Mixed Reality and Digital Representation
of Byzantine Culture
Postgraduate Programme — Level 7
LEARNING OUTCOMES
Upon completion, students will be able to:
1)
Explain the basic principles of 3D graphics, Mixed Reality (MR), Augmented Reality (AR), and Virtual Reality (VR) as applied to Byzantine cultural heritage.
2)
Identify and apply photogrammetry techniques for capturing Byzantine artifacts, small-scale objects, inscriptions, and architectural elements.
3)
Create, edit, and document simple 3D models in Blender and MeshLab, following cultural-heritage documentation principles.
4)
Develop MR/VR/AR experiences that communicate Byzantine monuments, artworks, objects, and spatial environments for research, education, or public engagement.
5)
Evaluate AI outputs for accuracy, bias, anachronism, and hallucinated references.
6)
Apply usability and learner-experience evaluation principles to AI-supported outputs.
7)
Prepare documented 3D cultural heritage outputs with metadata, annotations, historical context, uncertainty statements, and responsible interpretation.
8)
Critically evaluate the authenticity, accuracy, limitations, and ethical implications of digital reconstructions of Byzantine culture.
COURSE SYLLABUS
13 Modules
Week 01 | Introduction to Mixed Reality and Byzantine Digital Heritage
Mixed Reality, Augmented Reality, Virtual Reality, and the role of digital reconstruction in Byzantine Studies. Examples from monuments, objects, museums, education, and public communication.
Week 02 | Foundations of 3D Graphics for Cultural Heritage
Basic concepts of 3D space, meshes, vertices, edges, faces, materials, textures, and rendering, explained through Byzantine examples such as domes, capitals, icons, mosaics, and architectural fragments.
Week 03 | Introduction to Blender for Byzantine Modelling
Beginner-friendly introduction to Blender interface, navigation, transforms, and simple modelling tasks. Students model basic Byzantine architectural elements such as arches, apses, and decorative forms.
Week 04 | Materials, Texturing, and Byzantine Surfaces
Introductory materials and texture workflows, including UV concepts and physically based rendering at a practical level. Examples include mosaic tesserae, marble, stone, gold backgrounds, painted surfaces, and ceramic textures.
Week 05 | Photogrammetry I: Image Capture and Reconstruction Workflow
Principles of photogrammetry for small objects and cultural heritage material. Image capture, dataset preparation, reconstruction stages, and use cases involving coins, ceramics, inscriptions, and portable artefacts.
Week 06 | Photogrammetry II: Cleaning, Optimising, and Documenting 3D Scans
Processing reconstructed models in MeshLab or equivalent tools. Mesh cleaning, decimation, texture correction, optimisation, and documentation for preservation, teaching, and dissemination.
Week 07 | From Scan to Model: Combining Photogrammetry and Manual Modelling
Importing scans into modelling environments, combining scanned and manually modelled elements, basic retopology concepts, and preparation of hybrid models for cultural heritage communication.
Week 08 | Digital Reconstruction of Byzantine Architecture
Modelling domes, pendentives, apses, cross-in-square structures, and spatial layouts. Discussion of reconstruction principles, spatial accuracy, missing evidence, and uncertainty in architectural representation.
Week 09 | Virtual Reality for Byzantine Culture
Introduction to VR environments, navigation, interaction design, and simple walkthroughs of Byzantine spaces using accessible workflows and prepared project templates in Unity, Unreal, or web-based alternatives.
Week 10 | Augmented Reality for Artefacts and Monuments
Marker-based and markerless AR concepts. Displaying 3D models of icons, objects, inscriptions, or architectural fragments with contextual information for education, museums, and cultural tourism.
Week 11 | Publishing, Metadata, and Digital Dissemination
Preparing 3D outputs for online publication using platforms such as Sketchfab. Metadata, annotations, documentation standards, historical notes, provenance, licensing, and audience-specific presentation.
Week 12 | Ethics, Authenticity, and Limits of Digital Reconstruction
Historical accuracy, artistic interpretation, transparency, data gaps, copyright, cultural sensitivity, and responsible labelling of hypothetical or AI-assisted reconstructions.
Week 13 | Final Project Presentations
Student presentation and demonstration of 3D models, photogrammetry outputs, VR/AR prototypes, or documented reconstruction concepts, followed by peer feedback and reflective discussion.
ASSESSMENT
Student Evaluation
40%
Writtent Assignments
40%
Final Project
20%
Oral presentation and participation
Workload — ECTS Distribution
250 Hours Total
Lectures
39
30
40
55
40
26
20
Course Total
250
Recommended Bibliography
Suggested bibliography:
- Campana, S., & Remondino, F. (Eds.). (2019). 3D Recording and Modelling in Archaeology and Cultural Heritage: Theory and Best Practices. BAR Publishing.
- Stylianidis, E., & Remondino, F. (2025). 3D Recording, Documentation and Management of Cultural Heritage. Porto Press.
- Lens, S. (2023). Procedural 3D Modeling Using Geometry Nodes in Blender. Packt Publishing.
- Champion, E. (2021). Virtual Heritage: A Guide. Ubiquity Press.
- Addison, A. C. (2000). Emerging trends in virtual heritage. IEEE Multimedia, 7(2), 22-25.
- London Charter. The London Charter for the Computer-based Visualisation of Cultural Heritage.
- Seville Principles. International Principles of Virtual Archaeology.
- Sketchfab for Cultural Heritage and 3D documentation resources.
- Blender Manual and official learning resources.
Related academic journals:
- International Journal of Digital Humanities (Springer)
- Journal on Computing and Cultural Heritage (ACM)
- Digital Applications in Archaeology and Cultural Heritage (Elsevier)
- Virtual Archaeology Review (Universidad Politecnica de Valencia)
- npj Heritage Science (Springer)