Paolo Vigliarolo | Sovrintendenza di Roma Capitale (original) (raw)

Papers by Paolo Vigliarolo

Virtual Archaeology Review, 2011

Journal of Cultural Heritage

1. EXECUTIVE SUMMARY This document builds upon the Report: State of the Art on Virtual Museums in... more 1. EXECUTIVE SUMMARY This document builds upon the Report: State of the Art on Virtual Museums in Europe and Outside Europe (Deliverable 2.3) developed by the Virtual Museum Transnational Project (V-MUST .NET) and delivered 30 September 2011, which was based on the Work Package 2 “House of Questions,” which endeavoured to establish requirements and criteria analysis for the Virtual Museum domain. D. 2.3 incorporated research on the state of the art on Virtual Museums set out in Deliverables 2.1 anDeliverable 2.2 while ...

On September 23rd 2014, after 2000 years from Augustus death, 13 countries have met in Rome, Amst... more On September 23rd 2014, after 2000 years from Augustus death, 13 countries have met in Rome, Amsterdam, Alexandria and Sarajevo, for the opening of an extraordinary exhibition, “Keys to Rome”: an interactive journey to discover Roman Culture, starting from the city of Augustus and reaching the entire Roman Empire, through the visit to 4 fascinating venues, 4 museums with their archaeological collections, more than 10 different technologies supporting and enhancing this global experience. This is more than an exhibition on Roman archaeology. "Keys To Rome" is a unique international exhibition, that, for the first time is organized in parallel in four locations:Rome, in the wonderful setting of the Imperial Fora Museum (Museo dei Fori Imperiali); Alexandria, in the Antiquities Museums of the Bibliotheca Alexandrina; Amsterdam, in the recently renovated Allard Pierson Museum; and Sarajevo, in the newly restored CityHall (Vijecnica) and in the Sarajevo Museum. This Catalog, wi...

Videogames, Ricerca, Patrimonio Culturale, 2020

A Night in the Forum is a first person 3d videogame for Playstation VR developed starting from an... more A Night in the Forum is a first person 3d videogame for Playstation VR developed starting from an educational scaffolding of 35 learning concepts that the player will face, while playing and interacting with the Forum of Augustus in Rome and the story of a tourist lost in the 1 century AD

Un metodo integrato per valutare i Musei Virtuali e l'esperienza dei visitatori. Il caso del Muse... more Un metodo integrato per valutare i Musei Virtuali e l'esperienza dei visitatori. Il caso del Museo Virtuale della Valle del Tevere.

ATTI DEL WORKSHOP
15 DICEMBRE 2016
MUSEO NAZIONALE ETRUSCO DI VILLA GIULIA
VIA DI VILLA GIULIA, 9
00196 ROMA

This document describes the work done within the Virtual Museum Transnational Project (V-MUST.NET... more This document describes the work done within the Virtual Museum Transnational Project (V-MUST.NET), and specifically within the Work Package 2, dedicated to the creation of a common language in the Virtual Museum domain. This deliverable describes the adopted methodology used to build an on line common database that collects terms and definitions. It also defines the main 8 categories chosen to initially classify the domain and used as “glossaries” to collect related-terms.

Sin dalla sua comparsa nel II secolo a.C., il culto di Iside si insedia prepotentemente nel cuore... more Sin dalla sua comparsa nel II secolo a.C., il culto di Iside si insedia prepotentemente nel cuore della città di Roma: due iscrizioni (CIL VI, 2247, 2248) provenienti dal Campidoglio, menzionano due sacerdotes Isidis Capitolinae. Il suo culto ha nella città una presa tale da generare una folla di adepti, iniziati ai suoi misteri; si moltiplicano i luoghi di culto, da semplici are, fino alle grandi costruzioni templari.

Il ritrovamento dei bolli laterizi durante i restauri dell'intero complesso monumentale dei Merca... more Il ritrovamento dei bolli laterizi durante i restauri dell'intero complesso monumentale dei Mercati di Traiano si deve a vari fattori: la possibilità di ispezionare accuratamente le murature grazie all'ausilio dei ponteggi, sia negli spazi interni che nelle pareti esterne; la necessità di inserire i capochiave degli incatenamenti all'interno delle murature stesse, per non impattare troppo sul monumento antico. Quest'ultima operazione ha previsto uno scasso della muratura in corrispondenza dell'uscita delle catene, l'inserimento del capochiave ed il rimontaggio con lo stesso materiale.
Come il resto di tutta la documentazione dei restauri, anche quella dei bolli è stata contraddistinta dal lavoro in equìpe e dal suo svolgimento in corso "d'opera". Ogni bollo rinvenuto, dopo aver ricevuto un numero di inventario progressivo, è stato misurato, fotografato e schedato in un database creato ad hoc. In seguito alla chiusura dei lavori è iniziata la fase di studio dei materiali, rivolta in particolare all'aggiornamento rispetto alla situazione già delineata in studi precedenti.

Il presente contributo illustra le metodologie applicate nella documentazione dei lavori di resta... more Il presente contributo illustra le metodologie applicate nella documentazione dei lavori di restauro, consolidamento sismico ed adeguamento impiantistico della Grande Aula e del Corpo Centrale. Le attività sopra menzionate hanno documentato, non solo in maniera dettagliata le operazioni compiute sul monumento, ma hanno permesso di acquisire nuovi dati archeologici[i] e di creare un archivio grafico e fotografico che è stato ampiamente utilizzato per la realizzazione dei diversi prodotti di comunicazione del Museo dei Fori Imperiali nei Mercati di Traiano.

Reconstructing the past. From the Museum of Roman Culture to the Museum of the Imperial Fora 1. ... more Reconstructing the past. From the Museum of Roman Culture to the Museum of the Imperial Fora

1. The first virtual museum. The need to reconstruct the spaces and the architectural elements of the ancient monuments of Rome is the main purpose, carried out for the first time as a temporary exhibition and finally with the set up of the first virtual museum in Rome.
The Museum of Roman Culture is in fact the result of three important events: the Archaeological Exhibition of 1911 inside the Baths of Diocletian, a first seat during the 1926 as the Museum of the Roman Empire; the second Augustan Exhibition of Romanitas, which took place in 1937 in the Palazzo of the Exhibitions; finally all the collection was brought to the present museum in the EUR quarter in Rome.
Reproductions at full scale, and models with various dimensions are an extraordinary tool to read and understand the ancient architecture and sculpture. Certainly the museum, along its historical and thematic sections, let the visitor both to follow the evolution of the city and its growth in the empire, and to understand the unique spread in the territory through works and culture. But what does the Museum need today? The narration, the context, the human being who is always behind an object, a building, everything made.
2. The set up of the Museum of the Imperial Fora was interested by a huge amount of architectural and sculpted material: it was both studied on reconstructions (when it was possible) and on the ideological significance and constructive complexity. For this reason, since the beginning of the planning, we wanted to tell the exposition with a multimedia system. Another problem is the balance between the works exposed and the museum itself, that is an extraordinary monument: the Trajan’s Markets.
The planning and the production of the museum and of the Communication System were made up by a team of archaeologists, architects and multimedia experts, all with a strong humanistic background. Technology solutions were born with the collaborations of all these professionals.
3. The Museum, opened on 2007 October, shows to the public an innovative set up and communication system. It’s a new generation museum, with the sculpted material of the five Imperial Fora, and many architectural re-compositions.
The different marble typologies, the architectural orders, the dimensional ratios, and also the buildings functionalities and spaces, give the birth to a museum dedicated to Roman architecture and its decoration: important and meaningful aspects of all the buildings in the Fora during the Roman age.
The Communication System of the Museum of the Imperial Fora is composed by traditional didactics and a multimedia system that go with the visitors and help them to understand, in a simple and immediate way.
Technique choice of the videos was first tested with a prototype during an exhibition, and the final result was a mixed technique: still images, videos, 3D reconstructions and watercolours were used.
Now the Communication System has a multimedia hall, near the main entrance, and ten didactic videos along the visitors path.
The Multimedia hall in the ground floor of the Museum, has a back-projected screen, connected with a pc and an audio system. The storyboard of the video is realized to reach the general public: a mascot, Columnus, guides the visitors from the present-day Rome, back to the past, until the Imperial Rome, so that is possible to watch all the changes of Trajan’s Markets and of the Fora; at the end our little hero finds itself in a Forum of Augustus capitol now exposed in the Museum.
The other ten videos in the museum have a completely different concept. They are composed by a LCD screen connected to a mini-player through a s-video cable. All the stuff is inserted in a didactic panel similar to the “classic” ones in the museum to create uniformity and to reduce the visual impact. All the videos are in DVD (mpeg2) quality and are uploaded in a flash card.
To realize these products we worked in according to a real semiotic-structural reasoning of the image in movement, absolutely assumed as autonomous and universal language.
Each video has a maximum duration of 3 minutes. At the present day they have neither audio neither soundtrack, neither subtitles. Their realization has been the result of a long and accurate work on the optimization of the storyboards, all starting from the same base.
The videos start with the position of the ancient valley of the Fora in relationship with the modern urbanistic situation of Rome, underlining as today, exactly as in ancient time, the Imperial Fora were situated in the heart of the city. Such geographical informations are obtained with techniques of fading and overlaps between modern images and reconstructions of the Roman phase; then every single product illustrates the link between fragments and ancient volumetry so the visitor can do a comparison with the objects exposed in the same room. Then each video shows the function of the building and his role in the Forum of affiliation and in the other Fora.
This circular narrative plot, common to every multimedia product, determines a leitmotif that guides the visitor, who finds in any section of the Museum the essential informations to understand the Fora in ancient time, and in the specific case, the necessary informations to understand the finds exposed in each room of the Museum.
The Communication System constitutes the 'surplus value' of the Museum: its visit has also to arouse amazement and to make the perceiving of the discovery of Trajan’s Markets architecture, of the history of the city, and at the same time, of the complexity of the Imperial Fora. Therefore the setting-up can’t be static, but has to evolve with the studies of the researchers and with the visitors demands overcoming the limit that mines the Institutional Museums: the self-referentiality and the restriction in an immovable and definitive structure, in substance without dynamism, or the ability to regenerate itself and to produce fidelity in his public.
4. The different way to be in touch with the public has very positive results for the cohabitation in urban area among archaeology, normally considered an obstacle, and the needs of the daily way of living. We have to recognize that usually the citizen can’t reach the informations and the involvement in the activities of excavation and of urban restoration: Citizens can find in the Museum not only a place of information, but of knowledge of the value of our heritage, to train people, from children to adults, to defend and to increase the value of this cultural heritage.
In brief the multimedia language – the one of our epoch - must improve on communication and on spread of the research through emotional suggestions: to evoke, to inform, to know and to simplify without trivialize.

The Museum of Imperial Fora, started on October 17 th, 2007, inside the Trajan’s Markets monument... more The Museum of Imperial Fora, started on October 17 th, 2007, inside the Trajan’s Markets monument, offers to its visitors an innovative communication and set-up model. Visit route
was conceived as a continuous itinerary between the archaeological areas of the Imperial Fora and the monument that hosts the architectural and decorative reconstructions of
ancient buildings. The aim of the Museum is not the exhibition of the individual fragments of a splendid decorative past, but to physically reconstruct their original function and the decorative motifs of which they were part of. So the new Integrated Communication System, with the use of the latest technologies in graphic and 3D reconstructions, lets the visitor to really understand the ancient urban-architectural point of view of the Imperial Fora. Multimedia products can be seen on LCD displays and show the virtual reconstructions of the single fragments, inserted in their original building, and then, in a
wider view, the urban context in the area of the Fora and of the ancient city of Rome. It’s a choice to recreate the now lost three-dimensionality proportions and decorative magnificence of the Imperial Fora.

established by: Mauro …, Jan 1, 2009

Virtual Archaeology Review, 2011

Journal of Cultural Heritage

Videogames, Ricerca, Patrimonio Culturale, 2020

ATTI DEL WORKSHOP
15 DICEMBRE 2016
MUSEO NAZIONALE ETRUSCO DI VILLA GIULIA
VIA DI VILLA GIULIA, 9
00196 ROMA

Reconstructing the past. From the Museum of Roman Culture to the Museum of the Imperial Fora 1. ... more Reconstructing the past. From the Museum of Roman Culture to the Museum of the Imperial Fora

established by: Mauro …, Jan 1, 2009

by Bruno Fanini, Daniele Ferdani, Niall O'hOisin, Paolo Vigliarolo, Leonardo Rescic, Sofia Pescarin, Alfonsina Pagano, Wim Hupperetz, Enzo d'Annibale, Muhammad Abd-el-Maguid, Daria Ruggeri, and B M

On the 23 September 2014, after 2000 years from Augustus death, 13 countries have met in Rome, Am... more On the 23 September 2014, after 2000 years from Augustus death, 13 countries have met in Rome, Amsterdam, Alexandria and Sarajevo, for the opening of an extraordinary exhibition, “Keys to Rome”: an interactive journey to discover Roman Culture, starting from the city of Augustus and reaching the entire Roman Empire, through the visit to 4 fascinating venues, 4 museums with their archaeological collections, more than 10 different technologies supporting and enhancing this global experience.This is more than an exhibition on Roman archaeology. "Keys To Rome" is a unique international exhibition, that, for the first time is organized in parallel in four locations:Rome, in the wonderful setting of the Imperial Fora Museum (Museo dei Fori Imperiali);Alexandria, in the Antiquities Museums of the Bibliotheca Alexandrina; Amsterdam, in the recently renovated Allard Pierson Museum; and Sarajevo, in the newly restored City Hall (Vijecnica) and in the Sarajevo Museum.

Atti del workshop del 15 dicembre 2016 presso il Museo Nazionale Etrusco di Villa Giulia a Roma, ... more Atti del workshop del 15 dicembre 2016 presso il Museo Nazionale Etrusco di Villa Giulia a Roma, sul tema della comunicazione museale, dei musei virtuali e di una proposta metodologica per la valutazione dell'esperienza dei visitatori.
In particolare vengono presentati i risultati delle valutazioni svolte nel corso del 2015-2016 sul pubblico scolastico (licei di Roma e provincia) e su quello generico dell'installazione di realtà virtuale con interazione naturale MUSEO VIRTUALE DELLA VALLE DEL TEVERE, ospitata permanentemente presso lo stesso Museo di Villa Giulia e realizzata dal CNR ITABC.
Vengono presentati anche altri approcci metodologici e casi di studio, interessanti al fine di restituire un quadro abbastanza esauriente della tematica.

Aspects of Choral Performance in Classical Tragedy, 2003

Greek tragedy was a complete performance, with poetry, songs and dance. Unfortunately, manuscript... more Greek tragedy was a complete performance, with poetry, songs and dance. Unfortunately, manuscript tradition has given us very little of this high artistic form. When we read a tragedy today, or we see it in a theater, we are still emotionally involved by characters events, even if we are able to reconstruct a small part of the apparatus used in the performance; our operation is the same as reading a book of an opera without listening to it: everyone would be struck by Rigoletto's tragedy, which finds the corpse of his daughter in place of that of his worst enemy in front of his eyes; but listening to the aria of the protagonist raises the climax of this drama: music is the soul of such compositions.

Journal of Cultural Heritage, 43, 2020

In the last decades, thanks to the success of the video games industry, the sector of technologie... more In the last decades, thanks to the success of the video games industry, the sector of technologies applied to cultural heritage has begun to envisage, in this domain, new possibilities for the dissemination of heritage and the study of the past through edutainment models. More recently, experimentation in the field of virtual archaeology has led to the development of virtual museums and interactive applications. Among these, the “serious game” segment – the application of interactive technologies to the cultural heritage domain – is rapidly growing, also including immersive VR technologies. Applied VR games and applications are characterized by a thorough historical background and a validated 3D reconstruction. Indeed, producing such products requires a tailored workflow and large effort in terms of time and professionals involved to guarantee such faithfulness. Drawing on our previous work in the field of virtual archaeology and referring to recent experiences related to the deployment of applied VR games on PlayStation VR ©, we describe and assess a workflow for the production of historically accurate 3D assets, targeting interactive, immersive VR products. The workflow is supported by the case study of the Forum of Augustus and different output applications, highlighting peculiarities and issues emerging from a multi and interdisciplinary approach.