it is necessary to synchronise the position of the object constantly, while the algorithm works out the environment through basic figures. To achieve an optimal immersion, it is fundamental that we recreate the movement, which is attained by following the different degrees of freedom [7,8]. The terms 3DoF and 6DoF are used to describe the tracking or monitoring capacities of the devices. Authors such as Griffin and Muldoom [9]; Triviño-Tarradas et al. [10]; and Choi and Kim [1] agree that the Virtual Reality (VR) headsets produce an intense and positive experience immersion. However, other studies found drawbacks such as feeling dizzy [11] or physically inconvenienced visitors [12] in the use of metaverse assistance in museums. The VR headset enables the highest levels of immersion in the content than any other virtual reality device does so far. The users wearing VR headsets are just focused on things occurring right in front of their eyes without other interferences that may happen when using any other display device such as the screen of laptops or cellphones.
Regarding the graphic expression of architectural and historical elements, the incorporation of new technologies and computing empowered the evolution of the interpretation, visualisation, and understanding of the contents (from mainly two dimensions, except for costly physical mockups) in the field of interactivity between archaeology and the user in a three-dimensional space in which the known reality and VR are fused together. Thus, from the knowledge of graphic engineering, it is possible to obtain results in the treatment of information about the architectural and cultural heritage in order to enhance it, with the support of the public administrations, for its dissemination and display for the general public.
1.4. Is Metaverse of Any Use in the Tourism Sector?
The metaverse, or the beyond of reality, is entering our day-to-day life, as the Internet and 3G technology in mobile devices did when they appeared. Currently, we are witnessing the beginning of a new technological revolution that, as is the case in this world of hyper speed, will not take long. In a few years, most world citizens will be used to this new world without physical frontiers known as the metaverse. The great technological giants such as Apple, Meta, Google, or Microsoft are investing in it [13,14], a technological revolution in which the digital and the physical worlds are intertwined in a new reality that encompasses all space and allows co-existing and interacting, anytime and anywhere [15,16,17]. It is important to highlight the potential of connecting the physical and virtual worlds through the metaverse for tourism and hospitality [1,18]. Currently, with the advances in the different devices, this concept of continuity is considered totally valid [19]. In fact, this is indicated by its perception through the interaction devices’ VR headsets, augmented reality mobile devices, and videogame consoles, among others, thus influencing the sensory perception of the individual in a concentrated manner. As is reported in the literature, there is a parallelism with the education sector [10] or the analysis and dissemination of the cultural heritage [20,21]. Within the tourism sector, the future of museums, as a cultural attraction, is rapidly losing part of its income, and many museums are at risk of closing down. We show the possibility of moving the virtual museum to the “meta-hotel” through the use of VR resources [22,23], mainly through the use of head-mounted devices such as VR headsets [1].
The digital museum contains the infinitive vitality of network communication resources. It is an information system expressed by static and dynamic information [24]. Nowadays, there are diverse ways of storytelling strategies in a museum, apart from the traditional one [25]. Nevertheless, to think of the exhibition content for museums as augmented reality (AR) makes more sense rather than just exhibition content offered as VR. The scenario required for the metaverse to occur is as follows: a “no space” or “no place” of weightlessness is accessed, where each detail of the object can be observed at a higher level of perception with respect to that reached when visiting the museum physically and watching the object through a glass. Somehow, the experience takes viewers to the laboratory like researchers of the museum itself.
The concept of the metaverse, a virtual shared space where users can interact with a computer-generated environment and other users, is still relatively new and rapidly evolving. Currently, there is an increasing number of applications that co-exist with some types of technology linked to the concept of metaverse. In fact, there are already several potential applications of the metaverse in the tourism sector. Some of them include:
-. Virtual tourism: With the metaverse, tourists can experience destinations and attractions in a virtual space, without traveling. This can include virtual tours of museums, landmarks, and natural wonders, allowing visitors to explore and learn about different places from the comfort of their own homes.
-. Immersive travel planning: The metaverse can provide immersive and interactive experiences that allow tourists to plan and customise their travel itineraries. For example, they could explore and compare hotels, attractions, and activities in a virtual environment before making their final decisions.
-. Virtual events and conferences: The metaverse can also be used to host virtual events and conferences for the tourism industry. This can include trade shows, exhibitions, and networking events that allow industry professionals to connect and collaborate from anywhere in the world.
-. Training and education: The metaverse can be used to provide training and education for tourism professionals, such as hotel staff, tour guides, and travel agents [26]. This can include virtual simulations and role-playing exercises that help employees develop the skills they need to provide high-quality service to tourists [27].
-. Augmented reality experiences: The metaverse can be combined with augmented reality technology to create immersive experiences that enhance tourists’ interactions with the physical environment. For example, visitors could use AR-enabled devices to access information and multimedia content about the places they are visiting, providing a more engaging and educational experience [28].
The application of the metaverse technology to museum exhibits can mobilise the initiative of the public and enthusiasm [28]. VR is increasingly used to support learning in science, art, and history galleries [29]. Overall, the metaverse has the potential to transform the tourism industry by providing new and innovative ways for tourists to experience and explore different destinations. However, few digital museums have optimised their popular science resources in this way [30]. The metaverse enables virtual museums to offer sustainability advantages, including reduced carbon emissions from travel, a lower energy consumption, and a decreased reliance on physical resources for exhibits and maintenance [31].
1.5. Study Case: Perfume Burner of the Local Historical Museum of Montilla
The Local Historical Museum of Montilla (Córdoba, Spain), together with the Municipal Office of Culture of the Council of Montilla, allowed us to access one of the pieces included in their documentary catalogue for its virtual reconstruction. The medieval piece discovered in the archaeological excavations conducted in the ruins of what used to be the Castle of Montilla is located in the medieval section of the museum and catalogued as a “lamp” (Figure 1).
There are colour differences between the upper and lower parts. The upper part, which coincides with the receptacle, is of a darker colour compared to the lower part, showing a black strip in the limit between both parts. This colour difference is assumed to be related to the impregnation of oil, if it had been used as fuel for lighting, or a different fuel used for a different purpose. It is made of sandstone, rather cubical, 16 cm wide, and hollow, suggesting that it was used as a receptacle or recipient. Unfortunately, it is incomplete, although what is preserved provides more than enough information to interpret it. The two preserved sides show an iconographic programme that, most definitely, would continue in the rest of the lost sides. The piece belonged to the Manor of Aguilar, where Gonzalo Fernández de Córdoba was born, later known as “El Gran Capitán” (The Great Captain).
This research aims to identify and classify the found heritage assessed in the archaeological excavations conducted in the ruins of what used to be the Castle of Montilla, and, likewise, to produce a 3D virtual model of this cultural heritage piece using innovative technologies, which could be appreciated and implemented in the metaverse, as a virtual museum, available from anywhere in the world, not only to preserve and promote cultural heritage but also foster international collaboration and understanding.
2. Methodology
2.1. Methodological Development for the Classification and Identification of the Heritage Piece
A careful analysis of the heritage piece was conducted. Some of the observed features were:
-. The colour difference between the bowl and the rest of the piece;
-. The size of the object, to think about possible uses and purposes;
-. The observation of the iconography of the piece to discover possible symbolic content.
2.2. Methodological Development of the Transfer of the Piece from the Museum to the Metaverse
The study case presented is classified as a purely real element that includes physical pieces (small and large, related to engineering or architecture), buildings or parts of buildings, large areas of archaeological sites, monument complexes, and even large areas of the territory and landscape. In the attainment of these physical subjects transferred to the metaverse, short-range photogrammetry plays a fundamental role, especially in the section dedicated to the development of the practical exercise of transforming a late medieval perfume burner, which is integrated in the metaverse. Figure 2 shows a flowchart concerning the methodology to follow within this research. In the photogrammetric process, the piece was photographed from all possible viewing angles, recording the scale of the object and the correct light exposure through the setting of the camera. To this end, we used an automatised swivel bracket on a stable wooden base placed over easels, three flashlights equipped with 135 W and 5500 K LED lamps, which provide soft and diffuse light, a white felt background, a measuring ruler or scale, a ColorChecker Passport to calibrate the colorimetry of the image, a Manfrotto Befree GT tripode, and a 24.2 Mp Nikon D5300 Kit reflex digital camera with an AF-P 18–55 mm VR lens. Some preliminary premises were established to configure the camera in the manual mode and adjust the opening of the diaphragm and the optimal shutter speed, with the aim of maximising the definition and field depth of the images.
In the next step, the whites were correctly balanced to compensate the exposure within Adobe Lightroom 10 (Figure 3). Then, the images were sent to the reconstruction programme to maximise the sharpness of the alignment process. The next phase was the implementation of the photogrammetric restitution application. The photographs were aligned and adjusted; i.e., the photogrammetric software searched for photogrammetric pairs whose images had homologous points of the target piece and integrated them in a single point of the mesh that later created and conformed the virtual object. A total of 109 shots were taken by placing the piece on a rotating apparatus and shifting its axis of rotation twice. Between shots, the piece was rotated 10° to ensure an overlap of 70–80% of the images. In fact, one of the strategies when scanning a piece consists in running a perimeter around the object, known as photographic capture loop “CL” (Figure 4); in a CL, a certain variation is established between capture stops, to ensure that, in each photograph, the object is centred in the image. To obtain better results, more CLs can be performed from different angles. These images grant the photogrammetry software a basic framework that is later used to align and calculate the depth of the closest photographs.
Once the basic framework was captured, the short- and medium-range photographs were taken. Since the first CL was approximately 3 m from the object, the medium-range CL was at 1.5 m, and the short-range or detail CL was at 50 cm. The photographs taken in the medium-range CL connected the farthest CL. Therefore, a correct planning of the process of photograph capture was necessary, ensuring 60–80% overlapping of images to obtain optimal results. Afterwards, we have the alignment and adjustment of the photographs, that is, Reality Capture 1.0 (RC). This process searches for the photograph pairs whose images have homologue points of the object in a single point of the mesh created to conform the 3D object. It was verified that all the images that were uploaded to the system did not belong to different groups. The duration of this process depends on the number and size of the images. However, it is fundamental to verify the number of points per image that have been aligned, in order to detect possible information losses. The reconstruction programme analysed the shapes of the photographs to generate a high-resolution point cloud. The colour of the photograph was transferred to each of the vertices to generate the texture of the polygonal mesh; thus, the different colours of the photographs were copied to each of the vertices to generate the texture.
A high-resolution mesh was generated (Figure 5) through the process of virtual rectification. Then, the polygonal mesh was adjusted and the necessary virtualisation verifications were performed in order to achieve millimetric precision. Thus, the piece was oriented in its context. The reconstruction region was adjusted for the creation of the polygonal mesh. A usual practice in this process is to lower the sampling (4×) for the normal detail model, obtaining a model of the final mesh in a short calculation time. Through the re-topology procedure, all the details of the high-resolution polygonal mesh were transferred to a mesh with lower resolution. Therefore, a texturing process was carried out, which consisted in creating the different texture maps of the photographed surfaces, placing or sewing the different textures on the model. Thus, the textures that initially had a high-resolution geometry were adapted through a baking of such primitive textures in the low-resolution model. The aim of this adaptation of the textures was to apply the final material with the different layers in the virtualised 3D geometry.
The high-resolution meshing command was executed. In this phase of the process, it is important to consider that all the equipment resources of CPU, GPU, and SSD/HDD are required; therefore, it is recommended that we programme this process in a resting schedule and with the equipment refrigerated. High-resolution meshes of 100–200 million polygons are usually obtained with the RC or Agisoft PhotoScan applications. However, to show an object in web viewers such as Sketchfab, it is necessary to reduce the resolution of the mesh to one million or one and a half million polygons, which can be achieved with programmes like MeshLab 2020.06 released and Zbrush. We then adapted the previous mesh to the means of visualisation that best suit the WebXR environment or metaverses. Through the re-topology procedure, all the details of the high-resolution polygonal mesh were transferred to the mesh with a lower resolution. Therefore, in the next step, the high-resolution texture to be applied to the object had to be extracted, establishing a resolution of 16k (16,000 pixels), which was then reduced to 4k or 8k (4000 and 8000 pixels, respectively) for exportation, thereby reducing the size of the file and its textures. Next, a texturing process was conducted, which consists in creating the different texture maps of the photographed surfaces. As is shown in Figure 6, the different parts of the textures are somehow placed or sewed on the model. In this way, the textures of the high-resolution geometry were adapted by the “baking” of such primitive textures in the low-resolution model, with the aim of applying the final material with the different layers in the virtualised 3D geometry.
The basic information of the object was retouched, the y-axis and the adequate scale to send to the necessary format in each case; in fact, the file was exported in the suitable format (OBJ). This re-edition was carried out in Autodesk 3DS Max, which basically consists in a UVW mapping; that is, the Cartesian coordinates XYZ were transferred to a 2D texture system, which was then used in the virtualised model; this process is known as texture mapping. Then, a second retouch was performed, adding the basic information of the object and the adequate scale to export it to the necessary format in each case. Lastly, the file in OBJ or FBX format to Sketchfab was loaded. Therefore, in this point prior to the metaverse, the following elements were extracted from the rendered piece: base texture, normal texture, reflection, high shines, displacement, normals, environmental occlusion, and all the maps to be configured (Figure 7). Finally, the virtualised piece was obtained, ready to be transferred to our metaverse through the VR headsets or any other device for this purpose.
Once this texturing process was complete, the basic information of the object, such as its coordinate axis and adequate scale, was retouched, with the aim of exporting it to the necessary format on the perfume burner.
The study of the piece in its historical and architectural context is necessary in order to address the virtualisation of a real object of heritage value. Table 1 shows the time spent in this process.
3. Results and Discussion
3.1. Classification of the Heritage Piece
Upon careful analysis, one can distinguish the colour difference between the bowl and the rest of the piece. Due to combustion, it is marked with a very dark line in the area of contact with fire, indicating the decrease in temperature, which suggests an area of direct exposure to the high temperatures caused by the flames. If it had been used to burn oil, apart from the fact that the combustion area is not marked, the sandstone, which presents a high index of porosity, would be totally impregnated with it, affecting its colour uniformly.
Moreover, it is known that braziers were common items in the funerary offerings of late medieval Hispanic Muslim and Christian homes [32]. They could be used for several purposes. The larger ones would serve as room heaters, whereas the smaller ones, as is the case of the piece preserved in the Museum of Montilla, could be used to heat people’s hands, keep food warm, and burn aromatic plants and perfumes. They could be metallic or carved from sandstone. The latter were very frequent [33], as is indicated by the numerous specimens found in Alhambra, since stone accumulates and retains heat more efficiently, and it offers a support that stands the thermal fluctuations caused by the flames.
Regarding the iconography of the piece, the preserved sides show the image of a castle and some kind of wheel from which many leaves spread out toward the vertices of the piece. This wheel represents the so-called hexapetal rose (also known as the rosaceous, rosette, or Celtic wheel). It is an element with a high symbolic content that has been transmitted throughout the history related to the most diverse cultures and civilisations [34]. Many interpretations point to the idea that this motif is an allegory of the sunlight, dating it from the Bronze Age, when sun worship proliferated. Probably, in the same way as triskelions and swastikas were used as protective symbols, the hexapetal rose is frequently found in Celtic–Roman funerary steles, as well as in mosaics, paintings, and ceramics. The rosaceous symbol, as an “icon of eternal life”, has derivations in the European Christian art, in its two most popular styles: the Chi Rho and the rose window. The former, along with the fish, is one of the first Christian symbols, way before the cross itself and everything that it represents; on the other hand, the evolution of the rose window in the European Christian temples can be observed in the rose windows of churches and cathedrals, which are the result of a multiplication of petals. This opening within Romanesque and Gothic architecture is related to the symbology of the light that penetrates the temple and lights up the high altar. This symbological character of the rosette is enhanced by the presence of four ivy leaves, a plant that was mythologically associated with immortality, virtue, and fame. In Spain, any emblem or coat of arms included the image of a castle, basically presenting or alluding to the territory of Castile. In heraldry, this is known as a talking sign [35], which refers to the territory that represents it or the denomination of the kingdom, although the castle was later included in family blazons, symbolising the strength of virtue, power, old nobility, grandeur, and spiritual progress. Based on this, it seems to be an object created to contain something, especially a liquid or fluid. In the Mediterranean culture, this role was played by oil lamps in each of their different types [36].
With all the above-mentioned factors, it is inferred that this object is a small brazier, specifically a perfume burner, designed and used for the combustion of aromatic herbs or fragrant spices. This object, which could have been found in any noble room of the Castle, including the chapel and the sleeping and living rooms, was used to scent such rooms, and it was frequently lit as a symbol of hospitality toward high-rank visits.
3.2. Virtually Representation of the 3D Piece in the Metaverse
Therefore, the study piece that was virtually represented is a late medieval perfume burner, with a relief carving of clearly symbolic figures. This section presents the obtained results and describes the immersive experiences (metaverses) produced during the study. Figure 8 shows the 3D model of the medieval piece (perfume burner) that was produced. Through this link in the on-line service provided by Sketchfab,
3.3. Museum in the Metaverse
The virtualisation of the cultural pieces favoured the development of competence activities. In being applied to the graphic expression of the cultural heritage, they enhance the understanding of the heritage asset. Moreover, artworks and object artifacts are visualised with interactivity, providing a more immersive and attractive experience [37,38]. In this line, as a first result, elements of different scale or size are virtually documented. This difference was deduced from the obtained results, that is, the validity of the scalable procedure. Figure 9 and Figure 10 show the different elements transferred to the museum scale. To a greater extent of complexity, a second result is related to the design of metaverses using specific software (Twinmotion is a cutting edge real-time architectural visualisation tool (no date). Twinmotion. Recovered on 8 July 2024 from
Taking visual references that allow referencing the observed object is fundamental in order to place the visitor in a built context. The model chosen to equip this ethereal space where such elements were placed is the yard of the MAN-Spanish Architectural Museum, which served as a virtual context to immerse the visitor in the modellised heritage pieces. Therefore, any user can participate in an immersive experience of the metaverse, which is not a videogame or a mere puppet-like avatar, but a realm where everyone can freely experiment in another reality with their own bodies. As has been previously highlighted, it is difficult to transfer such an experience to the pages of this text. Thus, Figure 9 and Figure 10 present a walkthrough around this virtual scenario, where the user can inspect the different heritage pieces. The new space created does not constitute a traditional museum in which a historical piece is merely observed through a glass; instead, the user lives an immersive experience, being able to observe every detail he/she wants, no matter how small it is. This virtual environment grants the experience greater realism, freeing the user from the cold and hostile environment felt from the no-place of the metaverse; moreover, it provides the user with the necessary isolation to ensure the maximum immersive effect. The study recommends that museum decision-makers integrate technological innovation in their day-to-day, which can revitalise the cultural heritage in a different manner, and is much more attractive and immersive.
4. Conclusions
Following a precise methodology, a 3D digital model of a heritage asset, such as the perfume burner of the Montilla Castle, was created as a result of innovative technologies. This virtual element can be integrated into the metaverse, favouring the creating of a virtual museum. It is an attraction and implies a virtual connection between the expository reality and the touristic potential through the Internet. In this context, the interest generated by the technological advances like Augmented Reality and Virtual Reality are exploited to stimulate the visits to the museums of any municipality, in this case, a study in the locality of Montilla (Córdoba, Spain). The space created was designed using a scalable system with the capacity to adapt to different needs. A physical laboratory was provided (VR scenario), in which the visitor and internaut can make use of the immersive technology with the Oculus Quest 3D visualisation glasses. The final visualisation of objects through these techniques generates sensations and experiences that remain in the subconscious with the use of this novel and innovative resource. As part of a virtual museum, this digital model can be accessed from anywhere in the world, enabling global audiences to explore this piece of medieval heritage without geographical limitations.
The use of photogrammetry for the virtualisation of this cultural piece contributes to clearly benefitting sustainability in general, having facilitated the creation of part-virtual museums in the metaverse.
5. Future Lines of Research
Some future lines of research to consider after this article are:
-. Advanced Preservation Techniques: Developing new methods for the digital preservation of fragile or deteriorating artifacts using 3D modelling and virtualisation, ensuring their longevity for future generations.
-. AI-Enhanced Reconstruction: Investigating the use of artificial intelligence and machine learning to reconstruct missing or damaged parts of artifacts, creating more accurate and complete 3D models.
-. Metadata Standards and Interoperability: Researching the development of standardised metadata protocols to ensure that 3D models of cultural heritage artifacts are easily shareable, searchable, and interoperable across different platforms and institutions.
-. Ethical Considerations in Digital Replication: Investigating the ethical implications of digitising cultural heritage, including issues related to ownership, cultural sensitivity, and the potential for misuse or misrepresentation of 3D models.
-. Crowdsourcing and Community Involvement: Exploring the role of crowdsourcing and community engagement in the creation and validation of 3D models, allowing for broader participation in the preservation of cultural heritage.
-. Sustainability and Resource Efficiency: Developing more sustainable and resource-efficient methods for the 3D scanning and modelling of artifacts, reducing the environmental impact of these processes.
P.T.-T. and A.M.-G. contributed to the conceptualisation; P.T.-T. and R.E.H.-F. were involved in the methodology; P.T.-T. and R.E.H.-F. contributed to the validation; P.T.-T. and A.M.-G. were involved in the investigation; P.T.-T. and A.M.-G. contributed to the resources; P.T.-T. and P.C.-C. contributed to the data curation; P.T.-T. and A.M.-G. contributed to the writing—original draft preparation; P.T.-T., R.E.H.-F. and P.C.-C. were involved in the writing—review and editing; and P.T.-T. and P.C.-C. contributed to the supervision. All authors have read and agreed to the published version of the manuscript.
Not applicable.
Not applicable.
The data and material can be provided upon request from Paula Trivino-Tarradas (
The authors thank the University of Cordoba in Spain for providing the opportunity to carry out the teaching innovation project entitled ‘The Metaverse as a tool for improving the teaching-learning process of Graphic Representation Systems and other Drawing subjects (2023-1-5007)’. This research work provides the framework for the procedures that follow from this kind of e-Learning and the authors would like to thank all the students that have actively participated in this project, which looks to the future of developing different and better learning methods. The authors respect the support of the students who have participated in this research exercise.
The authors declare no conflicts of interest.
Footnotes
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Enlarge this image.Figure 1. Medieval pre-existing perfume burner seen from different angles: front (a) and back (b).
Enlarge this image.Figure 2. Flowchart of the methodology followed to implement the metaverse with a cultural heritage piece.
Enlarge this image.Figure 3. Each of the photographs of the perfume burner loaded in Adobe Lightroom 10 to balance the images.
Enlarge this image.Figure 4. Alignment and adjustment of the photographs taken in Reality Capture 1.0. The image shows the different CLs.
Enlarge this image.Figure 5. Detail of a high-resolution polygonal mesh area. Notice the appearance of the symbology of the embrasure.
Enlarge this image.Figure 6. Detail of the different texture maps. 2D view of the processed textures: winnow (a) and relief (b).
Enlarge this image.Figure 9. General view of access to the exhibition integrating the element with other elements, to generate the feeling of being in a museum.
Enlarge this image.Figure 10. Panoramic view of the expository panel of the perfume burner in the virtual museum scenario.
Time spent in the different tasks for the production of the 3D model.
| Quantity | Days of Work | Description of the Task |
|---|---|---|
| 1 | 7 | Study and documentation of the piece |
| 1 | 2 | Organisation of the working material, preparation of the equipment, and obtaining of the necessary permits |
| 1 | 1 | Setting of the laboratory in which the photographs were taken (field work) |
| 1 | 1 | Balancing/compensation and alignment of the photographs (office work) |
| 1 | 2 | Re-topology (office work) |
| 1 | 1 | Setting of the different texture maps (office work) |
| 1 | 2 | Exportation of the model to a website, paper, metaverse, etc. (office work) |
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; Mohedo-Gatón, Alejandro 2 ; Carranza-Cañadas, Pilar 1
; Hidalgo-Fernandez, Rafael E 1
1 Department of Graphic Engineering and Geomatics, Campus de Rabanales, University of Cordoba, 14071 Cordoba, Spain;
2 Andalusian Public Education Agency, Ministry of Education and Sport, Cordoba Delegation, 14071 Cordoba, Spain;