Papers by Kotaro Yamafune
Journal of Archaeological Science: Reports, 2018
Accurately recording information is the single most important stage of an archaeological project.... more Accurately recording information is the single most important stage of an archaeological project. The biggest technological improvement to documentation techniques in the last 15 years has been the spread of various 3D digitization technologies, such as computer vision photogrammetry and 3D laser scanning. These technologies have allowed archaeologists to quickly and accurately capture and reconstruct the geometry and colors of the subjects being studied. Each of the various methods for 3D digitization of cultural heritage materials has advantages and disadvantages, such as processing speed, cost of equipment, and the accuracy of the captured data. Laser scanned data is among the most accurate geometrical data available in modern scanning techniques, but it lacks in its ability to accurately capture textures and diagnostic coloration information. Photogrammetric data produces highly detailed photographic textures on models, but the geometric data tends to be of a lower definition th...
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https://link.springer.com/article/10.1007%2Fs11457-017-9185-8, 2017
Almost three decades ago J. Richard Steffy (in: Tzalas (ed) Tropis II, pro- ceedings of the 2nd i... more Almost three decades ago J. Richard Steffy (in: Tzalas (ed) Tropis II, pro- ceedings of the 2nd international symposium on ship construction in antiquity. Athens, pp 315–320, 1990, in: Tzalas (ed) Tropis III, proceedings of the 3rd international sym- posium on ship construction in antiquity. Athens, pp 417–428, 1995) voiced the need to standardize the recording and publication of shipwrecks. Cluster analysis of construction features is difficult if archaeologists record different and non-overlapping features. This paper discusses the necessity to standardize the recording and publishing of a set of consistent and compatible basic construction features when archaeologists assess, survey, or excavate wooden shipwrecks and proposes a methodology for the recording of wooden hulls. It also emphasizes the urgency of a wide and complete sharing of archaeological information in maritime archaeology.
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Journal of Cultural Heritage, 2018
Over the last few years there have been advances in technical diving, which have made it more acc... more Over the last few years there have been advances in technical diving, which have made it more accessible (including financially), making it possible to dive to greater depths and, consequently, reach underwater archaeological sites in deeper waters, which were previously considered “untouchable”. As these sites are now at potential risk of anthropic interference, new approaches to monitoring techniques are therefore considered necessary to ensure the protection of Underwater Cultural Heritage. This paper presents a protocol for monitoring techniques to be applied to ‘mid-depth archaeological remains’. The proposed technique is based on a combination of low-cost photogrammetric methods. Using as a case study a Roman era shipwreck from Majorca, off the east coast of Spain, this paper presents an ideal protocol for the essential first stages in protecting and managing the archaeological record of an underwater site at medium depth. The process gives immediate results, using photogrammetric and orthophoto coverage of the site to build up a highly accurate site map, as well as recording high-definition images in order to create a computer model of the site.
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Proceedings of the 3rd Asia-Pacific Regional Conference on Underwater Cultural Heritage, 2017
In the past seven years, photogrammetry has become one of the main recording methods in maritime ... more In the past seven years, photogrammetry has become one of the main recording methods in maritime and underwater archaeology. The application of photogrammetry allows archaeologists to recreate underwater cultural heritage sites in 3D digital formats, and extract from these 3D digital models data and information required for subsequent scholarly research. The author has been using photogrammetry since 2014 and has successfully created nearly 40 underwater cultural heritage models on more than 10 archaeological projects. The projects have ranged in size, accessibility, and water clarity, introducing a number of variables to the photogrammetry of the artifacts. The variety of experiences gained on these projects have enabled the author to construct his own methodology and workflow for photogrammetric recording. In this paper, the author shares examples of his methodology and workflow for photogrammetric recording of various projects in different countries.
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Este artigo aborda as experiências dos autores com a integração de ferramentas digitais à pesquis... more Este artigo aborda as experiências dos autores com a integração de ferramentas digitais à pesquisa e interpretação de sítios arqueológicos de naufrágios históricos. Para isso apresentamos um fluxo de trabalho que tem como base o uso da fotogrametria para a criação de modelos digitais tridimensionais em escala real de sítios e artefatos, que se articula nas diversas etapas metodológicas com vistas a interpretação dos sítios e a reconstrução arqueológica dos navios estudados. Os resultados são discutidos em termos do impacto da virtualização do dado arqueológico na prática acadêmica, particularmente nos aspectos de coleta, armazenamento, análise, interpretação e disseminação do conhecimento.
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Methods to record shipwreck sites have evolved considerably in the past two decades. Digital tech... more Methods to record shipwreck sites have evolved considerably in the past two decades. Digital technology and marine robotics regularly present faster and more precise ways to excavate, clean, tag, and record ship remains, while computers simplify many of the steps involved in the reconstruction of ships from their archaeological remains. At the same time, the internet is creating opportunities to share primary data in real time and on a wide scale. This paper presents a methodology used by the authors to record and reconstruct the wooden structures of a 19th-century shipwreck in southern Brazil (Lagoa do Peixe site) and of a 16th-century shipwreck in Croatia (the Gnalić shipwreck).
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Proceedings of the 2014 Asia-Pacific Regional Conference on Underwater Cultural Heritage
Namban screens, a well-known Japanese art form, were painted by skillful Japanese artists from th... more Namban screens, a well-known Japanese art form, were painted by skillful Japanese artists from the late 16th century to the 17th centuries. Approximately 90 of these screens have been handed down up to the present. Not only they show some important historical scenes of European commercial activities in the Far East for the first time, but they also depict representational pictures of Portuguese ships during the Age of Discovery. Although the ships’ images on the screens are roughly acceptable, the details are often strangely anachronistic. The same images could be found in some Western maps in the 16th century. Judging from the similarity, perhaps, Japanese painters, who had never seen actual ships themselves in ports, did manage to copy the images from ones on those maps, which were brought to Japan by the wellknownTensho embassy. This was the first Japanese embassy that was sent to Europe; the diplomats left Japan in 1582 and arrived at Portugal in 1584. They met with Pope Gregory XIII and his successor, Pope Sixtus V, in Rome, and then returned back to their homeland in 1590. In the following year the embassy members succeeded in seeing HideyoshiToyotomi, who was the leading political ruler in Japan at that time. They gave him some souvenirs from Europe, including the maps. It seems that some official court painters had a chance to see those gifts, from where Japanese artists could have obtained an idea of the ships’ images that appear in the Namban screens.
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Conference Presentations by Kotaro Yamafune
3rd Asia-Pacific Regional Conference on Underwater Cultural Heritage
Agisoft PhotoScan and other off-the-shelf photogrammetry software became available for archaeolog... more Agisoft PhotoScan and other off-the-shelf photogrammetry software became available for archaeologists in 2010; In 2017, after only 7 years, photogrammetry has become a one of the most frequently used recording methods for UCH (underwater cultural heritage) sites. The author of this paper works as a professional maritime archaeologist and applied photogrammetric recording on more than 35 archaeological sites in more than 10 different countries. Because of its submerged circumstances of many shipwrecks, each site has different conditions: such as visibility and colors of waters, depth, topography, water current and so on. Those different conditions create problems that requires different ways to solve those difficulties. Additionally, each project has different mission statement, or project’s goal. For that reason, each submerged site requires different types of methodologies for data-collection and data processing. Moreover, to use produced 3D digital models as archaeological data, it is important to create 1:1 scale-constrained georeferenced 3D models (Yamafune et al., 2016). Yet, to produce these accurate models, it is essential to takes a week to produce local coordinate system that gives scale and georeferenced on the model. To solve these lengthy problem, the author created a methodology that produces local coordinate system in short time (1 or 2 dives) yet provide fairly accurate results. In this paper, the author shall share his methodology of photogrammetric recording that he has developed and currently using.
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The biggest technological improvement to archaeological documentation techniques in recent years ... more The biggest technological improvement to archaeological documentation techniques in recent years has been the implementation of various 3D digitization technologies, such as Computer Vision Photogrammetry and 3D laser scanning. Laser scanning produces the most accurate geometrical data available today, but it lacks the ability to accurately capture textures and diagnostic coloration information. Photogrammetric data produces highly accurate photographic textures, but the geometric data tends to be less accurate than the laser scanned data.
In this paper, the authors present a new methodology that combine advantages of laser scanner and Computer Vision Photogrammetry; applying photorealistic photogrammetry textures on geometry of laser scanned 3-D digital models. This methodology allows archaeologists to have a 3-D digital model that possesses laser scan quality geometry with photorealistic textures. Furthermore, archaeologist can apply this methodology to various laser scan dataset which is from artifacts captured by FaroArm to landscapes captured by a multi-beam sonar.
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To use 3-D photogrammetric models as scientific data, it is essential for archaeologists to use l... more To use 3-D photogrammetric models as scientific data, it is essential for archaeologists to use local coordinate systems to constrain their photogrammetric models to 1:1 scale. This enables archaeologists to take measurements directly from their models. Direct Survey Methods (DSM) are often used to create local coordinate systems; however, DSM often requires several days of diving operations, which may become problematic when recording large or deep-water sites.
As a quick alternative method, the authors propose “Tri-Closure.” This method uses only three control points, placed to form an isosceles triangle. The coordinates of the control points can be calculated using the Pythagorean Theorem. After the initial photogrammetric recording, coordinates of any points within the enclosed area are automatically established. Tri-Closure is advantageous for photogrammetric recording because it requires only one or two diving operations to set up. In this paper, the authors will explain the step-by-step process of the proposed method.
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Since the ancient time, people built watercrafts to across ocean. At the end of the 15th century,... more Since the ancient time, people built watercrafts to across ocean. At the end of the 15th century, development of technology allowed European to across Atlantic and Indian Oceans. This technological advancement triggered the Age of European Expansion. The main actors of this phenomena was Spanish and Portuguese, or Iberians. Today, thanks to both historical and archaeological evidences, archaeologists can reconstruct appearances of Iberian ships of this era using computer aided 3-D drawing and modeling software. In this paper, the author explains his reconstruction of the Iberian ships based on both archaeological and historical evidences.
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In June 2015, Texas A&M University, the Institute of Nautical Archaeology and the Lake Champlain ... more In June 2015, Texas A&M University, the Institute of Nautical Archaeology and the Lake Champlain Maritime Museum hosted a field school at Shelburne Bay, Lake Champlain. Along with manual recording by archaeologists, the team applied photogrammetric recording to Wreck 2 (Agisoft PhotoScan). The goal of this recording was to create an accurate 1/1 scale constrained model to use as archaeological data. However, low visibility of the water (2-5 ft.) and the sheer size of the wreck (135 ft. 6 in. in length) created difficult conditions to apply photogrammetry. This talk will share various hints on how we successfully created an accurate 1:1-scale constrained photogrammetric model of Wreck 2 at the Shelburne site, despite these adverse conditions.
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Archaeological work and cultural heritage management are significantly limited by time, personnel... more Archaeological work and cultural heritage management are significantly limited by time, personnel, and financial resources. Many submerged and terrestrial archaeological sites are fragile, and are located in easily accessible areas, leaving them exposed to destructive processes. The successful management of our cultural heritage involves regularly monitoring each site, but most management groups lack sufficient resources to conduct detailed surveys that include metrics, qualitative assessments, and comprehensive visual documentation. The use of three-dimensional, photographic modeling techniques can overcome many of these logistical issues by contributing substantial and informative data that can visually document a site accurately, and provide the means to measure, describe, and assess the condition and risks present.
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In recent years, applications of Computer-Vision (multi-image) photogrammetry became popular in m... more In recent years, applications of Computer-Vision (multi-image) photogrammetry became popular in maritime archaeology. This technology has been repeatedly tested in archaeological surveys and excavations in dry and submerged environments. Yet, there are still active discussions about the efficiency and accuracy of Computer-Vision (multi-image) photogrammetry models.
A team from the Nautical Archaeology Program at Texas A&M University developed a methodology to record and analyze underwater shipwreck sites with off-the-shelf software, including Computer-Vision (multi-image) photogrammetry. This methodology produced reliable archaeological data, based on 1:1 scale-constrained photogrammetry models, such as 2D site plans, hull lines, and timber catalogues.
This paper details a user-friendly methodology for underwater archaeological recording and explains step by step the tasks required to produce accurate 3D models, geo-referenced high-resolution photo mosaics, section profiles, and high-quality visual tour animations.
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Namban screens, a well-known Japanese art form, were painted by skillful Japanese artists from th... more Namban screens, a well-known Japanese art form, were painted by skillful Japanese artists from the late 16th century to the 17th centuries. Approximately 90 of these screens have been handed down up to the present. Not only they show some important historical scenes of European commercial activities in the Far East for the first time, but they also depict representational pictures of Portuguese ships during the Age of Discovery. Although the ships’ images on the screens are roughly acceptable, the details are often strangely anachronistic. The same images could be found in some Western maps in the 16th century. Judging from the similarity, perhaps, Japanese painters, who had never seen actual ships themselves in ports, did manage to copy the images from ones on those maps, which were brought to Japan by the well known Tensho embassy. This was the first Japanese embassy that was sent to Europe; the diplomats left Japan in 1582 and arrived at Portugal in 1584. They met with Pope Gregory XIII and his successor, Pope Sixtus V, in Rome, and then returned back to their homeland in 1590. In the following year the embassy members succeeded in seeing Hideyoshi Toyotomi, who was the leading political ruler in Japan at that time. They gave him some souvenirs from Europe, including the maps. It seems that some official court painters had a chance to see those gifts, from where Japanese artists could have obtained an idea of the ships’ images that appear in the Namban Screens.
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On December 2012, a joint team composed of students from the Netherlands (Dutch Cultural Heritage... more On December 2012, a joint team composed of students from the Netherlands (Dutch Cultural Heritage Agency), the United States (Texas A&M University), and Brazil (the Museum of Archaeology and Ethnology at University of Bahia) carried out an expedition on a 17th century Dutch and Portuguese shipwreck site off the coast of Salvador, Bahia, Brazil. The short 2012 field season entailed the recording of current conditions of the site and the creation of a 3D siteplan based on archaeological data. Workflow integrated traditional trilateration techniques, G.I.S. and cutting-edge virtual modeling using shelf computer software, such as Site Recorder, ArcGIS, and Autodesk Maya. This paper will discuss preliminary results and the potential for future research in the site.
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Thesis Chapters by Kotaro Yamafune
In 2010, a new off-the-shelf software for Computer Vision Photogrammetry, Agisoft PhotoScan, beca... more In 2010, a new off-the-shelf software for Computer Vision Photogrammetry, Agisoft PhotoScan, became available to nautical archeologists, and this technology has since become a popular method for recording underwater shipwreck sites. Today (2015), there are still active discussions regarding the accuracy and usage of Computer Vision Photogrammetry in the discipline of nautical archaeology. The author believes that creating a 1:1 scale constrained photogrammetric model of a submerged shipwreck site is not difficult as long as archaeologists first establish a local coordinate system of the site. After creation of a 1:1 scale constrained photogrammetric model, any measurements of the site can be obtained from the created 3D model and its digital data. This means that archaeologists never need to revisit the archaeological site to take additional measurements. Thus, Computer Vision Photogrammetry can substantially reduce archaeologists’ working time in water, and maximize quantity and quality of the data acquired.
Furthermore, the author believes that the acquired photogrammetric data can be utilized in traditional ship reconstruction and other general studies of shipwrecks. With this idea, the author composed a new methodology that fuses Computer Vision Photogrammetry and other digital tools into traditional research methods of nautical archaeology. Using this method, archaeologists can create 3D models that accurately represent submerged cultural heritage sites, and these can be used as representative archaeological data. These types of representative data include (but are not limited to) site plans, technical artifact or timber drawings, shipwreck section profiles, georeferenced archaeological information databases, site-monitoring systems, digital hull fragment models and many other types of usable and practical 3D models. In this dissertation, the author explains his methodology and related new ideas.
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This PowerPoint Presentation was prepared for Kotaro Yamafune's public presentation at his doctor... more This PowerPoint Presentation was prepared for Kotaro Yamafune's public presentation at his doctoral dissertation defense (December 17th, 2015).
He is currently preparing series of articles based on this doctoral research.
If you are interested in reading his unpublished manuscript of this dissertation, please feel free to contact,
koutarou_yamafune_0321@yahoo.co.jp
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Namban screens are a well-known Japanese art form that was produced between the end of the 16th c... more Namban screens are a well-known Japanese art form that was produced between the end of the 16th century and throughout the 17th century. More than 90 of these screens survive today. They possess substantial historical value because they display scenes of the first European activities in Japan. Among the subjects depicted on Namban screens, some of the most intriguing are ships: the European ships of the Age of Discovery.
Namban screens were created by skillful Japanese traditional painters who had the utmost respect for detail, and yet the European ships they depicted are often anachronistic and strangely. On maps of the Age of Discovery, the author discovered representations of ships that are remarkably similar to the ships represented on the Namban screens. Considering the hypothesis that ships of some of the Namban screens are copies of ships represented on contemporary European cartography, the author realized that one particular historical event connecting Europe and Japan may be the source of these representations. This was the first visit of the Japanese Christian embassy, the Tensho Embassy, to Rome, in 1582. Its journey to Europe and its following visit to the Taiko, or first effective leader of Japan, Hideyoshi Toyotomi, may have been a trigger for the production of one of the most well-known Japanese artworks, the Namban screens.
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Papers by Kotaro Yamafune
Conference Presentations by Kotaro Yamafune
In this paper, the authors present a new methodology that combine advantages of laser scanner and Computer Vision Photogrammetry; applying photorealistic photogrammetry textures on geometry of laser scanned 3-D digital models. This methodology allows archaeologists to have a 3-D digital model that possesses laser scan quality geometry with photorealistic textures. Furthermore, archaeologist can apply this methodology to various laser scan dataset which is from artifacts captured by FaroArm to landscapes captured by a multi-beam sonar.
As a quick alternative method, the authors propose “Tri-Closure.” This method uses only three control points, placed to form an isosceles triangle. The coordinates of the control points can be calculated using the Pythagorean Theorem. After the initial photogrammetric recording, coordinates of any points within the enclosed area are automatically established. Tri-Closure is advantageous for photogrammetric recording because it requires only one or two diving operations to set up. In this paper, the authors will explain the step-by-step process of the proposed method.
A team from the Nautical Archaeology Program at Texas A&M University developed a methodology to record and analyze underwater shipwreck sites with off-the-shelf software, including Computer-Vision (multi-image) photogrammetry. This methodology produced reliable archaeological data, based on 1:1 scale-constrained photogrammetry models, such as 2D site plans, hull lines, and timber catalogues.
This paper details a user-friendly methodology for underwater archaeological recording and explains step by step the tasks required to produce accurate 3D models, geo-referenced high-resolution photo mosaics, section profiles, and high-quality visual tour animations.
Thesis Chapters by Kotaro Yamafune
Furthermore, the author believes that the acquired photogrammetric data can be utilized in traditional ship reconstruction and other general studies of shipwrecks. With this idea, the author composed a new methodology that fuses Computer Vision Photogrammetry and other digital tools into traditional research methods of nautical archaeology. Using this method, archaeologists can create 3D models that accurately represent submerged cultural heritage sites, and these can be used as representative archaeological data. These types of representative data include (but are not limited to) site plans, technical artifact or timber drawings, shipwreck section profiles, georeferenced archaeological information databases, site-monitoring systems, digital hull fragment models and many other types of usable and practical 3D models. In this dissertation, the author explains his methodology and related new ideas.
He is currently preparing series of articles based on this doctoral research.
If you are interested in reading his unpublished manuscript of this dissertation, please feel free to contact,
koutarou_yamafune_0321@yahoo.co.jp
Namban screens were created by skillful Japanese traditional painters who had the utmost respect for detail, and yet the European ships they depicted are often anachronistic and strangely. On maps of the Age of Discovery, the author discovered representations of ships that are remarkably similar to the ships represented on the Namban screens. Considering the hypothesis that ships of some of the Namban screens are copies of ships represented on contemporary European cartography, the author realized that one particular historical event connecting Europe and Japan may be the source of these representations. This was the first visit of the Japanese Christian embassy, the Tensho Embassy, to Rome, in 1582. Its journey to Europe and its following visit to the Taiko, or first effective leader of Japan, Hideyoshi Toyotomi, may have been a trigger for the production of one of the most well-known Japanese artworks, the Namban screens.
In this paper, the authors present a new methodology that combine advantages of laser scanner and Computer Vision Photogrammetry; applying photorealistic photogrammetry textures on geometry of laser scanned 3-D digital models. This methodology allows archaeologists to have a 3-D digital model that possesses laser scan quality geometry with photorealistic textures. Furthermore, archaeologist can apply this methodology to various laser scan dataset which is from artifacts captured by FaroArm to landscapes captured by a multi-beam sonar.
As a quick alternative method, the authors propose “Tri-Closure.” This method uses only three control points, placed to form an isosceles triangle. The coordinates of the control points can be calculated using the Pythagorean Theorem. After the initial photogrammetric recording, coordinates of any points within the enclosed area are automatically established. Tri-Closure is advantageous for photogrammetric recording because it requires only one or two diving operations to set up. In this paper, the authors will explain the step-by-step process of the proposed method.
A team from the Nautical Archaeology Program at Texas A&M University developed a methodology to record and analyze underwater shipwreck sites with off-the-shelf software, including Computer-Vision (multi-image) photogrammetry. This methodology produced reliable archaeological data, based on 1:1 scale-constrained photogrammetry models, such as 2D site plans, hull lines, and timber catalogues.
This paper details a user-friendly methodology for underwater archaeological recording and explains step by step the tasks required to produce accurate 3D models, geo-referenced high-resolution photo mosaics, section profiles, and high-quality visual tour animations.
Furthermore, the author believes that the acquired photogrammetric data can be utilized in traditional ship reconstruction and other general studies of shipwrecks. With this idea, the author composed a new methodology that fuses Computer Vision Photogrammetry and other digital tools into traditional research methods of nautical archaeology. Using this method, archaeologists can create 3D models that accurately represent submerged cultural heritage sites, and these can be used as representative archaeological data. These types of representative data include (but are not limited to) site plans, technical artifact or timber drawings, shipwreck section profiles, georeferenced archaeological information databases, site-monitoring systems, digital hull fragment models and many other types of usable and practical 3D models. In this dissertation, the author explains his methodology and related new ideas.
He is currently preparing series of articles based on this doctoral research.
If you are interested in reading his unpublished manuscript of this dissertation, please feel free to contact,
koutarou_yamafune_0321@yahoo.co.jp
Namban screens were created by skillful Japanese traditional painters who had the utmost respect for detail, and yet the European ships they depicted are often anachronistic and strangely. On maps of the Age of Discovery, the author discovered representations of ships that are remarkably similar to the ships represented on the Namban screens. Considering the hypothesis that ships of some of the Namban screens are copies of ships represented on contemporary European cartography, the author realized that one particular historical event connecting Europe and Japan may be the source of these representations. This was the first visit of the Japanese Christian embassy, the Tensho Embassy, to Rome, in 1582. Its journey to Europe and its following visit to the Taiko, or first effective leader of Japan, Hideyoshi Toyotomi, may have been a trigger for the production of one of the most well-known Japanese artworks, the Namban screens.
Along with manual recording by archaeologists, the team applied photogrammetric recording to Wreck 2 (Agisoft PhotoScan) under 50cm to 1.5m visibilities of water. The goal of this recording was to create an accurate 1:1 scale-constrained model to use as archaeological data. To create a 1:1 scale-constrained model, the team applied Direct Survey Methods (3H Site Recorder) and collected 107 measurements to establish a local coordinate system.
Archaeological remains of a large ship dated to the late 16th century.
This audio-visual work was composed by Kotaro Yamafune as a part of primary results of Gnalić Project 2014 field season. Original 3D models of the shipwreck site was created by multi-image photogrammetry. These models contain exact 1;1 scale dimensions, hence models can be used as archaeological data, and any measurements that archaeologists want can be extracted using the modeling software.
Yamafune also wants to give special credits to Sebastian Govocin (Fabe) and Rodrigo Torres as chief photographers of this Computer Vision Photogrammetry. And Rodrigo for creating Control Network which is critical process to create 1/1 scale models.
Using the data collected, a Ph.D. student of the Nautical Archaeology Program at Texas A&M University (2012), Kotaro Yamafune, reconstructed the Utrecht shipwreck site in 3D.
During the expedition, Jens Addeld and Siaska Castro translated primary sources into English language. Based on these primary sources, Torres, Affeld, and Yamafune interpreted battle sequences of the Battle of Itaparica and created an explanatory animation.
This small boat (dated 1st quarter of the 1st century) was built following a construction technique typical in the region of the Upper Adriatic Sea; its planks were sewn together and fastened to solidify timbers.
Sewing planks to build ships was used in the Mediterranean from at least the 7th century BCE. When Rome started its career, there were 3 great naval nations: The Greeks, The Phoenicians, and The Etruscans. In those nations, ships were sewn together.
This technique was replaced by “pegged mortise-and-tenon” joinery by the 3rd century BCE in the Mediterranean waters. Intriguingly, the sewing construction survived until the 6th century CE in the Upper Adriatic region. The Stella 1 Wreck is an important example of Adriatic sewn ship construction.
As I understood Deane’s descriptions, shapes of frames of the entire hull were designed by four arcs/circles of different radius. This indicates shipwrights only required four molds to design and cut frames of a ship. Additionally, positions of the four arcs/circles were controlled by four lines: rising of the floor, narrowing of the floor, rising and the greatest breadth, and narrowing of the greatest breadth. These lines were drawn with the Pythagorean Theorem. Dean’s design of naval warships was quite simple, yet one of the most sophisticated design.
Radius of Arcs/Circles (Deane’s 3rd Rate Warships)
Light Green = 9 ft. Dark Green = 7 ft. Purple = 20 ft. Orange = 17 ft.
This 3D model of Portuguese nau was originally created as the final project of ANTH610: Outfitting and Sailing the Wooden Ship, 1400-1900 (Nautical Archaeology Program). Dimensions and rigging arrangements of the model are based on historical references and archaeological data.
Along with manual recording by archaeologists, the team applied photogrammetric recording to Wreck 2 (Agisoft PhotoScan). The goal of this recording was to create an accurate 1/1 scale constrained model to use as archaeological data. To create a 1/1 scale constrained model, the team applied Direct Survey Methods (SiteRecorder) and collected 107 measurements to establish a local coordinate system
- text by Carolyn Kennedy
This boat model is a one of the Spencer Collection. The Spencer Collection was built in China between 1934 and 1940, and offered to Texas A&M University in 1974. It was made by a professional model builder from the port of Yichang, on the Yangtze River. It is composed of 29 boat models, all built after watercraft types that sailed on the Yangtze River. A book has been published by Joseph E. Spencer about this collection
STEFFY, J. R. (1994). Wooden ship building and the interpretation of shipwrecks. College Station, Texas A & M University Press, page 42-55.
Recommended Drawing Order
1. Baselines on the sheer, the h-b (half-breadth), and the body plans
2. A keel and posts on the sheer and the body plans
3. Sheer lines on the h-b and the sheer plans
4. Section lines on the sheer and the h-b plans
5. Midship section on the body plan
6. Sheer lines on the body plan
7. Transom lines on the body plan
8. Transom lines on the h-b plan
9. Waterlines on the sheer and the body plan
10. Tentative section lines on the body plan
11. Tentative waterlines on the h-b plan
12. Fix the h-b plan’s waterlines
13. Fix the body plan’s waterlines
14. Buttock lines on the body and the h-b plans
15. Buttock lines on the sheer plan
16. Fix section lines on the body plan if needed
17. Diagonal lines on the body plan
18. Diagonal lines on the h-b plan
19. Deck lines on the sheer, the body, and h-b plans
Recommended Drawing Order (by the author)
1. Baselines on the sheer, the h-b (half-breadth), and the body plans
2. A keel and posts on the sheer and the body plans
3. Sheer lines on the h-b and the sheer plans
4. Section lines on the sheer and the h-b plans
5. Midship section on the body plan
6. Sheer lines on the body plan
7. Waterlines on the sheer and the body plan
8. Tentative section lines on the body plan
9. Tentative waterlines on the h-b plan
10. Fix the h-b plan’s waterlines
11. Fix the body plan’s waterlines
12. Buttock lines on the body and the h-b plans
13. Buttock lines on the sheer plan
14. Fix section lines on the body plan if needed
15. Diagonal lines on the body plan
16. Diagonal lines on the h-b plan
This 3D model was created to visualize structural functions of the ram and mechanical function of the internal timbers. The model was created in Rhino3D CAD modeling software based on archaeological notes of J. Richard. Steffy, a founder of Ship Reconstruction Laboratory at Texas A&M University.
Original photogrammetric model of the Heroin shipwreck pork barrel and its orthophoto based artifact drawing were created by Carolyn Kennedy, a Ph.D. student in Nautical Archaeology Program under directions of the author.
The White cement base of the flagpole in front of the Administration Building was a gift from the class of 1934. Three sides are figures depicting the components on which Texas A&M University was founded: military, mechanics and agriculture. Military is represented with a soldier. One woman holding a wheel portrays mechanics. Another woman distributing seeds from a satchel and standing wheat illustrates agriculture. The fourth side lists all the college presidents from 1876 to 1934. The bottom of the base forms a star, allowing the monument to function as a bench.
Following the summer season of 2011, graduate students of Texas A&M University Ralf Singh-Bischofberger and Kotaro Yamafune built a 1:5 scale restored model of the Stella 1 wreck.
Moreover, high-end reconstructions of archaeological ships are effective tools to discuss and improve knowledge about shipbuilding, both at scholarly and general levels.
After this encounter, many Portuguese merchants and missionaries traveled to Japan and started the Far Most Eastern Trade with Japan.
Many Japanese artists in the 16th and 17th centuries depicted Europeans on screens, and those soon became popular entertainment. Those pieces are called ‘Namban Screens’.
Today, more than 90 of them survive in the world.
Lisbon, Portugal, during the construction of a subway station, are described and analyzed.
We strongly believe that archaeologists should adopt a common methodology to record ship’s hull remains, so that they can be easily compared and shared among the growing community of nautical archaeologists.