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FAMSI © 2003: Jennifer Ahlfeldt |
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The Temple 22 Façade Reconstruction Project, Copán, Honduras Digital Reconstruction: The 3D Model of the Temple From the onset of the project, I anticipated that digital technology would facilitate the reconstruction of the building in its entirety and was eager to try out the possibilities of this medium. In 2001, FAMSI funds supported Laura Ackley, an architectural historian and 3D modeler–to come to Copán to determine the possibilities of such a model. Using 3D Studio Max software, she prepared two versions of a preliminary model of the building in six weeks. The following abbreviated presentation of the model and the methods of its construction offer 2D stills from the 3D model. An interactive version of this preliminary model will soon be available on the Columbia University Media Center for Art History website.
Laura began by constructing a three-dimensional wire-frame model of the structure, by scanning measured photogrammetric drawings made by Hasso Hohmann in 1982 (Figure 21, shown above). We chose not to re-measure the building because of the constraints of a pilot project, and because the building that he measured was a reconsolidated version of the original anyway. In several cases, Hohmann’s two-dimensional drawings did not agree precisely when rendered in three dimensions. We corrected these anomalies by referring to the actual building; so now, any 2D rendering that we take from this 3D model will be accurate to within approximately 5 cm. We then reconstructed the vault system based on three factors: the angle of the corbelled stones remaining at the vault spring, the arrangement of the coursing, and the vault systems of the ballcourt buildings which were also built in the reign of Waxaklajuun Ub’aah K’awiil (10L-9 and 10L-10). This was one of the most exciting results of this preliminary model, for we were able to reconstruct the interior spaces of the structure, confirm that the passageways from the south room to the east and west rooms were spanned with lintels, and allow people to virtually feel the spaces and lighting of the building, something that has not been possible for over 1,000 years.
After constructing the wire-frame model, Laura mapped digital photographs of each wall of the actual stone building onto the corresponding wall in the model (Figures 22a and b, shown above). We chose to show stonework in this version of the model to highlight the structural features of the building such as the corbel vaults and the post and lintel construction. Where the walls had collapsed, she used photographs of the existing parts of the walls as textures, so every surface depicts ashlar blocks from that particular wall. To determine how this building related to its broader architectural context and to gain a feeling for the spaces it created, we inserted the 3D model into a photograph of the building on the East Court. You can see how the temple would have visually and physically dominated this part of the acropolis, majestically towering over viewers standing in the court below (Figures 23a and b, shown below).
This 2D image is taken from a preliminary version of the 3D model, which is intended to recreate how the building might have appeared in its finished state (Figure 24, shown below). We added second and third levels based on the proportions of the 6th century structure, Rosalila, the only standing building at Copán with upper stories. We simulated stucco and red paint on the building’s exterior because this is the color of the majority of the remaining stucco. The fangs on either side of the front doorway exist on the actual structure. The niches, however–rendered with maize gods sitting on earth masks–are based on my façade reconstruction, patterns of architectural sculpture at Copán, and the ideas of Mary Miller (1986) and Tatiana Proskouriakoff (1946). This follows structures of symbolism in Maya iconography in which maize gods and rulers dressed as maize gods are often emerging from earth masks, or turtles that represent the surface of the earth. We chose to color them a shade of "Maya Blue" that was found on excavated maize god earflare fragment, however it has recently come to my attention that other Maize Gods' heads from Temple 22 are painted red. Perhaps just the jade ear flares were painted blue. I am still in the process of determining the remaining exterior sculpture arrangement, so this model is far from complete, as it is still missing over 3,700 pieces of sculpture.
Moving to the interior of the building, one exciting advantage of the digital model is that we were able to reconstruct the interior spaces of the structure and determine the nature of the vaulting system (Figure 25, shown below). Until now, no one has seen the vaulting system of this structure since it collapsed over a 1,000 years ago and scholars have been uncertain as to whether the entrances to the west and east rooms were vaulted or were post and lintel. Based on the remaining standing masonry of 10L-22 and other structures built by the 13th ruler (Ballcourt Structures 10L-9 and 10L-10) we have determined that the passageways were covered by lintels, and not cross vaulting.
We then added a red stucco texture to the interior as well as images of wooden vault beams that once provided structural support (Figure 26, shown below). With help of this model, a distant viewer can experience perspectives of the architecture, and the dramatic sensations that the building must have created. The model is particularly useful for testing Maya aesthetics: to see how natural or artificial light would have illuminated the forms and spaces, and to consider the building as a performance space, which it most certainly was.
Advantages and Possibilities of a 3D Virtual Model While this reconstruction is a preliminary version, the results of this pilot project add to the growing body of evidence that demonstrates the utility of using 3D software to reconstruct and analyze ancient architecture (Forte and Siliotti 1997).
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