Vom 11. bis 13. Oktober 2023 veranstaltete das Corpus der barocken Deckenmalerei einen Workshop zum Thema Historische Räume und multisensorielle Erfahrung. Digitale Erforschung von Licht, Klang und Bewegung.

Der Workshop bot Teilnehmern aus unterschiedlichen Forschungsbereichen die Möglichkeit das Thema aus unterschiedlichsten Perspektiven zu beleuchten und erwies sich damit als äußerst inspirierend. Durch die interdisziplinäre Herangehensweise und die anregenden Diskussionen wurden zahlreiche neue Erkenntnisse und Einsichten gewonnen, die wertvolle Impulse für die Forschung gaben.

Nachstehend finden Sie die Videos der Vorträge und Diskussionen, die während des Workshops aufgezeichnet wurden.

In her lecture, Mona Hess focused on the challenges of digital modeling in art history, especially in simulating light and sound for Baroque interiors. She emphasized the importance of using terrestrial laser scanning and photogrammetry to gather color and geometric data, highlighting the role of point cloud models in this process. Hess discussed the complex transformation from point cloud models to textured surface models and the journey from raw data to 3D models. She detailed specific challenges encountered in the Mirror Hall of Reinsberg and Arnstorfer Castle's great hall, particularly with reflective and transparent objects and uneven lighting. The use of calibration objects to correct lighting distortions was also discussed. Additionally, she addressed the importance of maintaining color accuracy under different lighting conditions, as exemplified in Reinsberg Castle. The use of an automated photogrammetric system demonstrated the necessity of precise data collection. Hess also touched upon the complexities of acoustic modeling and the simplification required for effective simulations. Her lecture highlighted the integration of these models into virtual reality, showcasing the potential of digital technologies in historical space analysis.

Lehrstuhl Digitale Denkmaltechnologien, Universität Bamberg: https://www.uni-bamberg.de/ddt/

Projekt Plafond3D: https://www.uni-bamberg.de/ddt/forschung/projekte/plafond3d/

https://plafond3d.hypotheses.org/

Gezeigte 3D Modelle abrufbar unter https://sketchfab.com/DigitalTechnologiesCH_Bamberg

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In his lecture, Nicola Lercari focused on the application of 3D modeling technology in archaeology, particularly at the Maya site of Palenque. He emphasized Palenque's importance, especially in terms of art, culture, and architectural innovation during the 7th to 9th centuries. Lercari detailed key sites like the Temple of the Inscriptions and the Royal Palace, showcasing these through historical images and 19th-century paintings. He discussed how these sites were rediscovered by Western explorers in the late 18th century and the dense urban form and population structure of Palenque. Lercari mentioned the role of airborne laser scanning in revealing the structure of the ancient city and the use of machine learning for processing large datasets. He highlighted the application of ground laser scanning in exploring the underground structures of these sites and discussed using AutoCAD and 3D data to correct previous archaeological drawings. He also explored the underground structure of the Temple of the Inscriptions, including King Pakal's tomb, and proposed hypotheses about the relationships between this building and nearby temples. Lercari introduced their use of a 3D Archaeological Atlas for innovative visualization and analysis, emphasizing how these technologies have transformed their understanding of Palenque and its cultural heritage.

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In Raphael Rosenberg's lecture, he delved into the utilization of eye-tracking technology to understand how viewers perceive Baroque ceiling decorations. He traced the origins of eye tracking to 1898, highlighting its evolution to modern tools like the EyeLink 1000+. Rosenberg presented a study on viewer perceptions of "The Last Supper" paintings, revealing diverse interpretations of composition through eye movement patterns. He also compared the gaze of children and their parents on artworks, using heat maps to illustrate their different focal points. A study on gender differences in viewing art showed no significant disparities between men and women. Rosenberg explored cultural influences on perception by comparing Japanese and Austrian viewers, indicating noticeable differences. He discussed challenges in analyzing prolonged viewing in museums, a typical context for art appreciation. Experiments at the Kunsthistorisches Museum and Belvedere used mobile eye trackers, revealing an increase in artwork viewing time and interest in additional information provided. Rosenberg concluded by discussing potential future directions in eye tracking, including the use of virtual and augmented reality for studying ceiling decorations and the necessity for improved analytical tools for extensive data.

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Olivier Bonfait's lecture focused on how early modern viewers perceived art, emphasizing the need for objectivity in understanding artworks. He mentioned that while art history has traditionally relied on iconography and iconology to analyze images, recent attention has shifted to understanding the entire process of seeing an image. Bonfait noted the lack of ancient sources for reconstructing eye tracking in the early modern period, with few available accounts conforming to social or cultural norms. He highlighted two main sources for understanding viewer perception: the artwork itself and its description, both of which can be prescriptive. Bonfait discussed how, since the 16th century, viewers have become accustomed to a representation that respects the law of perspective, and how the description of artworks can either be a narrative close to reality or prescriptive. He also explored how our gaze is strongly lateralized from left to right due to living in a highly lateralized world. This expectation influences how we read and interpret images, as evidenced in Nicolas Poussin's painting of the manna and Félibien's description of it. Bonfait concluded that this paradigm of composition and viewing processes was established around the 15th and 16th centuries and gradually disappeared after 1900, possibly linked to the spread of reading.

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In his lecture, Manuel Hunziker focused on the innovative use of virtual reality (VR) to recreate and study ancient spaces, particularly emphasizing the significance of light in ancient Roman settings. He presented a case study of the Casa di Giulio Polibio in Pompeii, highlighting the project's aim to understand how light interacted with objects and architecture to shape the ancient atmosphere. Hunziker detailed the interdisciplinary approach of the project, involving archaeology, scientific material analysis, and digital documentation. He explained the process of digitally reconstructing the site, including 3D scanning of the room and artifacts, and the creation of a VR model for immersive experience. The project, involving collaboration with various experts, aimed to return artifacts to their original setting to analyze the impact of lighting and material properties. A highlight was the digital reconstruction of the Apollo Kouroi lamp bearer, which included recreating its original bronze appearance. The lecture discussed the challenges of simulating light in the virtual model and the limitations of current VR technology, such as the lack of personal avatars. Hunziker concluded by outlining future steps for the project, including improving object tracking in VR and making the VR environment more user-friendly for research and education purposes.

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Lars O. Grobe, Claudia Mächler, and Andreas Noback's presentation explored using daylight analysis in historical architecture to assess room usability for ancient activities. They introduced a method that simulates daylight conditions throughout the year, applying this to Pompeii and Ostia's ancient buildings. Their approach involved creating 3D models to reconstruct spaces, then using daylight simulation software like Radiance and Ray Traverse for detailed lighting analysis. This technique considered factors like vertical illumination and room orientation to determine the optimal conditions for activities requiring specific light levels. Their study of Hagia Sophia illustrated the aesthetic impact of natural light in architectural spaces. By examining the distribution of light and shadow, they demonstrated how sunlight shapes our perception of space. The team aimed to integrate these findings into GIS systems, allowing archaeologists to overlay lighting data with archaeological information, enhancing understanding of daily life in ancient times. This innovative approach bridges modern technology with historical research, offering a new perspective on how ancient people interacted with their built environment. By focusing on the functional aspects of light in architecture, they provided valuable insights into the daily activities and lifestyles of ancient civilizations.

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In his lecture about Schloss Eggenberg in Graz, Paul Schuster explores the captivating interplay of baroque architecture and candlelight. He outlines the castle's history, originating in the 1620s as a powerful Habsburg symbol, and its remarkable preservation, with 24 ornate rooms and ceiling paintings from the 17th century intact. Schuster emphasizes the transformative effect of candlelight in these spaces, highlighting how mid-18th-century lighting fixtures such as chandeliers and wall arms not only illuminate but also signify the ceremonial hierarchy and intended use of each room. The contrast between the brightly lit Parade rooms and the more intimate northern suite mirrors their respective ceremonial and social functions. Schuster asserts that experiencing these rooms under candlelight offers a unique and irreplaceable sensation, one that modern photography cannot capture. This experience, he argues, is crucial in historical research and restoration, as it reveals the original purpose and enhances the emotional connection for visitors. Concluding, Schuster notes that Schloss Eggenberg provides a rare opportunity to witness baroque interiors in their original candlelit conditions, an experience largely lost in modern settings, offering a unique journey back in time and insights into a historical world now altered by modern lighting.

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In Krista de Jonge's lecture, she discusses the historical reconstruction of lost architecture through a multidisciplinary approach, focusing on the 16th-century Palace of Mary of Hungary. Emphasizing the need to combine architecture history with acoustics and other fields, she details the methodology used in recreating the soundscape of spaces that no longer exist. This project, born from a collaboration with an acoustician, involves using existing software to simulate the acoustic environment of the lost palace. De Jonge stresses the importance of a holistic view, intertwining the sensory experiences of architecture with sound, materiality, and spatial relationships. The reconstruction process began with detailed architectural plans, later transitioning to 3D models and ultimately to acoustic simulations. Utilizing Building Information Modeling (BIM) software and ODEON for acoustic modeling, the project faced challenges due to the lack of calibration possibilities in lost buildings and the need to approximate material properties. The lecture also highlighted the crucial role of historical context in interpreting and reconstructing these spaces, particularly the need for musicology experts to ensure period-appropriate soundscapes.

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In her lecture, Christa Syrer, an art historian with a special focus on spaces and spatial analysis, delved into the intersection of architecture and climate, particularly during the Little Ice Age, a period of cooler temperatures and extreme weather events from 1300 to 1850. Syrer highlighted the Antiquarium in the Munich Residence, originally a gallery for classical antiquities, transformed around 1600 into a dining hall. She noted how the limestone floor tiles in the Antiquarium were affected by rising moisture and salt efflorescence. She emphasized the awareness of early modern architects and writers about climate conditions, adhering to Vitruvian principles for designing buildings in harmony with the natural environment. Moreover, Syrer explored Dean Hawkes' thermal monitoring study of Hartwick Hall in England and suggested hygrothermal simulation as a comprehensive method for reconstructing historic indoor climates. This approach, while still evolving, opens new perspectives in art history by providing insights into the feel of historic rooms and the impact of climate on architectural design. The lecture thus combined historical architecture with modern scientific analysis, shedding light on the dynamic relationship between built spaces and their climatic contexts.

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In her lecture, Elisabeth Mayer from the Leibniz Supercomputing Centre emphasized the significance of material and light in animating digital twins, which are virtual replicas of physical objects and spaces. She introduced the Centre's cutting-edge LED-Cave and Powerwall, highlighting their role in virtual reality and visualization. Mayer detailed how digital twins are created through methods like photogrammetry, laser scanning, and 3D modeling. The focus of her talk was on making these models realistic through Physically Based Rendering, a process that involves enhancing surface details like color, reflectiveness, and texture. She also discussed the crucial role of virtual lighting in adding context and depth to digital models. Mayer showcased practical applications, including the Kaisersaal in Bamberg and the Spiegelsaal in Rheinsberg, illustrating how adjustments in material and lighting can transform the perception of these spaces. Her lecture concluded by underlining the importance of customizing the presentation of digital twins according to their intended purpose, whether it's for detailed analysis, visualizations, or immersive VR experiences.

Project partners for the Kaisersaal Project: CbDD (Stephan Hoppe, Matteo Burioni); illustrated architecture - Bernhard Strackenbrock, Deutsches Dokumentationszentrum für Kunstgeschichte - Bildarchiv Foto Marburg; Bayerische Schlösserverwaltung. Funded by the Bavarian Academy of Sciences and Humanities.

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In her speech, Lilia Gaivan explores the architectural and ceremonial significance of the Salzburg Residence's staircases around 1600. She highlights how these staircases, beyond functional elements, were integral to court ceremonies, reflecting Wolf Dietrich von Reitenau's architectural influence during his reign as archbishop since 1587. Gaivan notes the variety of staircases in Salzburg, including both spiral and straight types, signifying their diverse ceremonial roles. Her research, supervised by Professor Stephan Hoppe, is part of her master's and doctoral theses, focusing on the period's staircase art and its relation to courtly life. The speech addresses the lack of comprehensive research on Salzburg's secular architecture in the broader context of pre-Thirty Years' War residence architecture, despite notable contributions from artists like Vincenzo Scamozzi. Gaivan discusses the Residenz's architectural transformations under Wolf Dietrich, including the relocation of his apartments and the construction of the Hofbogengebäude. She elaborates on how court ceremonial practices influenced the architectural design, with staircases serving as stages for hierarchical and social interactions. Concluding, Gaivan asserts that the Salzburg Residence's staircases are significant for understanding architecture and societal norms of the time, showcasing how architecture functioned as a medium for societal communication, setting a precedent for later Baroque grand staircases.

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In Ke Ma's speech, she explores the use of mirrors in late Baroque interior design, specifically in Chinese cabinets from the 1680s. These cabinets, decorated with Asian porcelain and other artifacts, originally featured mirrors mainly above fireplaces, complemented by consoles for porcelain display. Ma explains how mirrors in tall, narrow wall panels enhance the perception of space and notes that the combination of diverse elements in these cabinets can lead to terminological confusion. The speech traces the development of the mirrored porcelain cabinet at Schloss Friedenstein back to Duke Ernst I's era, emphasizing its transformation under Friedrich II for Magdalena Augusta.

The functional role of mirrors in the cabinet is examined, with Ma highlighting their contribution to creating optical illusions of depth and enhancing the room's aesthetic appeal. She concludes by addressing the unique spatial experiences created by the innovative use of mirrors in various shapes and sizes, which produce exotic impressions. The speech reflects on the classical application of mirrors in the Gotha porcelain cabinet, blending French and Dutch design traditions, and emphasizing their role in enhancing spatial perception and presentation.

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Dominik Ukolov's presentation explores organology, spanning musical instruments, their creation, mechanics, cultural contexts, and creators' biographies. He spotlights the diverse Research Center for Digital Organology collection, featuring unique instruments like a keyboard-based bell player. Ukolov emphasizes recording all sound aspects, including distinctive noises, for authenticity. Audio data from 36 historical instruments led to innovative techniques for audio splitting and precise note capture. Detailed documentation, including microphone positioning and keypress dynamics, is vital, especially in organs. Ukolov converts piano rolls into audible media using digital tech. He introduces multimodal virtualization, merging photogrammetry, 3D modeling, and audio for interactive instrument representations. His Ph.D. project links related information in one file, preserving musical heritage digitally. Ukolov explores sound and acoustic capturing technologies to recreate instruments authentically. His goal is to bring museum objects to life for interactive learning. His approach advances musical heritage preservation and study significantly.

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Josef Focht's speech focuses on the evolution of the Bavarian Musicians' Lexicon Online (BMLO), which developed into the Music Explorer, a significant digital humanities project in musicology that combines textual and audio repositories. He emphasizes the critical role of time in multimodal digitizations, pivotal for musicology's advancement. Focht illustrates the transitory nature of music and its historical study, using the Alphorn in Switzerland as an example, showing how public funding post-World War I transformed it into a tourist icon and sparked discussions about the usage of certain musical tones. He highlights the challenges in musicology, particularly the lack of FAIR-compliant audio media, stressing the urgent need for diverse and comprehensive digital formats. Focht's speech underlines the interdisciplinary efforts required in musicology, merging traditional research with modern digital techniques to enhance the understanding and preservation of music's ephemeral nature.

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Tobias Weißmann's speech explores the intersection of music, sacred space, and liturgical rites in pre-modern Europe, focusing on the project Cantaria at Johannes Gutenberg University Mainz. He emphasizes the interdisciplinary approach, combining musicology, art and architecture history, and liturgy. Weißmann discusses the significance of architecture in shaping religious practices and vice versa, highlighting how buildings were modified or constructed new in response to ritual and musical developments. He illustrates this through concerts and recordings in historical churches, testing the interplay of music, architecture, and acoustics. Weißmann also examines the relationship between space, acoustics, and music in the Sistine Chapel, noting the impact of architectural changes on the perception of sacred music. His current research delves into the architecture and polychoral performance practice in late 16th to early 18th-century Rome. The paper today discusses the potential of digital technologies in studying the relationship between sacred space, acoustics, and music. Weißmann emphasizes the need for critical reflection on the use of digital simulations to understand sensory interactions in historical churches. He highlights various projects that utilize digital technologies for this purpose, including reconstructing the acoustics of historical buildings and exploring the influence of architectural changes on musical performances. Weißmann concludes by advocating for digital simulations as tools to enhance understanding of pre-modern sacred spaces and rituals.

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In Anne Ilaria Weiß's speech, she discusses her Master's thesis, focusing on the music rooms of Margravine Wilhelmine of Bayreuth and the concert rooms of King Frederick II of Prussia. Weiß uses an interdisciplinary approach to show how Wilhelmine's room choices reflected her Prussian origins and connections to Frederick. The study highlights the significant presence of music and concert rooms in their residences, emphasizing their importance in royal apartments. Weiß compares the siblings' decorating styles, particularly in terms of wall coverings, room positions, and the use of paintings. A key point is the interplay between materials chosen for these rooms and their acoustic properties. The speech outlines Wilhelmine's life, from her Prussian princess roots to her marriage into the Markgrafen of Brandenburg-Bayreuth, and Frederick's succession to the Prussian throne. Weiß focuses on the time frame marking the development of Wilhelmine's apartments in Bayreuth's old and new castles, exploring the influence of these spaces on Frederick's concert rooms. The research reveals a mutual influence in their choices, with Wilhelmine's first music room in the Hermitage influencing Frederick's concert rooms. Frederick's rooms were noted for wood paneling and integrated paintings, while Wilhelmine’s featured portraits of acquaintances. The presentation concludes that Wilhelmine's first music room was the prototype for Frederick's concert rooms, showcasing their shared influence and Frederick’s evolving artistic preferences.

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Mozilla Hubs bot eine virtuelle Meeting-Plattform, die direkt im Browser sowohl klassisch am Bildschirm als auch mit Head-Mounted Displays zugänglich war. Über einen Link gelangten die Besucher:innen in einen virtuellen Raum, in dem sie sich in Form eines Avatars frei bewegen konnten. In Zusammenarbeit mit dem LRZ konnte das Corpus der barocken Deckenmalerei in Deutschland einige seiner 3D-Modelle in der Social-VR-Anwendung Mozilla Hubs bereitstellen. Die Abschaltung von Mozilla Hubs erfolgte am 31. Mai 2024.