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	== Objectives ==		== Objectives ==
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	The primary goals of the Digital Michelangelo Project were:		The primary goals of the Digital Michelangelo Project were:

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	* To explore potential educational and curatorial applications for ] data.		* To explore potential educational and curatorial applications for ] data.

	=== Artworks ~~Digitized~~ ===		=== Artworks digitized ===
	The project involved scanning several iconic works by Michelangelo, including:		The project involved scanning several iconic works by Michelangelo, including:

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	* ''The Unfinished Slaves'' (Atlas, Awakening, Bearded, and Youthful)		* ''The Unfinished Slaves'' (Atlas, Awakening, Bearded, and Youthful)
	* '']''		* '']''
	* The allegorical statues from the ] ('']'', '']'', '']'', and '']'')		* The allegorical statues from the ] ('']'', '']'', '']'', and '']'')
	* The architectural interiors of the ''Tribuna del David'' at the ] and the '']'' in the ].		* The architectural interiors of the ''Tribuna del David'' at the ] and the '']'' in the ].

	== Technology and ~~Methodology~~ ==		== Technology and methodology ==
	]		{{Unsourced\|section\|date=January 2025}}]
	=== 3D ~~Scanning~~ ===		=== 3D scanning ===
	The project's primary scanner was a ] mounted on a motorized gantry, custom-built by ] Inc. The scanner used a laser sheet to project onto an object, capturing its shape through ]. Multiple scans were taken from various angles and combined into a single, detailed ]. The resolution achieved was fine enough to capture even ]'s ] marks, with triangles approximately 0.25 mm on each side.		The project's primary scanner was a ] mounted on a motorized gantry, custom-built by ] Inc. The scanner used a laser sheet to project onto an object, capturing its shape through ]. Multiple scans were taken from various angles and combined into a single, detailed ]. The resolution achieved was fine enough to capture even ]'s ] marks, with triangles approximately 0.25 mm on each side.

	In addition to shape data, color data was captured using a spotlight and a secondary ], enabling the creation of textured ].		In addition to shape data, color data was captured using a spotlight and a secondary ], enabling the creation of textured ].

	=== Data ~~Processing~~ ===		=== Data processing ===
	The project developed a software suite for processing the scanned data. This included:		The project developed a software suite for processing the scanned data. This included:

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	] techniques were also applied, highlighting surface features such as Michelangelo’s chisel marks for enhanced visualization.		] techniques were also applied, highlighting surface features such as Michelangelo’s chisel marks for enhanced visualization.

	== Logistical ~~Challenges~~ ==		== Logistical challenges ==
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	The scale and complexity of the project presented several challenges:		The scale and complexity of the project presented several challenges:

	* '''Data ~~Size~~:''' The dataset for '']'' alone comprised 2 billion polygons and 7,000 color images, occupying 60 GB of storage.		* '''Data size:''' The dataset for '']'' alone comprised 2 billion polygons and 7,000 color images, occupying 60 GB of storage.
	* '''Artifact ~~Safety~~:''' Ensuring the safety of the statues during scanning required extensive crew training, foam-encased equipment, and collision-prevention mechanisms.		* '''Artifact safety:''' Ensuring the safety of the statues during scanning required extensive crew training, foam-encased equipment, and collision-prevention mechanisms.

	== Applications and ~~Impact~~ ==		== Applications and impact ==
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	The digitized models have numerous potential applications:		The digitized models have numerous potential applications:

	* '''Art ~~History~~:''' Allowing precise measurements and geometric analysis, such as determining chisel types or evaluating structural balance.		* '''Art history:''' Allowing precise measurements and geometric analysis, such as determining chisel types or evaluating structural balance.
	* '''Education:''' Providing new ways to study art, including interactive viewing from unconventional angles and with custom lighting.		* '''Education:''' Providing new ways to study art, including interactive viewing from unconventional angles and with custom lighting.
	* '''Museum ~~Curation~~:''' Enhancing visitor experiences through interactive kiosks and virtual models.		* '''Museum curation:''' Enhancing visitor experiences through interactive kiosks and virtual models.

	The project demonstrated the potential for 3D technology to preserve and disseminate cultural heritage.		The project demonstrated the potential for 3D technology to preserve and disseminate cultural heritage.

	== Data ~~Distribution~~ ==		== Data distribution ==
	The project's models are available through Stanford University for scholarly purposes, under strict licensing due to Italian intellectual property laws. To provide public access, the team developed a remote rendering system that allows users to explore low-resolution models locally while accessing high-resolution images from Stanford servers.<ref>		The project's models are available through Stanford University for scholarly purposes, under strict licensing due to Italian intellectual property laws. To provide public access, the team developed a remote rendering system that allows users to explore low-resolution models locally while accessing high-resolution images from Stanford servers.<ref>
	{{cite web		{{cite web
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	== Sponsors ==		== Sponsors ==
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	The Digital Michelangelo Project was supported by Stanford University, Interval Research Corporation, and the Paul G. Allen Foundation for the Arts.		The Digital Michelangelo Project was supported by Stanford University, Interval Research Corporation, and the Paul G. Allen Foundation for the Arts.

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The Digital Michelangelo Project was a pioneering initiative undertaken during the 1998–1999 academic year to digitize the sculptures and architecture of Michelangelo using advanced laser scanning technology. The project was led by a team of 30 faculty, staff, and students from Stanford University and the University of Washington, with the aim of creating high-resolution 3D models of Michelangelo's works for scholarly, educational, and preservation purposes.

Objectives

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The primary goals of the Digital Michelangelo Project were:

To apply recent advancements in laser rangefinder technology for digitizing large cultural artifacts.
To create detailed digital archives of Michelangelo's sculptures and architectural spaces for future study and analysis.
To explore potential educational and curatorial applications for 3D scanned data.

Artworks digitized

The project involved scanning several iconic works by Michelangelo, including:

David
The Unfinished Slaves (Atlas, Awakening, Bearded, and Youthful)
St. Matthew
The allegorical statues from the Medici tombs (Night, Day, Dawn, and Dusk)
The architectural interiors of the Tribuna del David at the Galleria dell'Accademia and the New Sacristy in the Medici Chapels.

Technology and methodology

3D scanning

The project's primary scanner was a laser triangulation rangefinder mounted on a motorized gantry, custom-built by Cyberware Inc. The scanner used a laser sheet to project onto an object, capturing its shape through triangulation. Multiple scans were taken from various angles and combined into a single, detailed 3D mesh. The resolution achieved was fine enough to capture even Michelangelo's chisel marks, with triangles approximately 0.25 mm on each side.

In addition to shape data, color data was captured using a spotlight and a secondary camera, enabling the creation of textured 3D models.

Data processing

The project developed a software suite for processing the scanned data. This included:

Aligning and merging multiple scans into a seamless 3D model.
Filling holes in the geometry caused by inaccessible areas.
Correcting color data for lighting inconsistencies and shadowing.

Non-photorealistic rendering techniques were also applied, highlighting surface features such as Michelangelo’s chisel marks for enhanced visualization.

Logistical challenges

The scale and complexity of the project presented several challenges:

Data size: The dataset for David alone comprised 2 billion polygons and 7,000 color images, occupying 60 GB of storage.
Artifact safety: Ensuring the safety of the statues during scanning required extensive crew training, foam-encased equipment, and collision-prevention mechanisms.

Applications and impact

The digitized models have numerous potential applications:

Art history: Allowing precise measurements and geometric analysis, such as determining chisel types or evaluating structural balance.
Education: Providing new ways to study art, including interactive viewing from unconventional angles and with custom lighting.
Museum curation: Enhancing visitor experiences through interactive kiosks and virtual models.

The project demonstrated the potential for 3D technology to preserve and disseminate cultural heritage.

Data distribution

The project's models are available through Stanford University for scholarly purposes, under strict licensing due to Italian intellectual property laws. To provide public access, the team developed a remote rendering system that allows users to explore low-resolution models locally while accessing high-resolution images from Stanford servers.

External links

The Digital Michelangelo Project Archive of 3D Models

References

Marc, Levoy; Rusinkiewicz, Szymon; Ginzton, Matt (2000). "The Digital Michelangelo Project: 3D Scanning of Large Statues". SIGGRAPH '00: Proceedings of the 27th annual conference on Computer graphics and interactive techniques. pp. 131–144. ISBN 9781581132083.
"ScanView: a system for remote visualization of scanned 3D models". Stanford University. 2003.

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