Julie Lombardo

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This paper discusses the fundamental issues of the real-time web-based visualization of complex reality-based 3D models. As web platform, we use NUBES, an innovative and powerful tool for sharing and analyzing reality-based 3D models online. A new automatic procedure for the setting-up and the uploading of 3D complex scenes into NUBES is presented,(More)
By some time, the scientific community wonders about some other possible applications of 3D models to the practices of the project, the survey, the conservation and the communication. The recent and continuous developments of technology allow to design new techniques for data processing. In particular, the process of information integration involves all(More)
Conservation and valorization of cultural heritage buildings can be improved by providing public with access to information related to cultural sites. Particularly, the development of tools adapted to all kinds of audience and suitable to the requirements of the visit can create awareness among the general public about conservation. This article describes(More)
This article describes an interactive platform for the semantic annotation of oriented iconographic sources based on an accurate 3D-model structured according to spatial and temporal features. This platform, called LOCUS IMAGINIS, provides access to cultural information about monuments by collecting personal snapshots taken by visitors. In particular, the(More)
Multidimensional databases constitute a handy solution to store and display data collected in the fields of conservation and restoration. However, knowledge on the current state of monuments depends on a heterogeneous corpus of data (cartography of degradation/materials, past restoration actions, core samples, photogrammetric data, analysis data, etc.).(More)
Like most Chinese imperial tombs, the tomb of Emperor Qianlong consists of a suite of four rooms forming a underground space of 372 m2. Its originality lies in the inscriptions which are engraved on the walls and vaults and exclusively in Tibetan (30,000 characters) and Lantsa (600 characters). In the project we present here, all engravings were digitized(More)
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