ERATO Proceedings Istanbul 2006.pdf - Odeon

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5 Acknowledgments We would like to thank especially Mireille Clavien for working on the design of humans as well as using the scenario scripting, Branislav Ulicny for working on the first version of the behavioral system as well as the behavioural spray, Rachel Cetre for her work on the 3D model of the Aphrodisias odeon, Jonathan Maïm for his work on the color variety constraint GUI and Zerrin Celebi Ghavami at VRLab. We would also like to thank the acoustics team from the Danish Technical University (DTU) especially Jens Holger Rindel, Martin Lisa Nielsen, Anders Gade and Caroline van Oosterhout. Thanks also go to Can Binan, Ruhi Ayangil and Rengin Ünver at Yildiz Technical University, for their recordings and performances of ancient plays. Finally we would like to thank the Swiss Secretariat for Education and Research. References [deHeras2005] Pablo de Heras Ciehsomski, Sébastien Schertenleib and Daniel Thalmann, "Reviving the Roman <strong>Odeon</strong> of Aphrodisias: Dynamic Animation and Variety Control of Crowds in Virtual Heritage", VAST, 2005 [deHerasVSMM2005] Pablo de Heras Ciechomski, Sébastien Schertenleib, Jonathan Maïm and Daniel Thalmann, “Real-Time Shader Rendering for Crowd in Virtual Heritage", VSMM '05, 2005 [HANIM] HANIM Specification, http://www.h-Anim.org [Ierusalimschy2005] Roberto Ierusalimschy, “Programming in Lua”, Ingram, 2003 [Lisa2004] Martin Lisa Nielsen, Jens Holger Rindel, Claus Lynge Christensen, “Predicting the acoustics of ancient open-air theatres: The importance of calculation methods and geometrical details”, Baltic-Nordic Acoustical meeting, 8 -10 June 2004 [Papagiannakis2005] G. Papagiannakis, S. Schertenleib, B. O'Kennedy , M. Arevalo-Poizat, N. Magnenat-Thalmann, A. Stoddart, D. Thalmann, “Mixing Virtual and Real scens in the site of ancient Pompeii. Computer Animation and Virtual Worlds”, p 11-24, Volume 16, Issue 1. February 2005 [Perlin1985] Ken Perlin, "An Image Synthesizer", Computer Graphics, 1985 [Python] Python Programming Language, http://www.python.org/ [Ulicny2004] Branislav Ulicny, Pablo de Heras Ciechomski, Daniel Thalmann, “Crowdbrush: Interactive Authoring of Real-time Crowd Scenes”, Proc. ACM SIGGRAPH/Eurographics Symposium on Computer Animation ‘04, 2004
ANCIENT THEATRES AND ODEA AND CRITERIA FOR THE MODERN USE Naif Haddad Dept. of Conservation Science, Queen Rania’s Inst. of Tourism and Heritage, the Hashemite University, Zarqa, Jordan, naifh@hu.edu.jo <strong>ERATO</strong> -Identification, Evaluation and Revival of the Acoustical Heritage of Ancient Theaters and Odea- Research Project carried out within the Fifth Framework INCO-MED Program of the European Commission, with the thematic title’ Preserving and use of cultural heritage’ is designed by the goal to identify virtual restoration and revival of the acoustical and architectural heritage. The ancient theatres are threatened by erosion through time and improper uses! The desire of using ancient sites for modern activities is an important reality of modern societies. On the other hand, in general people involved with conservation and decision makers are more conservative and reluctant regarding this issue. Understanding that we are dealing with a space / place of the humanity creation achieving a dialogue between audience and actors, ttherefore the requirement to develop criteria, to help the decisions being consistent and conscious in all over the region is of great importance. While the criteria to be developed, must consider several parameters related with human comfort besides architecture and acoustics .This paper will discuss and evaluate in general criteria for modern use of ancient Theatres and Odea through understanding values of Theatres and Odea, the ancient and Current use; kinds of contemporary use of ancient theatres and Odea , their condition,causes of deteriorations and threats, their Cultural significance, by reviewing and evaluation of main issues of the related International Charters of the use of ancient places of performance. 1 INTRODUCTION Places of heritage have an intrinsic value for all people as an important basis for cultural diversity and social developments. The long term protection and conservation of living cultures, heritage places, collection, their physical and ecological integrity and their environmental context, should be an essential components of social, economic, political, legislative, cultural and tourism developments policies [1] (principle 2.1). Starting with the question what is the ancient use of theatres and Odea, it is fact that in every historical epoch, all theatres, both out door and roofed, have been used for many purposes. 2 ANCIENT USE Theatres and Odea as ancient landmarks are categorized technologically as being either multi purposes or multiple-use. Iznour [2] define these theaters use by:- Multi purpose theatre: A multipurpose theater is defined as a facility for public assembly incorporation wide latitude of design flexibility intended to accommodate a variety of public events as disparate as athletics and the performing arts. Multi purpose theater is the out door open theatre Multiple use theatre :A multi-use theater is more narrowly defined as an exclusively theatricaltype facility for public performance and assembly in which design and engineering flexibility is restricted to forensic activities (public speaking), staged dramatic performances, and the performance of music that is the performing arts. Multiple use theater is defined as a Roman theatrum odium.Thus all theatres, both outdoor and roofed have been used for many purposes than those for which they are alleged to have been specifically intended by the designers, builders and or owners. 73
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RTD project in the EC 5th Framework
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THE ERATO PROJECT AND ITS CONTRIBUT
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3 ROOM ACOUSTICAL PARAMETERS The fo
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4.2 Reverberation Time T 30 vs. Fre
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5.1 Aosta & Aphrodisias Odeon The A
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5.3 Strength G vs. Distance 16,00 1
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VITRUVIUS AND ANCIENT THEATRES: ANA
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a line is drawn to touch the outsid
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VIRTUAL REALITY AND ARCHITECTURAL C
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As a result, maybe the most critica
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