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Research Paper I
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Title:
3-Dimensional Documentation of "Complex Heritage
Structures".
(Based on work done in collaboration with Dr. Mudur, Prof. R. K .Joshi, Prof Ranade, Mr. Vivek Punjabi, Bipin Patwardhan, Niranjan Nayak, Alekh Jamsandekar, Shirish Shanbhag, Shrinath Shanbhag, Yogin Masruwala, Dinesh Shikhare and Deepraj Dixit)
Abstract:
Right from the beginning of the first civilizations,
documentation of events, religion, culture and significant
structures has been of utmost importance for further study and
preservation. Various methods of visual communications developed
over a period of time ? from ancient techniques like rock
cut frescoes, hieroglyphics of Egypt, paintings and carvings in
stone to 2-dimensional techniques using paper to today?s
digital techniques using multimedia. Today, the computing power
at the PC level has increased tremendously, and has allowed the
SOHO users to demand better user interface. This need has forced
the world of computers not only to switch from 2 dimensional
interface to 3 dimensional interface but also increased
interactivity. There will soon be a time where a person no longer
goes beyond the realms of his own home for experiencing or
studying all aspects of any intricate Heritage Structure. Virtual
environments of such structures will be easily available and
navigable. All the associated information like history,
architectural data, archaeological data, culture and also
traditional audio will be available at the click of the mouse.
There are infinite possibilities of depicting the virtual
(different lighting conditions, the structure as it existed (As
Was), the present state of the structure (As Is) or future
representation of the structure (As It Can Be). Besides marking
the beginning of 3-Dimensional documentation of Complex Heritage
Structures, this research has extended the limits of human skill
(in terms of gathering data and construction of 3D model) and
information technology (in terms of hardware limitations and
computing power) ? a symbiosis and confluence of arts and
information technology.
CONTENTS:
Introduction
The Project: Methodology & Phasing
Digitally narrated history of Fatehpur Sikri
Symbiosis and confluence of various inputs from the creative arts
& technical fields
Software
Minimum System requirements
Result and Conclusions
Future Work
References
Acknowledgements
Introduction
This paper describes the advantages and development of
methods for 3-Dimensional documentation of "Heritage
Structures" for reference and archiving, by taking an
example of a Complex Heritage Structure. Till date, most of the
important structures of heritage have been documented in the form
of orthographic projections. These methods have so far, been the
most widely used methods for referencing and archiving. But they
still remain non-interactive, very technical, non user-friendly
and cumbersome, giving a lot of scope for human errors and
missing data. The human vision is binocular and hence the view
perceived by a human being is always 3-Dimensional. In this case
a virtual 3 dimensional environment becomes the most comfortable
environment.
EARLIER METHODS OF PRESENTATIONS (ISOMETRIC VIEW AND PAPER MODEL
OF FATEHPUR SIKRI)
"Fatehpur Sikri" - Marg Publications
Accurate information is required to build such complex models. Even the slightest error is immediately pinpointed and these errors are unpardonable. Such advantages make these virtual environments, the best method for documentation of "Heritage Structures" for reference and archiving.
The Project: Methodology
& Phasing
The project was conceived in two parts:
1. "Resurrection of
Fatehpur Sikri"
This was the first stage of the project.
A structure of heritage importance, with a sufficient degree of
complexity was identified amongst various other alternatives. The
palatial complex of Fatehpur Sikri was selected amongst various
alternatives for the following reasons:
ORTHOGRAPHIC PLANS AND SECTIONS OF THE PALACE COMPLEX AND THE
MOSQUE COMPLEX
"Mughal Architecture of Fatehpur Sikri" by Edmund
Smith and "Fatehpur Sikri" - Marg Publications
Although orthographic projections were the main backbone for this
project, due to the 3 dimensional construction of the complex, a
lot of missing details (e.g. Height of Buland Darwaza),
mismatching dimensions and inaccurate scales and dimensions (e.g.
Liwan Cloisters) were encountered. These were cross checked with
other references like photographs and on-site measurements. Some
of the missing monuments information was recreated from
documented history.
This stage was conceived with a challenge in mind, the challenge being depth of detail in terms of physical mesh, which is currently 1.8 million polygons. Detailed plans, elevations, sections and photographs of this world famous heritage building were available through local architectural colleges' libraries. These orthographic projections were the main backbone of the research. But there were some limitations like missing information, incorrect scales and mismatching measurements. Such information was gathered through site survey, available photographs and archaeological data. This provided the necessary data required for the first step towards this challenge.
ACCURATE MODELING OF COMPLEX HERITAGE STRUCTURES USING AUTOCAD
The next step was the selection of appropriate software for translating the orthographic projections into 3 dimensional data. A popular and industry standard drafting package, AutoCAD, was selected mainly because of its direct exporting facility to a popular and industry standard visualization package, 3D Studio MAX. The combination worked out to be very powerful for this research, primarily because, highly accurate and precise models could be built using AutoCAD. Meshes were then exported to MAX and manually optimized (removal of unnecessary polygons). Textures were created from available photographs and photographs taken on site. Daylight conditions and possible artificial illuminations were simulated. Site studies were carried out to compare the accuracy of the model. Raytraced animations with audio input and panoramic camera views (giving 360 angle view point) were created to get the feel of the environment.
TEXTURES AS SCANNED, DIGITALLY EDITED AND RETOUCHED BY GRAPHIC
ARTIST
Textures were the most important and critical aspect for giving
the entire virtual environment, a feeling of reality. There were
many limitations involved in using large and untilable maps for
the project. A basic requirement of a virtual environment was
that the textures had to be to the proportion of 2 to the power
"x" and the maximum size was 512 pixels. All the
textures had to be made following these guidelines and the
texture co-ordinates were used accordingly. Mip maps (same
textures replaced by lower resolutions for increased frame rate)
were created to avoid wavering effect and aliasing.
A very important issue in this research was to bridge the gap between computing power limitations and level of detail. The first four of the twenty-one structures were built using PC level computers (P-II 300Mhz with 128 MB RAM). Level of detail was satisfactory for still images and animations. But despite employment of clever modeling techniques faster computers were required to complete the whole palace complex. Due to high complexity of the model, computers with specifications like Dual P-II 400Mhz with 512MB RAM and Dual P-II 300Mhz with 384MB RAM were used. These were adequate to achieve a good degree of reality and complete the "Resurrection of Fatehpur Sikri".
2. "Fatehpur Sikri,
an epic in Red Sandstone" ? An interactive virtual tour
for the PC platform.
This was the second and the final stage of the project.
A walk through engine was developed at the CAD and Graphics
Division of National Center for Software Technology, Mumbai,
India [4]. "Diwan-I-Khass", a single intricately
detailed structure of the Palace complex (approx. 110,000
polygons), was used to test the capability of the walkthrough
engine. A characteristic of a detailed model of a Complex
Heritage Structure is the concentration of large number of
polygons in a small area. This causes the hardware (on PC
platform) to take more time for real-time rendering, resulting in
an unsatisfactory frame rate. The model was then fragmented into
logical and smaller elements for adaptation of culling methods.
The mesh was thoroughly optimized by removing double and unwanted
faces. Different "level of detail" models were prepared
and proximity sensors were used to detect the visibility of
meshes. Finally, a satisfactory average frame rate of 13 frames
per second was achieved. Textures were mip-mapped and dynamic
elements like daylight to night light transitions, rippling
water, 3 D surround sound, voice-overs with traditional music and
voice recognition techniques for hands free interaction, were
added to make the virtual tour a pleasurable experience. Similar
techniques were utilized for the entire administrative area and
Emperor?s private quarters of "Fatehpur Sikri".
DIWAN-I-KHASS - CAPITOL OVER CENTRAL COLUMN (RAYTRACED IMAGE AND
MESH DETAIL IN 3D STUDIO MAX)
A typical problem encountered - "Concentration of large
number of polygons in a small area".
The specifications of the model
and the application are as follows:
Area under consideration : approx. 600,000 triangles
Diwan-i-Khas capitol: approx. 45,000 triangles
Astrologer's Seat decoration: approx. 32,000 triangles
Textures: approx. 12MB
Textures: approx. 44MB (with shadows and light maps)
Digitally narrated
history of Fatehpur Sikri
The following paragraphs explain the history, culture,
the complexity of the design and the digital equivalent (in the
form of ray-traced and real-time rendered images) of
"Fatehpur Sikri".
Compiled from
Indian Architecture, Islamic Period
Fatehpur Sikri, Marg Publication
Mughal Architecture of Fatehpur Sikri by Edmund Smith
Islamic Architecture in India by Satish Grover
The Royal Palaces of India by George Mitchell
The World of Islam by Bernard Lewis
Historic India, Great Ages of Man
The city is divided in 2 parts,
the Palace Complex and The Mosque Complex.
The palace complex can be broadly divided in to four parts:
Administrative buildings, Emperor's private quarters, and The
Harem complex. While the Mosque complex consists of the Buland
Darwaza, the Liwan, Salim Chisti's Tomb, Islam Khan's Tomb, Royal
Gate, and Zanana Rauza.
All the parts are interconnected by courtyards and cloisters aligned on a mathematically formulated grid pattern, parallel to the great mosque. The planning in form of concentric rings placed the most private areas such as Queen's palaces in the center, surrounded by semi-private areas. The outermost spaces and buildings are meant for service functions and public activities.
Akbar planned a complex on Persian principles, but built and decorated in Indian style. The result is unique, untrammeled by any restriction and exempt from rigid requirements reflecting the mind of the Emperor. Its eclectic but elegant combination of many motifs and adoption of new developments in decorative form is laudable. It showcases the empire's triumph of engineering and structural skills.
The Administrative block is connected to the Emperor's private quarters and to the city. The principal units of the harem are connected to the Emperor's palace by screened corridors and shut off entirely from the administrative areas. A viaduct connects the first floor of Daulat Khana with the Haram Sara; another extends to Hathi pol and beyond to the Hiran Minar. The Mosque complex is approached through the Emperor's gate for the Royalty and by a wide flight of steps for the subjects.
The palace complex is surrounded by several utility structures such as waterworks; gates and community areas; workshops, markets and houses of noblemen, all enclosed within the city walls.
The Administrative area and the Emperor?s Private quarters was selected for the virtual tour. It comprised of the following structures:
Diwan-I-Am: House of Commons
Directly approached from Agra Gate through Naubat Khana,
Diwan-I-Am is the place where Akbar presented himself to his
subjects and dispensed justice for about 3 hours after sunrise.
Elephants brought as a trophy of victory ware tied to the foot of
the colonnade opposite the pavilion. Elephants used to crush the
condemned to death were also tied here. A colonnade of 111 bays
surrounds the court with the Emperor?s platform at the west.
The Emperor had direct access to his private apartment, the
Daulat Khana from this pavilion.
Diwan-I-Khas: The Jewel House
In this royal chamber for imperial gems and jewels, Akbar sat
on the top of the capital of the central column to inspect
precious treasures. Abul Fazl records that three separate
treasuries were maintained here. One for gold and silver, one for
gems and jewels and one for copper. Four entry doors lead to the
most astonishing pillar of Mughal architecture. A solitary pillar
in the center with 36 brackets supporting a circular platform
connected diagonally with 4 stone brides to the galleries running
along the upper story.
Ankh Micholi: Treasury
This structure was used as an imperial treasury, not as a
place to play Ankh Micholi, a game of hide and seek with the
ladies of the harem, as the name wrongly suggests. Instead, Akbar
bestowed his personal attention upon the management of revenue
and expenditure with great care.
Astrologer?s seat: The
treasury kiosk
This kiosk is set aside for the Hindu astrologer or Muslim
munajjims, highly trained in various systems; each expected to
pronounce the Emperor?s prognostications before any major
decision was taken. About 3 m. square, this open structure is an
extension of the jewel-House platform. An elaborate torana,
decorative arches derived from Jain architecture adorn all four
openings.
Panch Mahal: Badgir /wind
Tower
Built in five successively receding stories, this open
structure comprises of eighty four columns on the ground floor, a
number regarded as highly auspicious by Hindus. This number is
derived by multiplying seven classically known planets with
twelve zodiac signs. The topmost story is a single domed kiosk
supported upon for columns making 176 in all. The open structure
mitigates heat by deflecting and cooling harsh summer breeze. It
also offers breathtaking view of the surroundings.
The Diwan-Khana-I-Khas:
Private Palace
The lower walls of this structure are hollowed internally and
the openings were closed by sliding stone slabs to store books,
read out to the Emperor regularly. This was also used as a dining
room. The large room behind this chamber has a platform
projecting from its south wall. The Emperor sat here with his
legs crossed on scarlet velvet rugs with entrée to the Court
standing in line according to their ranks. In the west wall there
was a doorway, now closed, giving direct access to the noblemen
and clerks from the Daftar Khana to wait upon the Emperor. A
window gave onto the quadrangle from near the platform. The
Emperor showed himself to His subjects from here daily. A Brahmin
interpreter of the great Hindu epic, Mahabharata used to be
raised sitting on a charpai, an Indian string bed till he was in
level with the Emperor. This is when he instructed the great
ruler about the myths and legends of Hinduism.
Khwabgah: Chamber of dreams/
Khilawatkada-I-Khas/ Chitrashala
This beautiful chamber on the first floor is Akbar?s
private room where ladies from the harem could easily visit him.
They also met religious guests and watched court proceedings from
here from behind the screens. The Emperor retired here for his
short afternoon sleep and for relaxation at night. He held an
informal court here with his favorite noblemen such as witty
Birbal, Abul Fazl, Nakib Khan and other philosophers and Sufis.
Turkish Sultana?s House:
Hujra-I-Anup Talao/ Anup Talao Pavilion
This is a place for repose, a zanana residence. It was later
connected to the girl?s school at the northwest side and to
the Daulat-Khana, emperor?s palace to the southeast with
colonnades. Three stone rings are evident 1.98m. above the ground
level on the northern side lintels. These were used to fasten
canvas tents, as described by Mulla Badouni where important
discussions took place.
The Anup Talao: The peerless
Pool/ Kapur Talao
At the seat in the middle of Anup Talao, Akbar performed his
obligatory prayers five times a day in congregation and granted
interviews. Steps give access to water, which came from the
northern waterworks; a channel emptied surplus into the
Hauz-I-Shirin on the steep southern slope outside the palace.
Abdar khana: Girl?s
school
There are contradictory stories describing this structure as a
girl?s school and/ or as a water and fruit store. One theory
suggests that this structure being in the center of the court
would not allow girls to use it freely according to Islamic
traditions. Other theory describes this as a place where
Akbar?s ? water of immortality? was preserved here
in the care of a trusted nobleman. The imperial store for the
fruits was also established here. The forty courses for the
Emperor?s meal was tasted here and served in great style.
The Pachisi Court: Game Court
A part of the pavement of this court is laid out in a
cruciform pattern on which the game of Pachisi, also known as
choupat, was played with slave girls dressed in different colors,
as game pieces while the Emperor sat on a stone seat in the
center and dictated the game. Four times a year, the Emperor had
sacks; each containing four thousand copper coins piled up here.
The money was counted out to court servants, after deduction of
profit an ordinary banker would have made.
Symbiosis and confluence of various inputs from the creative arts & technical fields:
Software Used:
Minimum System
requirements:
Pentium(r) III
128MB RAM
8MB AGP Card
Multimedia Kit (speakers, microphone)
CDROM
Windows 98
DirectX 6.1
DirectX 6.0 Media
Result and conclusions:
Future Work:
This method is the advent of a new and interactive form
of documenting, referencing and archiving Heritage Structures.
The future work involves advanced development of this method.
References:
[1] "Virtual and Augmented Reality" by Stefan
Mueller, Fraunhofer Institute for Computer Graphics, Germany.
[2] "Three-dimensional representation of the different
phases of construction and actual state of conservation of
Arenberg Castle using CAAD and Virtual reality applications
towards its adequate conservation" by Mario Santana
Quintero, Herman Neukarmans, Koenraad Van Balen, Raymond Lemaire
Center for Conservation, Belgium.
[3] "Modeling and Rendering Architecture from
Photographs" by Paul Debevec, University of California,
Berkeley.
[4] "A software Architecture for Virtual Walkthroughs of
Complex Heritage Sites" by Dr. S. P. Mudur, National Center
for Software Technology, Mumbai, India.
[5] "The Digital Michelangelo Project" by Marc Levoy,
Stanford University.
Acknowledgements:
Sir J. J. College of Architecture, Mumbai, India.
Academy of Architecture, Mumbai, India.
L. S. Raheja College of Architecture, Mumbai, India.
Kamala Raheja College of Architecture, Mumbai, India.
National Center for Software Technology, Mumbai, India.
British Council Library, Mumbai, India.
VISIONS, Mumbai, India.
Intel Asia Electronics, Bangalore, India.
Archaeological Survey of India, Aurangabad, India.
and Thanks to:
Mr. Harshad Bhatia, Conservation Architect
Vishwesh Karnik, Architect and Modeler
Mahendra Pore, Graphic Artist
Sanjay Puri, Voice overs
Research by:
Nikhilesh Haval
Design Associate
CAD and Graphics Department
National Center for Software Technology
Bombay, India.
Web version of the project is
available at:
http://rohini.ncst.ernet.in/fatehpur
Please visit my webpage for other
works:
http://westwood.fortunecity.com/karan/133/index1.htm
