Immersive Learning for Lost Architectural Heritage: Interweaving the Past and Present, Physical and Digital in the Monastery of Madre de Deus
Abstract
:1. Introduction
1.1. Research Objectives and Knowledge Gaps
1.2. From the Monastery of Madre de Deus to the National Tile Museum
2. Literature Review
2.1. Virtual Heritage Dissemination
2.2. Authenticity in Virtual Reconstruction Research
2.3. Immersive Learning
3. Materials and Methods
3.1. Materials from Previous Virtual Reconstruction Modelling with HBIM
- An “As-Found” Model of the National Tile Museum: This group focused on digitally modelling parts of the National Tile Museum building as they exist. The modelling was conducted primarily through point cloud data collected at a prior date by the professors of the course [1] (pp. 6220–6221). The objective of this group’s work was to accurately model spaces related to what are believed to be the original spaces belonging to the Monastery of Madre de Deus. The model was meant as a comparison against the 16th-century reconstruction. As much as possible, the model replicates the existing conditions to give reference to the physical space, though it was challenging to replicate all the ornate details of the gilded woodcarving and the painted scenes one the tiles that contribute to the building’s character.
- The 16th-century Church—Hypothesis 1: This group delved into the 16th-century church of Madre de Deus by challenging hypotheses established previously by the historians Pais and Curvelo [79]. The historians proposed that the original church’s location be in the present D. Manuel Room due to a literal analysis of the painting “Arrival of the Relics of Saint Auta,” [80] deriving from the 16th century, which shows the river by the church’s south façade. Instead, students contested this arrangement, acknowledging the possibility that the role of the painting was more figurative than literal. This resulted in a shift in orientation of the main façade from the west to the south. They also compared the dimensions of existing point cloud data to measurements found in historic text which outlined the dimensions of the original church. In addition, they speculate that the original portal may have been relocated from a different location as indicated by an unexplained excavation indicated in 19th-century drawings [81]. As a result, the students located the 16th-century church where the Low Choir is located today, rather than the D. Manuel Room as speculated by the historians. This revised proposal would imply a similar layout to what is seen in the Convent of Jesus today, with the choir located west of the main nave.
- The 16th-century Church—Hypothesis 2: This theme tested a previously developed written hypothesis of Madre de Deus’s 16th-century church by João Simões which drew theoretical connections to other architectural examples of the Colettine reform [82]. Simões speculated that the building adhered to architectural precedents found in the Convent of Jesus in Setúbal and the Convent of Saint Clare in Gandía. The students incorporated this perspective, while making slight adjustments to the proportions of the walls based on point cloud data and based on a comparison of historic cartographies. As a result of this proposal, the church would take the place of both the D. Manuel Room and the Low Choir.
- The 16th-century Church—Hypothesis 3: This hypothesis reconstructed the 16th-century Madre de Deus using three reference paintings. Historians entertain the notion that three church paintings initially housed by the church might indeed portray it. This hypothesis explores aligning the façade—“Arrival of the Relics of Saint Auta” [80]—and two interiors—“Saint Francis Delivering the Statutes” [83] and “Tryptic of the Presentation of the Child” [84]. The model adheres to dimensions outlined in a written contract providing measurements from 1517 [85] (p. 76) and measurements from point cloud data.
- Arab Room: The space formerly known as the Arab Room is situated in what is today known as the Chapel of Queen Leonor. This space was known to be part of the original palace space owned by Álvaro da Cunha’s widow and is famous for its wooden Mudéjar ceiling. The rope motif of this ceiling prompted Queen Leonor to establish the monastery upon this existing palace. The theme reconstructed the chapel’s original ambiance, including tile work, floor patterns, and modelling an altar from historic drawings which depict it housed in this space.
- Modelling Nepomuceno’s 19th-century Plans: Following the dissolution of religious orders in 1834, architect José Maria Nepomuceno surveyed the Madre de Deus Monastery for its conversion into a Casa Pia asylum. His plan categorized areas into red (signifying what was to be built), gray (signifying what was found and maintained), and yellow (what was found and planned to be demolished) [81]. These layers’ interpretations provided insights into the building’s evolution, crucial for understanding its chronology. The task involved modelling two interpretations of Nepomuceno’s intervention: what was supposedly built and what was encountered initially. Additionally, these models incorporated present point cloud data to ascertain the surviving remnants of Nepomuceno’s modifications. Due to the analytical approach of this research, it was not deemed essential to experience these two models separately but rather to visualize them as models within the immersive experience.
- Low Choir: The space that is today still known as the Low Choir likely served as the entrance to the pre-existing Mudéjar palace by the Tagus River before becoming a monastery. Its function as a choir after King D. João III’s expansion is clear, but its original role in the 16th century remains uncertain—whether as the original church or choir. This model explores the hypothesis that the space maintains its function as the original Low Choir. Referring to a 1639 testimony written by the nuns of the monastery that mentions a previous corded ceiling [86], this group speculated on vaulted ceilings of the space as the main character-defining element, in reference to the Convent of Jesus in Setubal. Other additions include a proposal for an altar membrane, the insertion of a Persian carpet supposedly belonging to the space, and the relocation of choir stalls existing today in the floor above their initial location.
- The 17th-Century Church: Between 1551 and 1624, King D. João III expanded the existing monastery due to nuns’ complaints of recurring floods and the desire for larger living spaces. To grasp the building’s evolution, this project reconstructed a schematic overview of Madre de Deus in the 17th century by digitally interpreting Nepomuceno’s façade drawing to reveal the façade’s pre-asylum state and using point cloud data of the existing church interior, which has remained largely unchanged to this day. The model includes the Main Cloister which is believed to be the same as what is seen in the building today, suggesting it could be a useful space to link past and present.
3.2. Designing an Immersive Learning Experience in Shapespark
4. Results
5. Discussion
5.1. Defining Limitations of the Previous Virtual Reconstruction Content
5.2. Responding to Present Challenges of Virtual Heritage Dissemination
5.3. Responding to Definitions of Authenticity in Virtual Reconstruction Research
5.4. Speculating on Immersive Learning for Lost Architectural Heritage
6. Conclusions
Author Contributions
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Acknowledgments
Conflicts of Interest
References
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Rafeiro, J.; Tomé, A.; Nazário, M. Immersive Learning for Lost Architectural Heritage: Interweaving the Past and Present, Physical and Digital in the Monastery of Madre de Deus. Sustainability 2024, 16, 1156. https://doi.org/10.3390/su16031156
Rafeiro J, Tomé A, Nazário M. Immersive Learning for Lost Architectural Heritage: Interweaving the Past and Present, Physical and Digital in the Monastery of Madre de Deus. Sustainability. 2024; 16(3):1156. https://doi.org/10.3390/su16031156
Chicago/Turabian StyleRafeiro, Jesse, Ana Tomé, and Maria Nazário. 2024. "Immersive Learning for Lost Architectural Heritage: Interweaving the Past and Present, Physical and Digital in the Monastery of Madre de Deus" Sustainability 16, no. 3: 1156. https://doi.org/10.3390/su16031156