Today, a thousand years ago

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'Today, a Thousand Years Ago' is a project that seeks to provide an immersive experience to the visitors of the Museum of Medieval Art (MEV). Through an immersive space, visitors can travel back in time to the 12th century and connect emotionally with medieval art.

Through the virtual recreation of a painter's workshop, the streets and the romanesque cathedral of Vic, viewers discover a world, the medieval art, rich in colors, light and mystery, allowing a new understanding and appreciation of different pieces from the museum's collection.

  • MEV - Museu d'Art Medieval de Vic
  • 2022
  • Project: Digitisation - Digital reconstruction / Virtual reality / Audiovisual / Immersive room

The story.

Giving context to the pieces.

It is a journey from the present to the past that allows current audiences to connect with medieval art through a story starring a young apprentice painter from the 12th century and the romanesque cathedral of Vic.

The immersive space of the MEV aims to be an informative tool where a story connects different works from the museum’s permanent collection and gives them a context in their time. The story focuses on the interior of a workshop, where one of the assistants checks that everything is fine, as his master has instructed him, they are finishing a work for a nearby church. Suddenly, he remembers that he has forgotten a tool inside the cathedral and is about to start Mass. He has to go and retrieve it or he will get a reprimand. Inside the Cathedral, decorated for the mass but still empty, the apprentice forgets his duty, attracted by the paintings, the fabrics and the bright colors. He takes advantage of the fact that he is alone to move around inside the cathedral, approaching the objects that impress him the most.

Through this tour, the apprentice and visitors have the opportunity to immerse themselves in the historical and artistic context of the works, providing information about their use and function within the cathedral and the medieval period in general. In conclusion, the apprentice’s entry into the cathedral serves as a pretext to present the MEV works in their context, enriching the understanding and appreciation of today’s audiences.

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Digitisation.

Photogrammetry of the collection.

First of all, the technicians and historians made a careful selection of the pieces of interest to be restored with the aim of contextualizing them and being able to build a story that would transport us to the medieval era.

To digitize the works of the museum’s permanent collection and obtain three-dimensional representations of their current state, we implemented the photogrammetry procedure. This method involves capturing and grouping numerous photographs of each individual work. These photographs, taken from multiple angles and with high resolution, were processed and triangulated to generate a three-dimensional model with a final high-quality texture, ensuring the exhaustive capture of all details. The result is a 3D model of excellent quality, providing a robust basis for the restoration of the medieval pieces. During this phase of the project, we collaborated closely with specialized historians, following their indications and criteria to ensure the accuracy and fidelity of the results in relation to the historical and artistic context of the pieces.

3D reconstruction.

Endorsed by historians.

The immersive experience lasts 10 minutes and allows us to discover three virtual spaces reconstructed in 3D and endorsed by historians: a painter’s workshop, the street and the romanesque cathedral of Vic.

The reconstruction of the cathedral is also based on a hypothesis of what the temple was like in the 12th century. The project shows a simulation of the probable decoration of the cathedral using the pieces available from that period in the museum. With an exciting narrative, the audiovisual shows what the feeling of medieval society might have been like when entering the temples. Although that was an era marked by conflicts and wars, there was a common space that connected everyone.

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In order to build the master craftsman’s workshop in 3D, we studied scenes from different pictorial works of the time, especially the tools and equipment. In this particular workshop we have incorporated a work of art, the altar front of the Blessed Virgin of Coll, which is currently part of the collection of the museum. We digitally restored the front following the instructions of the museum’s experts. We enhanced its polychrome and gilding simulating the tempera painting technique, typical of the medieval era.

The workshops were also places of learning, where young people interested in arts used to be apprentices. These apprentices spent their first years of learning observing and helping the masters in various tasks, and over time they gained experience and skills. The apprentice of the workshop master has the leading role of our story.

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Making of.

Making of the construction project of the immersive room and the story “Today, a thousand years ago”

Immersive room.

Large format curved screen.

The large-format curved screen is a key piece in the immersive experience. Its surrounding shape allows for a sense of depth and immerses visitors into a journey a thousand years back.

Immersive space and Audiovisual

  • Immersive space project: Burzon*Comenge
  • Design and coordination: Ester Comenge
  • Design support: espai e
  • Audiovisual Engineering: Xavier Gibert
  • Curved screen installing: Grop, exposicions i museografía
  • Immersive audiovisual: Burzon*Comenge
  • Direction: Albert Burzon
  • Design and coordination: Ester Comenge
  • Digital restitution of works of art: Albert Burzon
  • Script: Gemma Sanz
  • Music and sound: Santi Vilanova
  • Text correction and translations: Lago Balaton
  • Voice-overs: Locutors.cat

 

MEV team

  • Direction: Oriol Picas
  • Coordination and concept: Carme Comas
  • Scientific advice : Marc Sureda and Judit Verdaguer
  • Documentation and image research: Anna Homs
  • Communication: Jordi Blanqué, Carme Comas and Lourdes Corominas (CTL comunicació)
  • Educational project: Carme Comas and Lux Mundi
  • Administrative support: Núria Barniol i Bruna Rovira
  • Logistical support and assembly: Félix Juste, Xevi Furriols and Jordi Ordeig