Budapest Régiségei 40. (2007)

MŰEMLÉKVÉDELEM - Zsidi Paula: A papírtól a képernyőig - aquincumi rekonstrukciók = From the plan sheet to the screen- reconstructions in Aquincum 323

ZsiDi PAULA FROM THE PLAN SHEET TO THE SCREEN- RECONSTRUCTIONS IN AQUINCUM Aimed at conveying a better understanding of the one-time buildings and the Aquincum neighbourhood, a virtual reconstruction site was launched in the Aquincum Museum, in April 2005. Typically, virtual reconstructions have nothing in common with real time and space. In the application installed in the Aquincum Museum, however, it is only time which is virtual, and space is identical with that of the spectator. It is worthwhile following the milestones which led from the first reconstruction in Aquincum to the first virtual reconstruction site in its own right. The portrayal of "the lost world" has been a chief concern with the excavators from very early on (Fig. 1) Apart from architectural exactitude lifelike representation also figured high with illustrators up until the middle of the 20th century. (Fig. 2) The 1960's hailed a new era of reconstructions with Gyula Hajnóczy joining the conservation programme of the so-called Polgárváros rubble site (Northern part of Aquincum). Most of his sketches helped the rehabilitation programme so special emphasis was laid on observing the proportions and meticulously constructing the visual representations (Fig. 3). Klára Póczy played an instrumental role in explaining the layouts and the preparation of reconstructions. With his reconstruction drawings, Gyula Hajnóczy was a trendsetter, with generations of architects sketching the Roman city in his wake. (Fig. 4) In the meantime, an increasing number of archaeological finds, murals for the most part, and better excavation observations have been seconding the reconstruction of Aquincum interiors. (Fig. 5) Also serving as tools of portrayal, scale models based on the drawings have been put on display. (Fig. 6). Dovetailed with the excavations, an intensive field survey has made it possible to sketch settlement structures in Aquincum, some of which also reproduce the natural environment along with the constructed sites (Fig. 7). The reconstructed landscape first "came off" the plan sheets in the footsteps of László Gerő's work making the Amphitheatre not only a city landmark but also its mass a perceptible reality. (Fig. 8) László Gerő's tried and tested partial-reconstruction method was adopted and implemented by Gyula Hajnóczi twenty years on for the "Polgárváros" (the Northern part of Aquincum) and the "Legioncamp" (the Southern part). (Fig. 9) With the emergence of digital technique there was a growing demand for a reconstructed view of the Aquincum rubble site. To this end, Ádám Szentgáli and László Holakovszky (workers of the Computer Science and Automation Research Institute, Hungarian Academy of Science) developed a device called the "chronoscope" which affords a view of Aquincum as it would have looked in the olden days. Developing the digital material for the picture was undertaken by the architect professor Gyula Istvánfi. (Fig. 10) A 3-dimensional model was devised accordingly which was the suited to the existent foundations. The individual shots were joined together to form a panorama picture, which offered a period view of the landscape by looking into the chronoscope. (Fig. 11) The first digital version is being continuously and non-destructively improved. The first two chronoscopes made a successful debut and were soon to enjoy great popularity with the visitors of the museum. This has convinced us of the continuation of the scheme of installing 6 further devices, as it had originally been planned. 328