PFC Monestir de Sant Pere de Rodes - UPCommons2 historia: arquitectura romÁnica del monestir de sant pere de rodes’ 07 2.1 ficha tÉcnica 07 2.2 romÁnico catalÁn 07 2.2.1 europa

INGENIERÍA DE EDIFICACIÓN PROYECTO FINAL DE GRADO

ESTUDIO Y LEVANTAMIENTO ARQUITECTÓNICO CON LÁSER ESCÁNER 3D DE LA IGLESIA DE SANT PERE DE RODES

Proyectistas: Montells de Bobes, Anna y Rubio de la Torre, Raúl. Directores: Xiqués Triquell, Jordi y Serra Santasusagna, Joan. Convocatoria: Febrero 2013

Estudio y levantamineto arquitectónico con tecnología láser escáner 3D de la iglesia de Sant Pere de Rodes.

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RESUMEN El primer objetivo de este trabajo ha sido realizar un estudio sobre la historia del Monasterio de ‘Sant Pere de Rodes’, conocer el impacto social en la región y reforzar nuestros conocimientos sobre construcción prerrománica y románica. Como segundo objetivo, se ha planteado la realización del levantamiento arquitectónico exhaustivo de la iglesia del monasterio. Para llevarlo a cabo con la mayor exactitud posible, se ha empleado la tecnología de escaneado láser 3D. Esta novedosa técnica de medición, ofrece un elevado potencial a la hora de conseguir mediciones precisas y fiables de objetos en 3D. El láser escáner es un dispositivo portátil de medición 3D sin contacto que se sirve de la tecnología láser para generar imágenes 3D de entornos y geometrías complejas.

Y como tercer objetivo se ha utilizado la nube de puntos de alta precisión para analizar diferentes deformaciones presentes en la iglesia, demostrando el uso de esta tecnología para diferentes aplicaciones.

El presente proyecto muestra, no sólo la toma de datos necesarios para la georeferenciación en detalle de la iglesia, sino también los procedimientos necesarios para procesar toda la información obtenida y su presentación posterior para representar la forma, volumen y tamaño del objeto escaneado.

La documentación final que se presenta es:

- Planos con ortoimágenes georeferenciadas, definiendo plantas a distintos niveles, sección longitudinal, transversal, fachada principal, planta cenital y detalles.

- Planos con varias ortoimágenes georeferenciadas y vectorizadas las líneas principales extraídas de las imágenes ortogonales.

- Estudio de deformaciones a partir del análisis de la nube de puntos. La metodología de trabajo utilizada se resume en:

- Levantamiento topográfico ubicando bases de apoyo para el posicionamiento del láser escáner. - Toma de datos con láser escáner. - Post-proceso de las nubes de puntos. - Generación de ortoimágenes e importación a CAD. - Generación de planos 2D a partir de ortoimágenes.

Estudio y levantamiento arquitectónico con tecnología láser escáner 3D de la iglésia de Sant Pere de Rodes. 2


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INDICE

1 INTRODUCCIÓN 05

2 HISTORIA: ARQUITECTURA ROMÁNICA DEL MONESTIR DE SANT PERE

DE RODES’ 07

2.1 FICHA TÉCNICA 07

2.2 ROMÁNICO CATALÁN 07

2.2.1 EUROPA EN EL MOMENTO DE LA APARICIÓN DEL ROMÁNICO 08

2.2.2 LA EXPANSIÓN DEL ROMÁNICO 08

2.2.3 EL ARTE ROMÁNICO QUE SE IMPLANTA EN CATALUÑA 08

2.3 CONTEXTO HISTÓRICO DEL MONASTERIO 15

2.4 LA ARQUITECTURA DEL MONASTERIO 16

2.5 RESTAURACIÓN DEL MONASTERIO 19

3 LEVANTAMIENTO ARQUITECTÓNICO 21

3.1 FASES DE TRABAJO 21

3.2 TECNOLOGÍA DE ESCANEADO LÁSER 3D 21

3.2.1 INFLUENCIA DE LES CARACTERÍSTICAS DEL OBJECTO EN

LA REFLECTIVIDAD 22

3.2.2 FACTORES EXTERNOS QUE INFLUYEN EN EL ESCANEADO 22

3.3 METODOLOGIA DE CAMPO 22

3.3.1 LEVANTAMIENTO TOPOGRAFICO 23

3.3.2 TOMA DE DATOS CON LÁSER ESCÁNER 23

3.4 POST-PROCESADO 26

3.4.1 GEOREFERENCIACIÓN DE LAS NUBES DE PUNTOS 26

3.4.2 FILTROS 27

3.4.3 LIMPIEZA MANUAL DE LAS NUBES DE PUNTOS 28

3.4.4 DENSIDAD DE PUNTOS 28

3.4.5 GENERACIÓN DE ORTOIMÁGENES 29

4 DOCUMENTACIÓN TÉCNICA 31

4.1 INTRODUCCIÓN 31

4.2 PLANOS 33

- P-01/18. Plano de situación

- P-02/18. Emplazamiento iglesia

- P-03/18. Sección horizontal ortofoto (+2.20m)

- P-04/18. Sección horizontal (+2.20m)

- P-05/18. Sección horizontal cotas (+2.20m)

- P-06/18. Sección horizontal cripta (-1.60m)



- P-09/18. Sección horizontal ortofoto cenital (+2.20m)

- P-10/18. Sección transversal ortofoto

- P-11/18. Sección transversal

- P-12/18. Sección longitudinal ortofoto

- P-13/18. Fachada principal ortofoto

- P-14/18. Detalle capitel

- P-15/18. Sección horizontal. Deformación planta (+2.20m)

- P-16/18. Sección horizontal cenital. Deformación bóvedas (+2.20m)

- P-17/18. Deformación bóvedas. Estudio en detalle

- P-18/18. Sección longitudinal. Deformación pilares

5 CONCLUSIONES 35

6 BIBLIOGRAFÍA 37

7 GLOSARIO 39

8 CONTENIDO DEL CD 41

9 ANEXO1. POSICIONES DE ESCANEO Y VISTAS 360º 43

10 ANEXO 2. CARACTERÍSTICAS TÉCNICAS DE LOS EQUIPOS DE

MEDICIÓN 45



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1 INTRODUCCIÓN Sant Pere de Rodes es un antiguo monasterio benedictino situado en la montaña de Verdera, a unos 520 metros sobre el nivel del mar, en un sitio privilegiado que ofrece un paisaje impresionante. Próximo a este, en la cumbre de la montaña, se encuentra el castillo de Sant Salvador de Verdera y a un kilómetro al norte del monasterio la iglesia prerrománica de Santa Creu de Rodes, envuelta de las ruinas del pueblo de mismo nombre. A la importancia histórica del entorno se une el hecho de que todo el conjunto se encuentra dentro del Parque Natural del cap de Creus.

Figura 1.1: Monasterio de Sant Pere de Rodes



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2 ARCHITECTURE ROMANESQUE OF THE MONASTERY OF SANT PERE DE RODES

2.1 TECHNICAL SHEET

The monastery of Sant Pere de Rodes is located on Mount Verdera in the Cap de Creus Natural Park, in the town of Port de la Selva, the Alt Empordà, Girona province. It was founded in 926 and consecrated in 1022. The developer was the noble Tassi and his son Hidesing. Type: Benedictine Abbey Location: UTM X: 513817

UTM Y: 4685913 Longitude: 03 º 09'59, 6'' Latitude: 42 º 19 '24.6''

SITUATION

LOCATION

Figure 2.1.2: Situation and location

2.2 THE CATALAN ROMANESQUE

From a stylistic view point, it is accepted the division of the catalan romanesque architecture into three long periods: pre-Romanesque architecture of the tenth century, the first Romanesque or Lombard Romanesque of the eleventh century, and the second Romanesque or the international Romanesque of the twelfth century, by the thirteenth century there is a common name given the heterogeneity of artistic phenomena (Cistercian architecture, Lleida school or the work in La Seu of Tarragona). Catalan Romanesque was the first medieval art, or way to build and decorate buildings under one set of rules and features, covering almost all Western Europe. Preceded by a number of previous constructive ways of each region or political dominance, which in some places had reached a high degree of perfection, but to be abandoned or at most partially integrate the new art or style, spread just begun the second millennium. From a chronological view point, the one which is known as Romanesque extends between the eleventh and thirteenth centuries, with a clear differentiation and evolution throughout time, but also with common features that allow it to individualize the space and time. The word Roman is creating quite late and far from the time when style predominated. The first mention of the name is attributed to Charles de Gerville, French architect, in a letter to his friend and architect Le provost. During the same century was accepted in France and elsewhere, and at the beginning of the twentieth century in Catalonia, where it replaced the word of Byzantine art, with which, very improperly, long time ago the buildings with that style used to be identified. From the beginning the term was used only in reference to religious architecture, but as we went deeper into the study of the life and times, his use was also extended to vicils works from the same time. And later it was applied to all artistic complementary like writing, painting, jewelry, furniture, among others, that kept common features and characteristic and occurred during the centuries when there used to construct in Romanesque style, until calling the whole realization in that time, the eleventh century to the thirteenth, the "world of Romanesque art". The appearance of the new style did not score a total break with the times that preceded it but the opposite. The new concept art integrated many new contributions from previous centuries that complemented some derived forms and influences of Byzantine art. An art, bizntí, wich preceded and replaced during the same time our prevailing Romanesque, and it was refined and modified in Eastern Europe, where there kept the old Eastern Roman Empire or Byzantine Empire. Therefore, we must look only Romanesque art in Western Europe. His appearance at the same time the Byzantine initially wanted to have them include the Romanesque as a GCC extension or art derivation. The impact of this will be evident in the Romanesque painting and some solutions of the same architecture, specially in Sicily, where the Romanesque entered in a long time under domination and influence of Byzantium or Constantinople. The search for the Roman art origins was a subject discussed for a long time, but now there is unanimity that it was in Lombardy, where X advanced century originated a new style or way of building , son of contacts with the Roman structures and even existing Byzantine in the country, although simplified and modified to create a way of building and decorating it very quickly spread all over Europe in the first decades of the second millennium, as it widely will be exposed. Trough Lombardy most of pilgrims corossed, those who went to Rome, especially when the sea route was a great danger because the presence of the Saracen fleets In Lombardy there’s actively use to build in the new style, and masters of this place, soon spread to different parts of Europe, where they introduced his style.


In Catalonia they came around 1020. According to one theory, it is believed that it was through Bishop Olib, who visited Rome. It has documented when he through Lombardy he hired a scribe or grammar for the cathedral of the school of Vic, and it is believed that he must have token some Lombard builders teachers for major projects proposed to be constructed. Chronologically there is evidence or witnesses of the Lombard Romanesque in St. Paul del Pi in the Conflent consecrated in 1022, and the following decade in Sant Martí del Canigó, in the cathedral of Vic and Ripoll & Cuixà monasteries, where Oliba participated. Theory and historical reality the circumstance that wants to document and explain the origin, the Lombard Romanesque or First Romanesque enters straight and with remarkable perfection in Catalonia within the first quarter of the eleventh century. 2.2.1 EUROPE AT TIME OF THE ROMANESQUE ONSET Europe, or at least the most southern and central where through wich the Romanesque entered and began to expand, it had a union or configuration, roughly stable, in the days of the Roman Empire, which lasted until invasions of peoples from the north and east fractionated and created new states during the fifth century. The Roman name was accompanied by, among fourth and fifth centuries, by the penetration of the Christian religion, which defeated the Empire, retained good part of culture, law, Latin language and in clear kinship with legacy or Gecollatina tradition. During the two or three centuries that followed the fall of the Empire gradually became towns and regions dominated by one ethnic group or invaders, but that they had as a basis the ancient settlement subjects of the Roman Empire with religion, culture and hierarchy and monasteries and missionaries who then undertook campaigns of the Christian faith. Slowly, religion was influencing and changing the arrived towns, and instilled a sense of unity and organization retained by the Church, despite the persistence of many customs and peculiarities of each of this people. Simultaneously, there was strengthening the influence of the popes and revived the theory of the two swords or authorities, the one from the pope and the one of the emperor, as the supreme guiding centers or Christian society supremes. This leads to the imperial coronation of Charlemany as a Roman emperators successor in 800 and of Otó I, 962, as Emperor of the Holy German-Roman Empire. The task of the new sovereigns and popes is the one that was setting the medieval Europe. It was strengthened by the dioceses of old tradition and it was created new ones, as well as new monasteries, which, by imperial decision, took over the rule of Sant Benet, marginalizing the variety of orders that prevailed before from Ireland to the Iberian Peninsula. From the time of Charlemagne the Roman Litúrdia was also adopted, wich went and replacing demolished liturgical forms that fits different states or countries. During this long period cathedrals, churches and monasteries were being dressed with the characteristic styles and techniques of each place, but with a certain unity of conception and distribution of spaces required by the liturgy. These temples that fit dioceses were basically churches cathedrals and parish churches, imitated by private temples or devotion ones of powerful families within their domain and also erected by small groups of free people. The monasteries, especially since it was imposed the rule of Sant Benet, also it was created a certain uniformity, formatted basically by the church and dependencies needed for the community living around a cloister, inspired by the impluvium of old villas or large Roman villas. In the section devoted to Catalonia it will be exhibited in a more specific and detailed way some elements prior to the artistic evolution wich preceded the Romanesque.

2.2.2 ROMANESQUE EXPANSION Those who study thoroughly Romanesque, from the architectural view point, we find there are obvious signs of convergence and also remarkable differences between buildings classified as Romanesque in our country and the ones from other regions. This is because the new style took every few techniques and material of the buildings there at any place. But beyond that imposed by imported power modes, which help shape the new style both in plants and in the soundness of buildings and decorative elements, thereby configure features that give its unique character to the New Romanesque or First Romanesque. The introduction has mentioned the important role of religious buildings in Lombardy, to the extent that the original Romanesque is known as Lombard Romanesque. Later on we will mention some of the features that make up this art. Now, specifying the origin, just interesting to note how a style or way of building set in a place so particular will soon expanding so fast. The key location of Lombardy, the northern Italian peninsula, allows tracing a path of expansion, that extend towards Provença Alvèrnia, Borgonya and Normandia, in the old domain Carolingi or next France, towards the German Empire or sector of the next Germany, where it supplanted the called Carolingi-Otonià style, name that is given to buildings in the heart of the Otons empire, and south toward Naples and Sicily region, this site where Romanesque will later receive an early Romanesque influences of Byzantine art, which had traditionally dominated, and Arabic influences too, and then norman ones, when they conquered the island of Sicíclia. This first time also enters into the Catalan counties, o next Catalonia, possibly yhhe Bishop Oliba as has been explained before. Within the same eleventh century, the expansion of the Dukes of Normandy towards England will spend the Romanesque to the island, and in early twelfth century the schools or types of Provence Romanesque,, Toulouse, Perigús and elsewhere soon expanded toward Catalan counties and the rest of the Peninsula. It is particularly from Burgundy or Cluny where the the influences of central France penetrate through the northern Spain, by pilgrimage routes to Santiago de Compostela. Also the school of Toulouse, more sculpture than architecture will have great influence in the counties or Catalan domains, Aragonese and Navarrese. So for roads or peaceful conquest paths, beginning in the twelfth century the Romanesque had expanded to most of Western Europe. 2.2.3 ROMANESQUE IMPLANTED IN CATALONIA - The first Romanesque or Lombard Romanesque and its historical background This constructive push about the end of the tenth century will be overcome and displaced by the new concept of space and structure that will provide the Lombard Romanesque current. This hit the country on the second decade of the eleventh century and developed with an extraordinary push until the end of the century. Its passage will be that strong that within a few years there will be dropped everything called beginning or test of indigenous art, which has a more known model the basilica of Sant Pere de Rodes and, although less original body of the abbey of Sant Miquel de Cuixà, this more akin to the Moorish period style. Even these temples and other beginning in the tenth century, and the church of Santa Maria della Tossa de Montbui will be extended or covered with structures Romanesque apse with new headers, galleries, front and Lombard Romanesque bell, like it happened in Ripoll, in Cuixà or in the same Sant Pere de Rodes.


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The historic moment when the Romanesque came in and was expanded in the Catalan counties was a period of consolidation and rapid increase in the country in which the county of Barcelona was respected and with alliances, often allegiance of most of Catalan counties. Along with the viscount and county families were set at that time a series of major lineages, among others, Besora Cabrera, Moncada, Gurb, Cervello, Luke, Tost Balsareny etc.., Almost went out of prominent people Gombau de Besora, Mir Geribert Olèrdola and Arnau Mir de Tost, which will have an important place in the political context counts. This, in imitation of the earls and viscounts, erected churches and family monasteries like those of Breda, Sant Miquel del Fai, of San Sebastián dels Gorgs, Sant pere d’Àger, Sant Pere de Casserres, etc.., All theme outstanding elements of the eleventh century Romanesque. This shows that the year 1000 was not a year of terrors and misfortunes nor Catalonia and for Europe in general, as some authors have tried to present Romanesque, but the beginning of an era of prosperity. Witnesses of this prosperity and spirit of initiative are the expedition, 1010, of counts, bishops, princes, and warriors in Cordova to help one of the factions that disputed the caliphate, more profitable from the finantial view point than the warrior one, and the beginning od the comtesssa Ermessenda government, after the death of Ramon Borrell in 1017, with the advice and assistance of a remarkable group of tycoons dominated by Gombau Besora with the cooperation of Abbot of Ripoll and Cuixà and bishop of Vic, Oliba. It is also the time of the aforementioned strengthening of the major lineages and noble viscount that although sometime weaken the home county of Barcelona and politics and strengthen the system of subordination or feudalime staff or patrons are the instigators of large number of churches in his realm and the creation of monasteries prestige of its lineage and family burial places. They will be patterns of these houses and, as a guarantor or equity advocates often important monasteries and some churches, both actively involved as in the material constructions as the management or leader appointment of this monasteries and parishes. The Catalan chucrh has a particular time of splendor from 1010, it will change in a few years when all the bishops of the Catalan headwquaters, some due to the warrior expansion in Cordoba and his final military failure, and others by death and by the generational change. Between these new bishops stand, Ermengol d’Urgell (1010-35), promoter of churches and even bridges, venerated as a saint Oliba (1017-46), who, after being count of Berguedà and monk of Ripoll, was elected abbot of Ripoll and Cuixà in 1008, and bishop of Vic in 1017, Pere de Carcassona (1010-50), bishop of Girona and brother of the Countess of Barcelona Ermenessenda and Berenguer de Queralt, bishop of Elna (1031-53), among others. It is in this context that the historic Romanesque comes with all fullness in Catalonia, a totally innovative art planning and decoration of religious buildings and civilians, many of whom unfortunately are not witnesses. Fully Romanesque castles are the Llordà and Mur, in Pallars Jussà and some towers and border castles, like Àger and its environment, which at that time was a frontier land that was consolidating and advancing by sector west through Noguera and Segarra, something like what also happened in the land of Penedès, Anoia and Conca de Barbera. The walls of the new temples will be of stone, with small and broken masonry with punch and hammer, but as the century progressed and will be more polished work of carvers. The new buildings are made of stone all round arch, loopholes windows in the small temples and only real windows in high-rise churches reinforced by lower secondary acting as buttresses. The sculpture, which began to be present in large buildings at the end of the tenth century, only subsisted and still so scarce in the Roselló and other places on the other side of the Pyrenees. It disappeared, but the initial works of Romanesque because all its ornamentation consisting of pilaster strips, blind arches and small friezes and cornices that adorned the apses and often even the outside of some temples. Where the Lombard decoration highlights is in the bell,

samples of which remain in the magnificent Cathedral of Vic, Ripoll, Cuixà, Sant. Martí del Canigó, Girona Cathedral, in the called Charlemagne Tower, and many small churches, especially in the religious Pyrenees onesand some interiors like Osona. - The second Romanesque or International Romanesque The Romanesque style as all long-term, experienced during the three centuries of evolution a clear evolution or improvement and receive different names according to some obvious features that allow placing their work on time and within current that single it out, within the same chronological age. Towards the end of the eleventh century had exhausted the capacity or any attempt to innovations in forms or Lombard architecturen levy. Most buildings made from the seventies and eighties of this century show a repetition and uniformity contrasts with the innovations that arose elsewhere, especially in neighboring France. It surprise the fidelity of our builders to follow the Lombard still canon, present in some buildings in all its fullness well into the twelfth century, particularly in the most emblematic buildings of Vall de Boi and others in the rest of Pallars to Vall d'Aran. However, in recent buildings it is perceived a technological improvement, evident in La Vall de Boi chuches. Changes are noticeable in buildings made in passing from the eleventh to twelfth responded to an improvement and perfection of builder techniques, classic or normal evolution of any architectural style or technique, but also because some foreign currents, which through different ways they enter in to the country. Such acceptance or modifications or new forms are evident in some buildings of the era, like the apse of Santa Maria Vilabertran, started with rustic stone pilasters with the oen Lombard technique lessons, and finished with largest stone and polished cornices and typical internation Romanesque friezes, the Mateic is on the Beget Bell with a lower floor which mirrors the classic models of the eleventh century and a completely faithful to the comstructing way of the second Romanesque. The foreign currents that influence this exchange are historical rates and almost always have the initial engine input the Gregorian an or Roman ecclesiastical reform inspired by Cluny, but generalized by Pope Gregory VII, who sought to purify the church of the subject to lay power. This subject was the logical result of protection imposed by feudalism and serfdom in churches and monasteries of his dominions, and therefore this was the origin of the lack of true ecclesiastical vocation and obtaining bequests or jobs made by their parents, so accessing jobs was called Simonia and mainly Roman or Gregorian reform fight against it. Logical consequence of this was the lack of morality and culture and relaxation of customs, both in the clergy and in the rest of believers. Fixing these abuses was one of the tasks imposed such reforms, which came ore house from the synods or consilia started in Girona in 1075 and soon noticed that the reform of the main monasteries, which some counts, such like Besalí, put in the papal legate hands for irts reform, which joined to reformed houses of Provence and Llenguadoc and some Italian monasteries, which had long since accepted the reform. Also the result of a new spirit were the first attempts to restore the metropolis of Tarragona in 1090, which culminated in 1117 with the definitive restoration, the introduction and rapid expansion of the canonical reformed life or regular clerics who lived in community, supported by Rome according to the mode set in the monastery of Sant Ruf d’Avinyó, the restoration of the diocese of Lleida and Tortosa after its conquests the years 1148 and 1150, the entry of new orders such like the Cistercians, particulary, and the military orders, the same year or the final regulatory limits and powers of the Tarragona city in 1154. These are the main events of the Church, accompanied by an increase in the formation and lay spirituality. In the political field is


the expansion time of Catalonia united, since 1137, the Aragó Kingdom, by the marriage of Ramon Berenguer IV with the baby Queen Peronella, towards Provence and Llenguadoc, politics wich broughted their soon the king Alfonso (1162-96), to the highest point. All these historical events, basically ranging from 1075 to 1150, opened new frontiers in the church' and also in the Catalan policy that expands toward the domains in some ways more advanced and opened to new currents of other side of the Pyrenees. Another result of all this was the start of the routine and the Lombard Catalan Romanesque moved and entered in to the European common characteristic by its eclecticism and progress always starting from the base of Lombard Romanesque. The influences that entered the country not promoted any substantial change in the way to construct the eleventh century, but a technological refinement that but keeping the arches and friezes of sawtooth coronating the apse and high walls, it riches them of authentic carvers and sculptors in many new buildings. The mapping is basically the same, but also introduces some completely different and crucial work in all aspects, including the monastery, now regular canons of Sant Joan de les Abadessesi el malmès and also canons of Santa Maria Besalú, the Benedictine monastery of Sant Pere, and of Besalu or the santa Maria de la Seu d’Urgell cathedral. The second Romanesque or international Romanesque spread quickly throughout the country. Some of the current buildings of the time belong to them, such like the Santa Maria de Solsana canonicals, now cathedral, or the parish of Sant Martí sarroca de l’Alt Penedès. As part of a general introduction to Romanesque, it is impossible to make a synthesis of the type and characteristics of this stage, because almost all the model buildings mencioned are unique and not repeated, although some of them influence other buildings of their environment . If you want to search for patterns or other buildings that are linked, you must seek them outside our borders or schools of Provence, Llenguadoc and even Italy, like in the case of La Seu d'Urgell. In some of these churches, particularly in the Sant joan de les Abadesses in its initial structure or prior to the earthquake which modified inside the sanctuary, and in the one of Sant Pere de Besalú, you can guess a replica of the "pilgrimage style" to the ambulatory of the apse inside. Both buildings, however, different totally in the plants and in the headers, one has five chapels and apse in the head, and the other with soil and big apse and only three niches open taken the thickness of the wall; the first one with decorations and capitals with an style linked to Llanguados schools and the second one, Italian with influences in the capitals of Girola and a severity and a link to the Lombard in the small frieze of arches that ornaments it. No connection and big diference, if we look at the wealth of sculptural of the three churches of Besalú, Santa Maria, Sant Pere and Sant Vicenç, but with a clear parenest with them because the austere walls and the structure, in all the old county of Besalu and, repeatedly, in the region of Garrotxa the second Romanesque totally dominate, so it is impossible to find any church that is clearly of Lombard Romanesque. Only is close to the Lombard Romanesque the front of Sant Aniol d'Aguja and it is guessed some influence, and still not very accurate, in Sant Esteve d'en Bas in a single building more closely related to other Provence structures. A small tour trough this season of Catalan Romanesque cannot forget or to stop highlight the cathedral churches of Santa Maria de Solsona because they are unique in the country. The first one consecrated in 1175, of talianate influence, confirming that its principal conductor was Ramon Lambard, who completed the work, whose last name already reveals its origin. And the

second, consecrated in 1163, with a clear influence from the school of Toulouse in both sculptural work and and sculpture, particularly cually in the Mare de Deu del Claustre image. Alongside these large buildings that help to understand the eclectic showed in the variety of influences that characterized the second Romanesque, there are other buildings more humble but unique and internationally unique in Romanesque, Sant Esteve d'en Bas consecrated in 1119; the Sant pere sw Galligants monastery, up in the second half of the twelfth century, and with a plant and apse entirely original, and Sant Maria de Porqueres, parish church of Santa Maria, near to Bayoles lake, consecrated in 1182. This century is the century of the great clausters also rich in capitals and other sculpture elements, which will be dealt with extensively in each monograph. Some important cloisters, often followed as a model, are the ones of Ripoll, Sant Cugat, Santa Maria de Girona, Cuixà, Elna cathedral, Santa Maria de l’estany and the Urgell Cathedral, also other smaller, like the ones of Lluçà,Sant Sebastià dels Gorgs or the southern galery of Serrabona, but all of great interest from the artistic and iconographic view point.

- Romanesque art of the transition Romanesque art takes from the twelfth to thirteenth and often mixed with technics and gothic solutions, then already had had the new art letter and a clear formulation of the neighboring country France, is often hard to name and rank. It's a way to build that like its predecessor, still has a eclecticism way but also it is expressed with new styles. These modifications give to new buildings a mixture of romansque planification with roof, windows, eyes and full introduction of the very pointed arch technique and abutments to facilitate its slim and light. Some of these own solutions are daughters of new religious orders such like the Cistercians or the assertion in the Catalan region of military orders, and soon, the mendicant orders, especially the Dominicans and the Franciscans. The church of Santa Maria in Santes Creus, started in 1174, is most clearly manifested by the timing and simplicity of structure, the influence and importance of the Cistercians in the abandonment of local traditions and rules adopted austerity of its order. Something similar and radical the Dominican convent of Santa Caterina church in Barcelona showed, built between 1243 and 1275, of which there is only the plants and elevations blueprints of its time that show it did not follow any traditional way of the contry and took those of the Gothic. Between these two extremes there are some great buildings that are the best examples of witnesses of the end of Romanesque and Gothic entrance. The one characteristic is the monastery of Sant Cugat, designed purely with a Romanesque plan, three ships headed by three polygonal unequal apses in a exterior polygonal-shapet with openings and a Gothic finish. The interior of the building shows even more the change in style, with vaults that fit so poorly resolved, because it was initially planned with Roman vaults. The dome, which rises in the middle of the nave, with its facade with its large tympani painted and the big rosette are fully Gothic, and other decorative elements. So, a building designed with the trace of a Romanesque building of the thirteenth century but finished as a building of fourteenth century. In contrast to this, the Romanesque bell shape keepsn a fairly pure except Torrella battlements and the crown, and also it is fully Romanesque the cloister started by Arnau Cadell in 1190, which left his signature in a small entry and his portrait working in the creation of the capital. The Cathedral of Santa Maria de Tarragona started about 1167 and was completed in the first half fourteenth century. It therefore has a start that is located entirely in the Romanesque and purely with Gothic termination finish. The plant is a basilica with three naves ending in three apses, one of them modified later and with the central deeper and very developed, fully circular


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floor, with windows largest arch and a series of seven winows with double stroke to the top. But where Romanesque highlights its beginning is in the header and with the door which open onto the west side aisles, with rich sculpture on the capitals and imposts and a magnificent carved tympanum on the door of the right ship or nof the gospel with Marian theme, this already of bill or trace fully in the Gothic style, however, the tympanum of the left door or the epistle is plain. It also has a Romanesque design the layout of the entire space and bays with sculptural decoration, in contrast with the lay facade completely finished in time of Gothic predominate. The Old Cathedral of Lleida represents the last push to create a great work still genuinely Romance. Its features using the barrel, but with a pointed profile, a perfectly crafted stone walls, semicircular pilasters, well done decoration on the covers of marian name and big and proportions and balanced. The covers and sculpture, clearly Toulouse influenced, also created its own school, which spanned most of New Catalonia until Gandesa and reached a cover of the same cathedral of Valencia. Its structure and, in particular, the sculptural decoration, especially the portals lead the creation of a new peculiar style called "the school of Lleida", which marks the final expression of Catalan Romanesque. Buildings are architecturally austere appearance as a whole, but its sculptural splendor appears above the portals or some authentic columètric covers wide deployment, but of iconographic themes and chisel rich. Other features include a taste for well-crafted ornaments, the use of semicircular pilasters, round and pointed profile of finding a grandiose proportions, particularly in the Old Cathedral of Lleida, in the churches of Santa Maria de Cubells and lesser extent, in Sant Miquel, also of Cubells, or Sant Ruf of Lleida. This type of style also spread in Tamariu, in Gandesa, and in the same cathedral of Valencia, on the cover of the palace. Also, it remember the cover of Santa Maria de Bell.lloc, in the Conca de Barbera,related with the sculptural work of the cloister of the Tarragona headquarters. Within this same period, there is built three large Cisterian temples: Santes Creus, Poblet and Vallbona de les monges. They are dedicated to Santa Maria, peculiar devotion adopted and wich understood particularly the Cistercian order. It has a contemporaneus origin, and it is not uniform in style, but they respond to different influences. The most purely fan of this Cistercian art is Santes Creus, while the ville approach the Romanesque called “depelegrinatge” and Vallbona is more eckectic and very goticitzantand. Only the churches of the three Cistercian monasteries preserved features of the Romanesque transition, the rest of his great monastic, chapter room and bedrooms with large diaphragm arches are already konwn in the Gothic style, such ascloisters, with capitals of plant topics and fretwork. Only Vallbona de les Monges has two wings, the one of the east and the one of lunch, which is a work made in step XII to XIII century, of Roman bill and proportions. Finally, within this century or the transition period include some rectangular churches with sanctuary no different, with clearly pointed barrel vault and a series of arches that reinforce it very close. These churches are mainly in the lands of the Ebro and the territories of military orders, particularly of temples, reason why they want to introduce as “Temple art ", but they area also found in other buildings that do not belong to any of these orders. To emphasize the proportions of the Nare de Déu del Àngels church of the hospitaller order of the Ulldecona Castle and the say of Sant Salvador d’horta, initially from the same invocation, the horta de Sant Joan temple order. Planimetry or main types of Romanesque buildings Today, the Romanesque word suggests a temple or church, because almost ninety percent of the time that has been preserved is the Romanesque buildings dedicated to religion, but there

are also castles and towers, palaces, fortified houses and humble houses, bridges and other buildings, including a mill and a barn built with a litle different tchnique from the one of the churches. Unfortunately monuments or civil art buildings are more abundant, but often damaged and difficult to catalog, like it happens with palaces and residential houses and bridges. Beginning with Romanesque link to religion, it is first highlighted in temples and its annexes, especially in cathedrals and monasteries. The churches are buildings for the celebration and worship, therefore bound to a function specific for liturgy. There is, firstly, the space for basic acts of worship, which is called the chancel or sanctuary in Romanesque and, very often, the name of apse, semicircular or to have the most absidial mornal and secondly, the site dedicated to the faithful, which is commonly called the ship. The apses are always on the east or rising sun, following a practice not imposed by any law, but accepted by everyone, because Christ is our birth and point of orientation. However, it is rare to find a church with the apse apse to the west or to the other end of the ship or rooms. On the basis of these two essential components and their repetition or overlap, depending on the size or needs that there wants to give to the construction, buildings are classified according to the number of ooms and apse they have, and also by transepts, which provided more space for the apse and new places for the faithful persons. The rest of elements that accompany the churches, such like towers, courts, galleries, towers and domes, crypts, baptistries, etc.., are external elements or integrated in the temples but not essential. Following this simple criterion the following typological classifcaton can be made: -Building with just one rectangular aisle. Is the most simple style of temple tha tis already in pre-Romanesque small chapels, covers almost always beaming, and it reappear later in the Romanesque chapels of the last time. Not a very common model, but it is not weird. The churches of this type are: Sant Viçens d’Aguló, Sant Jaume de Vallespinosa or Sant Jaume of the Conca de Barberà, and other small churches in New Ctalunia, an aisle supported by diaphragm arches, fairly common in buildings of military orders. This aisle can also be followed by a rectangular space allocated to the presbytery, and then called rectangular churches, also canopy by with rectangular sanctuary, albeit somewhat smaller proportions of the aisle. It is a model of it the great castle church of Sant Miquel d’Escolrnarbou, al Baix camp and also the one of Sant Antoni de les Codines, in Centelles (osona). -Building with one aisle with a single apse Is the most common type in the small chapels of devotion or old villas or large rural properties. These buildings tend to be the gateway to the south, or noon, when small, although it does not correspond to any particular rule, only because it is a better use of natural light. Of this type there is quite remarkable church in this country, perhaps the most singular and major proportions is Sant Esteve d0Olius, at Solsona, which in the head has a magnificent crypt which makes it the only accessible through the lateral stairs. -Building with an aisle of more than one apse One building quite repeated in Catalan Romanesque is a nave with three identical apses; all three located at the bottom of the aisle and arranged in a clover-shaped way, the main in east and the other in the noon and north. This provision can be given in small temples, like the church of Sant Bartomeu de Sant Oïsme,


in other more developed like sant pere d’Abrera, and even in churches truly monumental like sant Pere de Ponts, restored a few years ago and with a slender three-plants dome where the three apses are cruising. Some churches have this remarkable plant, like Sant Martí del Brullor Sant esteve (now Santa Maria dels Socors) of cervelló, they have lost the two lateral apses by previous application of thr buildings. The most unique church with a trevol-saped deah is the one of Sant celoni and sant Ermeter of Cellers, in Llnaera (Segarra), composed of three apses in clover without nave, and a crypt below the central apse to save the relics of saints patterns. There are also churches of the lateral apses which are smaller, such like Sant Romà de Comiols, or Santa Llúcia de Tregó; others just with a single lateral apse and the place of the missing occupied by any annex body, like Sant Pere de savassona, and also some ones where the apses reduce to large niches crowned with apse vault or of oven-ass, they emptied in the thickness of the wall, like the damaged of Sant pere de Lesquerda, in rodadelter. I It is weird, but not unusual case of one church with one nave and two apses, like the church in ruins of Sant pere de les Maleses Monastery, in this case with the apses, they still standing of different size. But the most spectacular and big building,is the church of Espirà de l’Aglí, in rosselló. A singular case of distribution of the apse of the church was Sant Nicoulau of girona, now of one nave with a clover-shapped letterhead but, according to the excavations on the site, originally it had four semicircular apses in a square area with a dome, the apse was removed in a reform of the twelfth century. More remarkable still is the case of the church of Santa Maria de Planés, in Alta Cerdanya, formed by a triangular nave vessel surmounted by a dome and an apse in each one of its three sides. -Building of one nave with transept and three apses or more. This is one of the distributions of many temples that have latin cross plant, thanks to a rectangular cross-section wich dens every sidethe top of the nave and let build three or more, depending on the ratio oor the length of the transversal nave or transept. There are many examples in thiscountry, especially from the eleventh century and the next. That was the original cathedral of Vic, according to an old plan from the seventeenth century, and Sant POnç de Corbera, Sant jaume de Frontanyà,Santa Eugènia deberga, Sant Miquel (before Sant Pere) of la Seu d’Urgell, of the twelfth century, Santa Maria de l’estany, among others. Within this type there are also temples of Greek cross plan, in which the transept is in the middle of the aisle, leaving a temple with four arms, the nave and transept, in almost equal proportions. Sant Cugat Salou, in Navas, Sant Martí de Romanyà, in Baix Empordà, and Sant Daniel de Girona show that temple distribution, both with the apse in the eastern nave and transept arms. To This model approaches Sant Jaume de Moja, but it don’t have apse in transept arms. In these temples there is usually a deome at the intersection of the nave and the transept. An exception the church just mentioned, the one os Sant jaume demoja, which has the western arm a little longer, and the temple is closer to a Latin cross than the Greek cross. -Building of more than one nave. Initially, the early Christian community gathered in rooms of private houses, but it being recognized by the Roman Empire, it was adopted as characteristic building or emblematic the Roman basilica, dedicated initially to judicial proceedings, markets and placs of large gatherings and later it became place of worship and indoctrination of the faithful. The building is a pure Roman basilica with three naves with a single apse in the central nave, which is higher to receiving light from the front and top side of sectors. The two aisles are

connected with the central one through columns. The original was covered with coffered ceiling and beamed but in Romanic times these covers were replaced with heavy stone vaults, which often came at the expense or loss of the initial brightness of the temples. The first churches of Rome from the fourth century, are with a basilical plan, like also the cathedral temples, from cities and large monasteries built later in all Christendom. The Romanesque also adopted the basilical plant, as earlier others temples adopted it other temples in the tenth century monastery like the Cuixà Monastery. In full force of the Romanes the basilical plant churches are: Sant Pere de Rodes, Sant Vicenç de Cardona, Sant Pere de Casserres, Santa Maria de la Tossa de Montbui, Sant Vinenç d’Estamariu, in ’Alt Urgell, Sant Miquel de Cruïlles, and so on. These churches have in common havin three naves and three apses, but differ greatly in terms of distribution and width of the naves. The Elna catedral, Sant Pere of Casserres, Santa Maria d’Amer o Sant Vicenç d’Estamariu, they are churches of three naves and three apses, with wide aisles narrower, as it was usual in churches, San Miquel de Cruïlles i sant Quirze de Colera they haveo short cruises that extend the head; Sant Vicenç de Cardona i Sant Pere de Rodes they have the laterla aisles very narrow and less or very little useful to let the faithful person stay there, however they serve as a corridor and buttresses to give a tall and slender in the central nave, the church of Sant Nazari de les Cluses, in Rosello has three naves almost identical width and the entire building, including the apse, they are within a structure of a perimeter wall or rectangular frame covered with a double slope roof. The separation of the aisles, which was with columns when the basílicas were covered by beams, in Romanesque times the became thick pillars in the great temples, the arches that support the back and formers that supported arches for aisle comunication. In some temples, like Santa maria de la Tossa de Montbui as Lady of Tossa de Montbui, these pillars became solid and thick cylindrical columns of stone. The monastery church of Ripoll had five aisels that ended with their apse, but when Abat Oliba rebuild the monastery church, shortly before 1032, he the respected the aisle made by Abbot Arnulf and consecrated in 977 and he added a new header, consisting of a large cruise aisle with seven apses. After the reconstruction of the nineteenth century again has five aisles, but with a very free reconstruction. As a rare variety, there is also the case of a church with two aisles and two apses, one initially designed like that, like the Sant feliu de Terrassola, close of Estany, which has the three aísles church structurebut without the noon aisle. Others ones have this distribution because later it was added a new aile, like Sant Vicenç d’Espinelves and Sant Esteve de Canapost in Baix Empordà, one with a pre-romanesque rectangular apse and the other fully romanesque of the century XI to XII. Rare examples of churches are two aisles of Sant Pere of Talteüll in Segarra, with two apses and two parallel naves, but with an unique transept the singular structure, and Sant Martí and Santa Creu of Tatzó d’Avall, in Rosselló, two naves separated by pillars jus one solid and big apse that unifies large apse to the east. -Building of a circular plant In this brief review about the types found in studying the Catalan Romanesque buildings, apparently the circular plant buildings have a special attraction. This type of church, more common and developed in great churches of northern Italy and Byzantine rule, it has Catalonia whole nine churches and three destroyed, but it is left the plant and, in some cases, significant walls such like the Trinitat de Cuixà with the famous circular crypt, the excavated and studied of Sant Sebastià del Sull, in Berguedà, and the plant recently excavated and studied in the great


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church of Santa Maria La Roda de Vic front Cathedral, built twice within with a radious growing and that certainly was the most remarkable of the country. This model gave prestige to the church of the Pantheon of Rome, pagan origin but converted church dedicated to the martyrs of Christianity, and of the Holy Sepulcher of Jerusalem, end and encouragement of the crusades and pilgrimages since ancient times christian. The more significant round-shaped Catalan churces are: the church of Sant Pere d’Olèrdola transformed, or slightly disfigured inside and outside for later works, but that well keeps the entire structure and even the rests of figurative paintings inside, the Sant Pere el Gros de Cervera, an old former priory destroyed or subsidiary from Ripoll with high strength, Sant Esteve de Sallent restored recently, with three apses and an old parochial place, and Sant Jaume de Vilanova, in an extemo of Bages well restored by J. Puig i Cadalfalch in 1933. Also it is well kept and established the one of Sant Vicenç of Castell de Lluçà and the one of Sant Miquel of la Pobla de Lillet, strong but humble, half forgotten, the one of Santa Cecilia of Torreblanca, in Noguera, the mutilated of Sant Adjuntori, behind Tibidabo, from Sant Cugat del Vallès and the one of Santa Magdalena de les planes, close Navès of Solsonès, mutilated by a small aisle added. These churches must be timed in the eleventh and twelfth centuries, being the oldest ones of Trinitat de Cuixà, the round of Vic and the one of Sant Sepulcre d’Olèrdola, and the rest from the late eleventh century or advanced next.

ADJACENT BUILDINGS OR COMPLEMENTARY TO TEMPLES - The bell tower The bell tower is a complement to the temples, which makes present in space and time and it is linked to the cult and community. The bell ring has lot of uses as, it announces the birth, baptism or death of Christians, or it stand out the main events of the town with touches of celebration or sorrow, summon the community and warn them about dangers and in an insecurity time, they were a place of defense and surveillance. Its essential mission is is to sustain the bells, from where it comes from their name, but also became prestigious and ornamentation motif. The origin of the bell tower is uncertain, but as steeples of churches, the oldest and more documented are in Ravenna, between the ninth and the tenth century. These were circular, followed by other circular towers and rectangular later on. The rectangular ones, were extended throughout other cities in northern Italy, as Lucca, Pisa, etc.. In the tenth century already built towers in the Catalan territory, as reveal St Vincent d’Enclar, in Andorra, also circular. The Romanesque bell towers spread and became an essential complement and decorative temples. A single and elegant belfry was built, in the most important churches, including the cathedral of Vic, Girona and Breda, or in the Pyrenees' churches, in particular the Vall de Boi. In some regions it was built with more intensity than others, as happens in Osona and Ripollès or Andorra. They also built towers or touching the facade, as in Ripoll or the Vilabertran's unfinished, or at the end of the cross, as in the case of Cuixà. The Lombard Romanesque fixed the typology of bell tower exterior, decorating them with a series of pilasters ending with arches and friezes of sawtooth separating each floor. The classic tower bell type, such as the headquarters of Vic and Cuixà, practically from the same period, has a high and severe base of two levels made of small chipped stone masonry, only with gaps and a Lombard austere decor items devided into two parts by a central pilasters, it follows a flat with one or two openings of simple arch framed by arches and pilasters and also a second floor with a single window in the middle, with column and trapezoidal capital not furnished. The other floors have windows with three holes devided by sawtooth friezes, with pilasters and arches.

With this basic scheme were made the rest of towers bells of the eleventh century, following a model like Vic or match each floor from outside with a central pilaster and culminating arches, and each sector has windows with three holes, following a perfect vertical line in its four or more floors of windows. This gives elegance and lightness that contrasts with the heaviness of the walls. This model or scheme is simplified and becomes more slender as the Boi Valley bell towers, which has a single vertical line of windows, taller and narrower, and many other bell towers that mimic their own models as Taradell bell towers, with is a humble rejoinder of the Vic’s cathedral, or Tavèrnoles, St. Vincent de Torello, etc.. There is much variety in the bell towers and deserve extensive study because some of them preceded the Lombard Romanesque, such as Sant Mateu de Bages or Sant Climent de Nargó, and others that were constructed as watchtowers such as Sant Feliuet de Terrassola, Sant Benet de Bages and Sant Pere de Ferrons. In the twelfth century, the bell towers were built without Lombard arches decorated but with worked capitals and slightly decorated, like the Santa Maria de Seva or with Lombard arches heavily modified and worked stone, such as Mollo, Beget and elsewhere from Garrrotxa and the rest of the country. Its completion was initially battlements and one or two eyepiece on the last floor, but they were covered with a roof in the Pyrenees and elsewhere colder. Later, some were modified or altered at the top with adding floors or new roof decks. What is expose, refers to the well conserved bell towers, but there are many who rise on the facade and roof of the humble church, yet keeping the classic shape of a tower like which we can found, in important churches like the Urgell's Cathedral and Sant Benet de Bages, in more humble others as Sant Jaume de Viladrover or on the domes such as Santa Eugènia de Berga, Sant Ponç de Coberta or small bell towers like Moja, Sant Andreu de Llanars o Sant Sadurní de Rotgers. The floor plan of bell towers is usually rectangular or prismatic, but we can't forget the "round bell towers", the most spectacular is the Santa Coloma d'Andorra. There are others such as Sant Martí d’Arts and Sant Sadurní de Gavarra, maybe they took the model of mutilar de Sant Serni de Tavèrnoles, and it also has this shape Santa Maria del Bruc, below Montserrat. Finally we should mention the wall bell tower, much more abundant than the previous. They stand on the front wall of many temples, above the vault, in the wall which divide the nave and the apse, or perpendicular walls to the churches as Força d’Àreu, in Pallars Sobirà, o Sant Esteve de Tredòs, in the Aran Valley. It is impossible to mention in detail the many varieties that come in their dispocició or openings, but some acquire certain monumentality for having more than one floor and a espectacular deployment, such as the Monastery of Santa Maria de Gerri de la Sal, in pallars Sobirà. -The crypts The crypts or underground architectural constructions are integral part of some churches, generally located under the presbytery to hold or save a tomb or relics of saints. Its origin is very remote in Christianity, are to be found in early Christian basilicas. In Catalonia there is an Early Christian crypt, called Arcosolis crypt in the necropolis of Tarragona. It also preserves one, with clover shaped floor plan, in the church of Sant Miquel in Terrassa under the apse, dedicated to St. Celoni. Another Pre-Romanesque crypt is located under Sant Pere de Rodes apse and deambulatory, a crypt with a corridor and a slightly larger space in the center, with a small apse with a central window that gives light. In this crypt was venerated Sant Pau, first bishop of Narbonne, and later a Marian image.


From fully Roman period, St. Vincent de Cardona has a primacy place. It occupies the apse and the rest of the surface of the presbytery, supported by columns and capitals pyramidal very simple, without ornamentation. It is followed by the antiquity of the Trinity Church in Cuixà, which is an annular crypt, dedicated to the Virgin Mary of Bethlehem, supported by a large pillar on which rests the turn of the annular vault, both sides had two tangent naves dedicated to St. Rafael and St. Gabriel. Related to the style of Cardona, there is the St. Esteve d’Olius crypt, dedicated to Santa Maria, austere but of remarkable proportions, making the altar and the presbytery stand out. In Segarra area made between the eleventh century and the twelfth century, there is the crypt with clover shaped in the church without nave Sant Celoni and Sant Ermenter de Cellers, as mentioned before, with columns and capitals crudely worked, which kept the relics the owners until 1399, when were moved to Cardona. In some cases the crypt is a true church, in which overlaps the big upper church, as in the case of Sant Pere d’Àger i de Sant Martí del Canigó. Among the most primitive also noteworthy is the Vic's Cathedral, built by Oliva Bishop, using capitals and and other elements from the columns of X century cathedral that preceded it. Lost during many centuries, this crypt was excavated and recovered again from 1940 by the historian and archaeologist Eduard Junyent. The country has other churches with other crypts of remote origins, but they were rebuilt when they renewed the respective churches. Some have been recovered as Sant Andreu d’Oristà, which corresponds to the area of the Romanesque church that preceded the current, discovered and restored from 1969. -Atriums, galleries or galilee There are many churches which are preceded atriums and covered areas, but at the exterior they have arches, columns or pillars, which initially had a liturgical function, to be the area used for catechumens and penitents. In some cases, they are purely places of refuge and protection of the entrances of the church or meeting place for the faithful to address the community issues. Sometimes the word "atrium" may be confused or assimilated to the "gallery", but this name is reserved rather for interior spaces or more integrated in the building. There are some which have much consideration as the gallery of Santa Maria Serrabona in the Roussillon, located adjoining the southern facade of the church, with an extraordinary wealth of arches and capitals. Or they can be more severe and with few openings, as the one is terraced to the noon part at the monastery of Sant Llorenç de Munt. The atrium is usually named narthex when is a place with more importance that makes as porch or vestibule before the door of the church. This can be open to the exterior by arches and columns. One of the most notable atrium or narthex of the country is which precedes the great basilica of St. Vicenç de Cardona, fully integrated in the temple, with groin vaults and separated by arches. the atrium and the narthex were called Galilee in the oldest documents, word which is still alive, and had the liturgical role of being the place of catechumens and penitens, and as well a place of burial for many believers, usually the most outstanding in the community. Atriums, galleries, Galilee and narthex are related names, if not synonymous. They are still in many Romanesque and post-romanesque churches, some with architectural and artistic category as the already mentioned and other of artistic merit as Gueralbs' church, or more austere but solid and notables as the Sant pere de Mogrony, both located in Ripollès. Sometimes they are in the walls of the temple with a roof supported by beams and pillars, as in many of the Pyrenean lands, to protect the entrances of the church. And sometimes, they were

made with remarkable work masonry, without the pretension of being a place of welcome or a shelter for the faithful. -The cloisters Although the cloisters (etymologically an enclosed space) are not an integral part of temples are always closely connected. The cloister is a structure or building juxtaposed to the temple. A cloister always evokes a monastery or a cathedral. We find its origin in the first Benedictine monasteries, who adopted it under the Rule of Saint Benedict. Was used to reconnect or link the essential parts of the monastery: the church, the chapter house, refectory or dining room and bedroom, all essential monastery dependencies.The cloister was inspired by the impluvium, open space with porch from the old residences of important Roman world people. In addition to the practical function of reconnect parts of a monastery in an orderly manner and in a stained area, also had liturgical importance, because they were places of silence and meditation. The processions and buried the bodies were in the cloister galleries, especially from the founding families or who protect the monastery. The cloisters structure, within the general framework of open spaces between the different parts of the monasteries, the canonical and later constructions of other orders of strict monastic life or the new mendicant orders, vary greatly over time. So the cloisters became one of the places where there is most obvious architectural and artistic developments of each period (in the work of capitals, imposts, friezes, etc.). Focusing attention on our Romanesque, we have evidence of the existence of cloisters from the tenth century; although only in a few have been archaeological remains and some walls, as we can see in Sant Cugat. Either by interest or by necessity of the monasteries, the cloisters experienced a complete evolution from the tenth century with the arrival of Romanesque. Although there are elements of the cloisters of Sant Sebastià dels Gorgs and Sant Bemet de Bages, in capitals or reused elements of the previous Romanesque cloisters but not enough to know how they were in their composition or architecture. The old monastery of Sant Pere de la Portella or the canònica of Santa Maria de Lillet, give us an idea of how could be a simple cloisters from small monasteries, composed of simple arcade of masonry without columns and capitals but with galleries that connected the different units. These were followed by other cloisters still quite simple, but with columns and capitals fully Romanesque, such as Sant Pere de Casserres, rebuilt with the elements that have survived after centuries of neglect, or as Sant Sebastià dels Gorgs, which is known by photos and conserved elements of Santa maria de Manlleu or the remains of Sant Quirze de Colera and Sant Miquel de Cruïlles. The splendor of the cloisters starts well into the century XII with the great cloisters of Sant Cugat del Vallès, Girona's Cathedral and Sant Pere de Galligants. To these follows a long list both the mainland Catalonia as on the other side of the Pyrenees, with cloisters of Cuixà and Elna, and others more delayed as Sant Genís de Fontanes or damaged Sant Martí Canigou. Some of these cloisters are the work of a factory or a teacher, but the only one which has an author signature is the Sant Cugat del Vallès made by Arnau Gatell. Others were made over the centuries by different hands and styles, such as Santa Maria de Ripoll. Some cloisters conserved elements that allow them to date it, such as Sant Benet de Bages, and others are completely anonymous, as the magnificent Santa Maria de l’Estany or the singular Sant Pau del camp, in Barcelona.


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An inventory of cloisters is equivalent to an inventory of monasteries and canonical, both the regulars, as Vilabertran, Lluçà, l’Estany or Bellpuig de les Avellanes, or the cathedral style, rebuilt most of them in Gothic period, as the case the already mentioned cloisters of Girona, Elna, Seu d'Urgell and Tortosa, which are still Romanesque cloisters. There are some, which have Gothic style but with Romanesque sculptures elements, among which excels that of Tarragona Cathedral. The Cistercian style and Gothic art brought a change and transformation in the conception of the cloisters, but the transition from one style to another was not sudden, so some cloisters in Cistercian houses, like Vallbona de les Monges, still have a great influence and Romanesque structure, like the Benedictine cloister of Sant Daniel de Girona, revealing the influence of the Cistercian austerity. A detailed study of the Catalan Romanesque, in addition to the types described above, emphasizes in other notable works for their special plant or location. Are some cases: buildings with lateral naves shorter than the center; churches and apse with two heads at each end of the ship, such as Santa Maria d’Arles or Sant Pere del Burgal in Pallars; a church with a header with three times clover shaped and with three apses, as Sant Serni de Tavèrnoles of Alt Urgell; a tower church with an apse as Sant Iscle i Santa Victòria de la Torre in Rialb; church with double apse in the east and west, as the small chapel of Sant Simeó de Centelles, in Bages; a church with three naves and a single apse, and finally, features churches for it site, like the churches of Santa Coloma de l’Espluga de Cuberes or Sant Martí de Solduga. We should also mention the churchs which have central hearts and rich Romanesque sculpture. The most prominent and full is from the Priory of Serrabona del Rosselló, made with pink marble and a chisel filigree work of the twelfth century. Of the same century and equal or more solemn was the monastery of St. Miquel de Cuixà, of which only is conserve some reused elements that are now in his abbatial church. In Catalonia peninsular advanced twelfth century, joined a romanic chorus at the end of the Sant Andreu del Castellcir's church, Vallès Oriental, consecrated in 1032, it is preserved the entire structure of its support, formed by columns with worked capitals.

2.3 HISTORICAL CONTEXT OF SANT PERE DE RODES' MONASTERY The beginning of what is now the monastery of Sant Pere de Rodes is supposed to be goes back to a primitive monastic cell, located on the northern slope of the Verdera's mountain, over the Gulf that is now the Port de la Selva. The origin of the monastic cell is unknown but it is suspected that as many older Benedictine monasteries, was founded from eremitism's evolution towards cenobisme. That is, it could have originated from a group of monks, anchorites, more or less spread over an area conducive to the solitary life and hermitess, full of caves and remote places of difficult access, gather to live together in community in a coenobium, according to the dictates of the Benedictine order. One of the main founding legends speak of the arrival in this place, about the year 610, three monks from Rome looking for a place to hide some valuable relics, among which were the head and the right arm of St. Peter the Apostle. They chose a cave where, centuries before, had made eremitical life Sant Pau Sergi, bishop of Narbonne, and it is just where they built the first church dedicated to St. Peter in the Rodes' mountains. On the other hand, a documented news let us know that around the year 780, a Hispanic bishop called Atala, accompanied by some monks, and fleeing from the Muslim invasion, arrived in this lands and restored several churches, including one that was called Sant Pere, and some authors have identified it as Sant Pere de Rodes. This could consolidate the monastic cell.

The first historical information found, are in the year 878, in a precept of King Lluis II the stutterer, where the site is mentioned as monastic cell depending Sant Esteve de Banyoles. At that time St. Pere was part of a group of four cells (along with Sant Joan Ses Closes, Sant Cebrià de Penida i Sant Fruitós of the Valley of Santa Cruz), the subject of dispute between Banyoles and Sant Policarp de Rasès, in the Languedoc. In this period there were simple constructions, of which some remains were found. At that time depended Santa Maria de Roses. From the tenth century the monastery grew until the moment of maximum splendor. The counts of Roussillon and Emuries and several noble families received him under his protection. One of these families, led by the noble Tassi, last father Prior of the center, and their son Hildesind, who has an important place in the beginning of the golden age of the monastery. Tassi achieved several precepts of the Frank kings becoming the monastery in abbey, which dependent directly from Rome, being Hidesind the first abbot. At that time the monastery became the Lord of a large area of land around it, and the most important spiritual center of the Empúries' county, receiving from the Counts, land, protection and political support. As a counterpart, the monastery provided to the counts to have a renowned spiritual center, to replace the lack of episcopal see lost during the Muslim invasion, a site devoted to his children and especially a family vault, where they intercede for the salvation of their souls. The nearby castle of Sant Salvador was given to the monastery by the counts, to facilitate a defensive and strategic enclave under the direct control of the monks The town of Santa Elena de Rodes, created from the progress of the monastery, guarantees peasant manpower to carry out the hardest tasks in the monastery, as well as the cultivation of nearby land to the monastery. In addition, the town workers helped and collaborated on the growth and splendor of the monastery. However, the relationship with the Counts was not as idyllic as it might seem at first. Soon, at the beginning of the eleventh century, when the monastery's power increased, the Counts seemed to regret having given so many possessions to the monastery, so they try to wrest some land, the castle and the Santa Elena's town. Everything was resolved with the intervention of the Holy See and the threat of excomulgació, that the Counts accepted to yield in favor of the monastery. The year 1022 was consecrated the new church, which was completed during the month of October. It is probable that during these reforms was built the church, as we can see today, with its Corinthian style capitals and Caliphate, and its classical pilasters. The tower bell could also have been completed during this years as well as the galilee in front of the church, which would be used and honored from the year 1088, when begins the celebration of Holy Years or Jubilees. The celebration, held on the Santa Creu de Maig's day, survived until the year 1697, where came to in the monastery pilgrims from all over the peninsula and France During the posterior centuries, the monastery went through several stages of growth and protagonism in history. At the end of the twelfth century it was completed with the construction of the new upper cloister, with arcaded galleries that have been rebuilt in recent years. It was appointed Royal monastery by James I in 1273, but a few years later, during the war against France, was on the French side. It had a great vitality to the end of the fourteenth century, but then entered frank decay, with relaxation of community life, lack of funds for the monastery and the effects of the Black Death (1345), where died twenty-four monks. The fear of piracy caused fortify the place. Since 1447 the center was led by abbots who aggravated the decline. In 1654 the site was abandoned for six years due to the war, which marked the beginning of looting their property. The effects of armed conflicts with the French led to successive looting. The Bible of Roda, now in the National Library of France, was plundered in 1693.


Finally, from the eighteenth century, the monastery enters a period of crisis and neglect which did not recover. Thus, after the disentailment, the site was empty and was taken to looting and pillaging of all his sculptures, reliefs and valuable objects, now scattered throughout the province of Girona, even in places as far as Barcelona and England. In 1726 was again sacked and in 1798 the community moved to Vila-sacra and then to Figueres (1809).

Figure 2.3.1: Central nave of the curch

2.4 THE MONASTERY ARCHITECTURE

The oldest vestiges that remain can be dated in the Roman period, most recent first monastic remains, which could even be placed towards the eighth century. The church is still standing, basically, that began around year 1000. Traditionally there have been controversies about this church because it leaves the building systems common at the time.

It is a building of three ailes (the very narrow sides) with transept and three apses, the central walkway and dish plant, the sides are the cruise. The nave is covered with a barrel vault supported by pillars columns, on a base of great height.

The main cover, decorated with marble formerly the Master of Cabestany, communicates with Galilee. The Galilea was built after the church work. The original facade was outdoors and had a cover, apparently decorated, and three windows, one for each aisle.

Also raised then the first cloister, recently discovered under a subsequent session. It was a square plant and were based on a solid construction with large arches and barrel vaults. Thus everyone could access the various departments that disappeared with the construction of the new upper cloister.

The works followed with the construction of the second cloister, which has been restored while the capitals are scattered in very different places. We should also mention the bell, possibly built straddling the eleventh and twelfth centuries. It paired with a defense tower, or donjon too old from tenth century with later modifications.

The monumental monastery, although it has suffered all kinds of studies and which is in ruins, still makes strong impression through restorations and the singular beauty of his church.

The topographic situation of the monastery plays an important role in the distribution, evelopment and spatial planning of the monastery. Located on the hillside of Verdera it has very few flat areas on which to rely, almost the entire surface of the enclosure must save the land slopes and natural inclinations, the disposition of the various divisions of the whole group is distributed placed on terraces at different levels.

To the north stands the church, with the cloister attached to its south wall. From the cloister access all the monastic roooms: refectory, library, stores and cells. To the north of the church, was added during the thirteenth and fourteenth century, the palace of the abbot. To the southwest were the fields and the cemetery, today lost. Outside the enclosure there were built a hospital for pilgrims, some of the walls still remain standing, a few meters from the entrance to the monastery.

-The church The monastery church is, in our opinion, the highlight of this monument, to be the best condition item has not amended its original structure in almost 800 years, and yet, appreciate architectural features of the building early ninth century. It is a basilical church with three naves of irregular section, the width of the naves is different in the beginning and the end of its length, has perfect transept that gives the group a strong form of Latin cross. The head is crowned with three apses, the main ambulatory with two levels and two sides that finish at the top of the transept. At the foot it starts a narthex or a Galilea that seals the opening of the old main gate. The church that has come down to us is that it was rebuilt in the twelfth century, largely reused from the previous eleventh century. The structure of the central nave is unique in Catalan Romanesque, although similarities in nearby churches as we will see later. It is a nave covered with a barrel vault with arches faixons,


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the aisles, very narrow, are covered by a vault in circumference, resting on the side walls and the intermediate wall located above the arches. The whole section we can suggest the morphology of nearby churches of Sant Andreu de Sureda, and even Sant Pere de Besalu. Four pairs of pilasters divided into five sections, the length of the nave. The central pillars form an individual style, being columns classical composition, comprising a base of considerable height (about 3 meters) on which rests a rectangular pillar two (or three, depending on the case) cylindrical columns that end with two capitals, which comes on a second order of columns which support the arches and formers supporting the central dome and the wall somewhere between the nave. From the bottom of the aisle, the first two pairs of pillars have two sidebars on the rectangular pillar on which they take the arches that support the intermediate wall. The remaining two sections have one more column inside, drawing a pillar in T-shape on which supports the transverse arch of the barrel. In the aisles, each of the sections are divided by an arch that comes from clean pilaster and relies on another excellent side of the wall. We say that a structure is unique because nowhere else in Catalonia there is a constructive solution of this type, except for the Sureda also appears on a plinth on which stands a pillar and a column as base of the arches of the vault. Windows appear in the headers and footers on each of the aisles, the latter located on the upper level of the ambulatory, like we discussed below. On the south wall are three blinded windows. We can distinguish three seasons of construction for the building of the church. The first of the ninth century, draws the shape of the plant and apse, and the original crypt. Second during the first decades of the eleventh century, in which crown the pillars and ends with the barrel. At that time belong caliphal capitals of the nave and the transept and apse, above all, is constructed to the Galilea for the county pantheon of Empordà. The third and final stage, belonging to mid-twelfth century, overlaid chapels of Sant Miquel I l’anacoreta over the norhtern arm of the transept, and above the door is constructed (including a third of them) of the Master Cabestany in the outside Galilea. The cross formed by the transept and the nave is solved by a return supported by four arches that rest on the corners, where some columns are replaced by square pillars to the height of the capital. The transept, a nave, also has a barrel vault in the cross section that extends from the aisle, as this space is maintained around quarter circle continues from the aisle, and ended on the east side semicircular apse slightly prolonged. -Capitals and sculptures You can analyze the sculpture of the church as previous to the twelfth century, first by making an observation of the inner workings, considering architecture, making a study of the repertoire of motifs and its treatment, and finally, comparing the few remains that have and belong to a similar time frame and geographical. We have cases of the neighboring church of Sureda, whose architecture is similar, and the contemporary sculptures califales-Corinthian capitals of the crypt of Vic Input is a subordination of sculpture to its architectural support, to the extent that a change in the plan of the building may also involve changes in the sculpture, as indeed happens in some buildings. In our case, the detected variations between a capital preserved triumphal arch and transept and much of the aisle as well as between these and some belonging to the area near the foot of the building, could match the three construction phases of building. These differences could materialize in certain developments in the repertoires, in stylistic variations and sometimes qualitative. The three stages would be detected header, transept and finally the rest of the nave and feet. The carvings date from the beginning of the eleventh century, particularly around the consecration in 1022. The theme of the capitals can be divided into two groups:

1. Corinthian-style capitals: these capitals are usually in the prime, enduring basis for the transverse arch of the barrel vault of the nave and its leaves are divided into two or three levels, according to the capital. All decoration of this style comes from, according to some authors of some kind of movement or late survival, or like some other type as a stylistic Caliphate. 2. Capitals decorated with intertwined ribbons: in this case, they are usually to support the arches dividing faixons between aisles, as a second order to support arches of the barrel, on the Corinthian style above . The particular beauty of these capitals adds to its uniqueness and rarity in Catalonia, where genes are common. His origin inspiration possibly comes from the decoration Carolingian used in southern areas, such like Santa Maria d'Arles, where are these capitals. -Head: apse, ambulatory and crypt The head of the temple is formed by a semicircular apse extended towards the East, the aisles of the church extend eastward to form a semicircular ambulatory around the space Presbyterian, separated from it by a wall in the which are some openings with arches, as communication with the interior space. As a curiosity worth mentioning, that this ambulatory was built on two levels, bringing the head to almost the same height as the nave, leaving enough space for windows that illuminate each of the ships. Both ambulatory (upper and lower) are coated with a semicircular vault resting on the exterior and interior. The ambulatory upper level has windows like a clerestory, which is observed from inside the church, accessible via a small staircase (now closed) that goes from the lateral wall across the north arm of the transept and the south side via a staircase from the cloister on. From the spiral staircase or through higher ambulatory access to the chapel of Sant Miquel, and a lower level, is the chapel of Sant Martí or of Ancoreta, located on the north arm of the transept, with a crowning triple apse side level on the north side. Today there are some remains of paintings within the two ambulatory. Under all this header access via two staircases on the sides of the boot ambulatory lower, the crypt appears (X-XI), which assumes that the relics of Sant pere and Sant Sergi. Today it is a small area covered with stone vaults supported on rectangular pillars and stone pillars at the sides. It is considered as the only other that has been clearly identified as a former church that can be seen today in the monastery basement is an apse observed in the western side of the crypt. The rest of the primitive temple was totally destroyed in order to build the new church. We can assume that the church belonged to the collection of buildings relating to the monastic cell of Sant Pere de Rodes, depending Abbey Sant Esteve de Banyoles, appearing first mentioned in documents from the late ninth century.

Figure 2.1.1: Crypt


-Galilee At the foot of the aisle is the narthex or Galilee construction built during the reforms of the eleventh century, is an extension of the church about nine feet long to the west, keeping the old facade to its original Inside the main gate, as a division of spaces. Keep coating structure of the church, that is, central vaulted nave and aisles with a barrel vault in circumference, separated by arches formers that start a few meters from the ground. The only difference is their height, much smaller than the naves of the church, which means that the original window from the west continue to fulfill its function lighting fixtures inside, because galilea only rises to the level of his windowsill. The space caused by the new building was used as a cemetery for tycoons benefactors of the monastery and some of the counts of Empúries and Peralada that promote and protect in life the institution. During the archaeological excavations carried out in the twentieth century remains it were found in coffins and burial tombs, even the posts of the door (the gap between the church and the galilee) appeared on each side of the space where s' Put tombstones, now lost to the plundering and pillaging. The new door created with the construction of the western narthex became holy door, closed throughout the year except on the dates set by the Jubilee and why the pilgrims came these days. The rest of the year the site was closed and accessed it from a door located on the southern wall that gave access from the courtyard. The other door "inside" the original door that divides the galilee of the church, discussed below to deserve a more detailed and profound being conducted in three phases, the last being directed by Master Cabestany. I must say that it is only now opening which was once one of the magnificent carved doors of medieval Catalonia produced by one of the greatest sculptors of the time, similar in quality to the rich iconography of the monastery of Ripoll. -The missing Romanesque portal In the place where the great Romanesque portal of the monastery of Rodes today is only the outline of the aperture, the arch, and some other in-situ in a socket-shapped and cut a piece of marble scattered in museums from neighboring towns and distant witnesses would be a great doorway carved the dignity that long enjoyed the monastery. Little can be said today just watching the place else to speculate on the possible magnificence and beauty of its size and the feeling that the pilgrims may come from afar. It was an open door for only a privileged few pilgrims specific dates every few years. Abundantly decorated like the gates of contemporary Ripoll or Arles, beautifully crafted, with great scenes and rich iconography, like was the door of the holy jubilee. There is an excellent paper on the subject entitled "The front of the church of Sant Pere de Rodes" Jaume Barrachina Navarro, published in Issue 4 of the magazine LOCVS amoenus, 1998. In this paper, relates all the discoveries made in pieces and fragments belonging to the supposed master of Romanesque portal of Cabestany, and how, from archaeological investigations conducted and the monastery has been able to establish a chronology and a iconographic relationship of the various stages of construction and architectural facade of the church. According to this phenomenal article it has been throughout history a total of three doors superimposed on each other during different remodeling of the monastery: • The first portal. It is the original gate built by the consecration of 1022, dated for the years 1019-1020, comparable artistically, but by the same sculptor carved the window (originally door)

Sant Andreu de Sureda. It would be a door frame, broad was decorated with reliefs in its frame of four sections, and the theme is similar to the aforementioned Sureda. • The second doorway. The second cover is somewhat uncertain, but the arguments and conclusions made by Barrachina place to leave little doubt. It would be a double arch opening with a mullion interior, inscribed within a large arch, the weight necessary to download the facade, with an eardrum that logically should contain cut scenes and iconography specific but little known. • The third portal. This is the last cover and would have greater artistic quality, built between 1160 and 1163. Attributed to the master Cabestany by some fragments found in the region and the monastery should be the most beautiful and elaborate, built with blocks of white marble, with a specific iconography relating to the life of the saint, with allusions to pilgrimages and Biblical scenes. Today the monastery are only one piece in-situ, it is a socket on the right side of the bottom (depending on the viewer), and both pieces carved depicting the Agnus Dei and the Spirit of Sant Pere. -The reliefs of mestre Cabestany It is kept at the monastery, two carved marble fragments presumably the Master of Cabestany are actually two copies of the originals preserved and on display at the Museum Frederic Marés of Barcelona. These two reliefs belonged at the time to decorate the gate built by the Roman sculptor mentioned (or if not, by his workshop) during the twelfth century, and today are exposed on two pedestals in Galilee. Figure Agnus Dei is a rectangular piece by its slightly curved upper and lower sides, representing the figure of the Lamb of God or Agnus Dei, with cruciferous nimbus and holding a cross with one of the their legs. A pearl border around the image and the bottom appears the words Agnus Dei. For the shape of the piece could be a sheep entered into a archivolt the alleged Romanesque door, and of course the theme and comparing some similar doors at the time, as Ripoll, one could say that this is the key of this archivolt. Spirit relay of Sant Pere: In this case, we have a cut of a block of white marble, probably reused contain traces of other reliefs in the back, which depict the image of Christ, located on the right , approaching the boat of the disciples. Holds in her arms a plate or a book with the inscription "Pax Vobis" and blesses with his right hand while watching his disciples. Here, inside the boat, watching Jesus while holding the oars, and one of them, Pere, does the action out of the boat while the other, Andreu, stays inside. The scene is known as the Spirit of Pere. On stage, a sign reads "Dominus Ubis Aparvit discipleship in Mari" would mean something like "Our Lord appeared to the disciples to the sea." Especially emphasize the beauty of the details of the clothes and hair of the characters, and the waves of the sea and the fish in it. -The Cloister The medieval cloister of the monastery is located almost always the center of the complex, which entering or communicate other monastic spaces. In our case is no exception, north is the church, refectory and library south, east offices, nursing and warehouse, and the west, the bell tower defense and the main entrance to place. Centre and the heart, its main importance is the physical and spiritual life of the residents of the monastery. The cloister of Sant Pere de Rodes has come down to us virtually rebuilt from total destruction. The image we have reached the middle years of the twentieth century reveal a space plundered and ruined. During 80 years he carried out a reconstruction campaign sponsored by the


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Department of Beautiful Arts, he returned to his original form, but without decorations, rebuilding the two levels of the cloister. It is located a little above the level of the church, about 3 feet of climbing over it, solved a staircase accessed from the northwest corner to the church by the south arm of the transept. A large tank where the water collected from the roof is situated in the center, using the profile of the land from their location. The probable date of construction is around the cloister of the twelfth century, although there is a lower faculty (XI century), which would have acted as such until then, probably would not be as simple and austere as it is today. Its four galleries are closed through a superior vault in circumference. The alternate arcades (or alternate in the reconstruction) double pairs of columns with pilasters solid runs. It Been rebuilt, to be able to recover some capitals, a group of arcades, is in the southeast corner and has four capitals: • Two of them have a identical deometric pattern plant with the presence of palm leaves and acanthus. • Other two have the same plant and number in each of the four sides, five monks on each side, and two overlapping rows. The back row pokes his head above the shoulders of the front row. Those who belong to the corners, some argue sticks in his hands, while the center left holding an object. • In the last capital storied groups are linked to the childhood of Jesus, especially the nativity. As mentioned, the cloister was built in two levels; we can see the different images. The reconstruction has been to strengthen the upper cloister by placing a system of micro pilots holding the cloister less than the whole structure. -The bell The bell is attached to the western end of the south wall of the church, even if your plant. It is a square-shapped building, with three windows floors and a straight crown with a total of about 27 meters. Each wall of the tower has a pair of windows on each floor, two lower arch with simple and unadorned and the last with a pair of semi-detached twin windows with semicircular arches, cylindrical columns and trapezoidal capitals. About higher windows, there is a frieze decorated with serrated teeth on a row of blind arches of Lombard style. Above, at the coronation of the wall, separated from the bottom by a concave cornice profile, three large crcular windows as a porthole, on which the arches are repeated again and sawtooth. Inside, you can see the stone structure. For his role as a monastery bell, should have access to the interior roof which houses the bell for use by monks. It existed as can be seen in the remains of braces, an entire wooden structure as a plant with a wooden scale also access each other. Today there is only one large stone arch structure that serves to unite and balance the opposing walls. Overall, this is an excellent example of bell tower early eleventh century, but decorated and finished already advanced late eleventh and early twelfth, so that its construction should correspond to remodel or expansion of the monastic end of this century.

UNITS LOCATED OUTSIDE THE MONASTERY -Hospital The hospital (X-XI centuries) was a structure that, in the context of the Benedictine monastery, was a function of hostel for pilgrims. It is a rectangular building, two stories. The west wall contains profiled and Opus spicatum and this is a gateway. The pilgrimage to Sant Pere de Rodes is documented very old and we know that the jubilees were celebrated May 3rd, the day of the Holy Cross, as it fell on a Friday. The Jubilees were held until 1697. -Sacristies This large rectangular building crowned with battlements and is attached to the north wall of the church. The sacristy (SVIII century) was designed to save space objects that were used during the liturgy of the church and needed it to be located close to this. At the base you can see older structures, possibly a former vestry and file room. Only original facades preserved because the interior was completely reconstructed in a speech at the beginning of the nineties, -Abbot's Palace The old palace (XV-XVI centuries) of the abbot is currently only the facade, where you can see a window germinated and defensive battlements on top. It was built as the residence of the monastery abads. During the 1989 excavation campaign appeared an important numismatic treasure consisting of 658 gold and silver coins inbetween the XIV and XVI centuries. Currently the treasure is preserved in the National Art Museum of Catalonia. On the ground floor of the palace there is currently a tour of the Natural Park of Cap de Creus. -Orchards South of the monastery, protected from the north wind and for humid winds from the east, are the spaces that were intended to cultivate edible or medicinal plants necessary for monks. The land of the two concourses was provided artificially constructed big walls and buttresses to support it. Some buttresses, those closest to the monastery, dating from the Middle Age, while the rest are modern. Orchards communicated with the interior of the monastery that were related: stables, workshops, kitchen, cellar and refectory. 2.5 RESTORATION OF THE MONASTERY Most of the great monastic complex of Sant Pere de Rodes that we can see today in response to the impulse that gave the noble Tassi. The period of peak reaches the twelfth century, when the cloister enclosure too small and it builds on a salary. Later, in 1359 and in 1360 there are signed before a notary acts which show that a significant part of the monastery is in ruins and ique needs restoration. In the middle of the fifteenth century began the abandonment of the whole, in part because of the plague and the pirates, however, in the fifteenth and sixteenth rises the Abbot Palace located in northern of the church. And during the first half of the sixteenth century the nave is rehabilitated and does an altarpiece for the high altar of Pere Mates. Reforms continue the seventeenth and eighteenth centuries. At this time there are changes to the Abbot Palace, the cloister and buildings are built wineries in the entrance of the monastery. The changes coincide with major wars with France and spoliation, as the Duke of Noailles, that in 1708 took the famous Bible of rodes now preserved at the Bibliotheque Nacionale of Paris.


With the final abandonment of the monks in the late eighteenth century, the monastery is in the hands of time. Despite more than a century of neglect, in 1928 the monastery of Sant Pere de Rodes is rediscovered by the scientific community and begin the early work of Rehabilitation of the Center. On 4 July 1930 the monastery was declared a National Monument or Historic and Artistic by the Royal Order. During the twentieth century there is conservation and restoration works that will make the Monastir present form. The intervention of the architect JeroniMartorell between 1931 and 1935 serves two functions: first it stops the degradation and the other regains medieval building about actions that were made later. Alejandro Ferrant Vázquez charge manage the rehabilitation work between 1942 and 1972 and follows the line of Martorell. In 1952 Martin Almagro began his archaeological work and identifies parts of greater value, stopping the expolios that had occurred so far. In the 80’s it changes the concept of intervention projects José Antonio Martínez Lapeña. From this moment we are working to open the monastery to visitors. We respect the architecture and preserved archeological studies performed before each interventions. In 1992 he developed the Master Plan of the monastery and the Abbot Palace became the offices of the Natural Park of Cap de Creus and the administrative headquarters of the complex, which includes a major book about the monastery. Finally, in 1997 the monastery of Sant Pere de Rodes is declared National Interest by the Generalitat of Catalonia.


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3 LEVANTAMIENTO ARQUITECTÓNICO A pesar de que la mayor parte de los resultados necesarios en los levantamientos de elementos de patrimonio están orientados hacia representaciones planimétricas en 2D, cada vez se hace más necesario obtener un modelo tridimensional que nos represente gráficamente la geometría y volumetría del elemento.

El objetivo del levantamiento 3D de la iglesia de Sant Pere de Rodes, es principalmente obtener la información del estado actual, y una forma de hacerlo es la generación de planos de CAD en 2D, a partir de ortoimágenes extraídas de una nube de puntos captada con un láser escáner.

Hay una gran variedad de escáners en el mercado, pero para realizar este proyecto se usa un Láser Escáner FARO Photon 120. Todo este trabajo de escaneo se hace conjuntamente con un trabajo previo de topografía clásica al entorno a escanear, dejando unas bases topográficas sobre las que apoyarse durante el levantamiento con escáner.

En este apartado se explica el trabajo previo a realizar en este tipo de levantamiento de datos, se realiza una pequeña introducción al mundo del escáner 3D, se describe la metodología de trabajo de campo a seguir en un proyecto como este y todo el post-proceso de las nubes de puntos obtenidas, para llegar al producto final deseado.

3.1 FASES DE TRABAJO

A continuación enumeramos de forma cronológica las distintas fases que se han seguido para el desarrollo del proyecto:

1. Documentación histórica del Monasterio y generación de contenido 2. Estudio visual de todo el conjunto monástico y reportaje fotográfico 3. Planificación de posiciones de escaneo 4. Replanteo de bases topográficas 5. Toma de datos con láser escáner y referenciación con topografía 6. Copia de seguridad de los datos obtenidos 7. Exportación de imágenes de 360º de cada una de las posiciones de escaneo 8. Obtención de datos topográficos: bases topográficas y dianas para láser escáner 9. Georeferenciación de las nubes de puntos. Sistema de coordenadas 10. Análisis de los datos obtenidos para elegir filtros y parámetros de filtrado 11. Filtrado de las nubes de puntos: aplicación de 3 filtros en proceso semi-automático 12. Limpieza manual de las nubes de puntos 13. Fusión de las nubes en un solo modelo 3D y filtro de uniformización 14. Generación de ortoimágenes de secciones horizontales y verticales 15. Referenciación de ortoimágenes en CAD y vectorización sobre las imágenes 16. Generación de imágenes de la nube de puntos para detalles 17. Análisis de deformaciones sobre la nube de puntos y exportación de imágenes para informe

3.2 TECNOLOGÍA DE ESCANEADO LÁSER 3D Los escáneres láser 3D suelen emplear dos tipos diferentes de mediciones a distancia: la medición de diferencia de fase y la medición de tiempo de vuelo.

En ambos casos, se emite un rayo láser (cuya longitud de onda difiere según el proveedor) que después regresa reflejado al sistema.

El escáner láser gira 360° horizontalmente y el ángulo horizontal se codifica al mismo tiempo que la medición de la distancia.

El cálculo de la distancia de las coordenadas 3D, el ángulo vertical y el horizontal conforman una coordenada polar (δ, α, β) que se transforma entonces en una coordenada cartesiana (x, y, z).

Algunos escáneres láser, como el FARO Laser Scanner Photon 120 (ver figura 3.2.2), utilizan la tecnología de diferencia de fase para medir la distancia de una superficie: un láser de infrarrojos se emite y vuelve reflejado al sistema. La distancia se mide con precisión milimétrica al analizar el desplazamiento de la longitud de onda del rayo devuelto (ver características técnicas en ANEXO2).

El rayo láser de una onda sinusoidal conocida, sale de una fuente láser ("luz emitida"). Parte de este rayo láser vuelve reflejado del objetivo a la fuente ("luz devuelta"). La fase de esta "luz devuelta" se compara entonces con la luz emitida conocida ("historial de la luz emitida"). La diferencia entre los dos picos es el "desplazamiento de fase" (ver figura 3.2.2). El desplazamiento de fase obtenido es 2π x tiempo de vuelo x frecuencia de modulación.

Figura 3.2.2: Gráfica de diferencia de fase.

Las mediciones de tiempo de vuelo (o mediciones de pulso) se basan en la medición del tiempo de vuelo de un impulso láser del dispositivo de medición a algún objetivo y su regreso. Estos métodos se suelen emplear para grandes distancias de la magnitud de hectómetros o muchos kilómetros. La precisión habitual de los dispositivos simples para distancias cortas es de pocos milímetros o centímetros.

Figura 3.2.1: Laser Scanner Photon 120


El escáner láser 3D de tiempo de vuelo es un escáner activo que utiliza el vuelo del láser para estudiar el objeto. En el centro de este tipo de escáner hay un detector de alcance láser de tiempo de vuelo. El detector de alcance láser averigua la distancia de una superficie cronometrando el tiempo de regreso de una pulsación de luz (ver figura 3.2.3). Se emplea un láser para emitir una pulsación de luz, y se mide la cantidad de tiempo antes de que un detector vea la luz reflejada (tal como muestra la figura 3.2.4). Puesto que la velocidad de la luz c se conoce, el tiempo de regreso determina la distancia recorrida por la luz, que es el doble de la distancia entre el escáner y la superficie. Si t es el tiempo de regreso, entonces la distancia es igual a (c*t)/2. La precisión de un escáner láser 3D de tiempo de vuelo depende claramente de la exactitud con la que podamos medir el tiempo: 3,3 picosegundos (aprox.) es el tiempo que tarda la luz en desplazarse 1 milímetro. El método del tiempo de vuelo se suele emplear para grandes distancias, como centenares de metros o muchos kilómetros.

Figura 3.2.3: Esquema comportamiento de señal láser.

Figura 3.2.4: Esquema funcionamiento láser escáner. Ambas tipologías de escáneres láser se utilizan en los campos de arquitectura e ingeniería civil: los escáneres láser de diferencia de fase suelen ser más rápidos y precisos y con menor alcance que los escáneres láser 3D de tiempo de vuelo.

Resultados

El dispositivo genera un escaneo del entorno en forma de nube de puntos, que es la suma de mediciones individuales desde una posición de escaneado específica. Un objeto se puede capturar totalmente desde múltiples posiciones de escaneo según su dimensión y complejidad. La combinación de las diferentes nubes de puntos crea finalmente una imagen 3D del objeto escaneado.

La imagen resultante de un escaneo es una combinación de millones de puntos de medición 3D, en color si es necesario, que proporciona una reproducción digital exacta de las condiciones existentes.

El primer resultado de los registros es un modelo del área escaneada. A partir de este modelo, se pueden generar vistas de secciones transversales y planos. Con las secciones y planos, al final se pueden crear dibujos CAD de 2 o 3 dimensiones.

3.2.1 INFLUENCIA DE LES CARACTERÍSTICAS DEL OBJECTO EN LA REFLECTIVIDAD El láser escáner, además de la información de x,y,z de cada punto medido, te proporciona una información de reflectividad que depende de la calidad de la señal láser reflejada en el objeto.

Para la obtención de esta reflectividad influyen varios factores: - Color. Según el color del objeto escaneado, nos varía la intensidad del punto; los puntos oscuros tienen un reflectividad más baja que los colores luminosos y claros. - Distancia. Con distancias pequeñas entre el escáner y el objeto escaneado, tenemos valores más altos de reflectividad. - Ángulo de incidencia. Cuanto mayor es el ángulo de incidencia, el valor de reflectividad es más pequeño. La mejor posición es tener el objeto el más perpendicular posible al escáner, para obtener una buena reflectividad y un pequeño ángulo de incidencia.

3.2.2 FACTORES EXTERNOS QUE INFLUYEN EN EL ESCANEADO

Según la experiencia obtenida en el proyecto, las condiciones ambientales pueden influenciar mucho al obtener una nube de puntos de calidad o no, en los trabajos realizados en exteriores:

- Iluminación: el funcionamiento del escáner no depende de la luz ambiental, por lo tanto, se puede trabajar durante el día o durante la noche, sin ninguna influencia.

- Niebla y humo: estos pueden influir en una mala señal de regreso del láser, debido a las partículas suspendidas en el aire, que pueden dar puntos erróneos y ensuciar nuestro trabajo.

3.3 METODOLOGIA DE CAMPO

Debido a la gran afluencia de turistas que visitan diariamente el ‘Monestir de Sant Pere de Rodes’, nos hemos visto obligados a realizar las mediciones fuera del horario de apertura al público, es decir en horario nocturno. Se ha optado por esta decisión, para tener el mínimo tráfico de personas y que no interfieran en la visual del escáner con el elemento a digitalizar.

Esto no ha supuesto un problema técnico (solo físico), ya que la medición láser no depende en absoluto de la luz ambiental, pudiendo generar nubes de puntos en escala de grises.


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Hubiera sido interesante poder realizar el escaneo a color obteniendo el color real de cada punto tomado, que hubiese aportado más información visual. Debido al hecho de escanear de noche no se ha podido obtener esta información.

Los equipos empleados para este levantamiento han sido una estación total Trimble S6 3” y un láser escáner FARO Photon 120 (ver características en anexo2).

Figura 3.3.1: Trimble S6 3” Figura 3.3.2: FARO Photon 120

3.3.1 LEVANTAMIENTO TOPOGRAFICO

El trabajo topográfico previo al levantamiento de datos con láser escáner, ha sido la observación y ajuste de una red de bases cubriendo todo el entorno a escanear, para darle apoyo y precisión al método de georeferenciación de las nubes de puntos. En un primer momento, se proponía georeferenciar de forma absoluta los elementos escaneados mediante láser escáner con la red de bases topográficas del Ayuntamiento de Port de la Selva, pero no ha sido posible por la falta de medios y de personal necesario para llevarlo a cabo.

Al trabajar conjuntamente con una estación total, se ha relacionado la información recogida por el láser escáner con la recogida por la estación total, y obtener así nubes de puntos con coordenadas planimétricas, en este caso en coordenadas relativas de proyecto.

Al situar estas bases de apoyo topográfico, se tiene en cuenta las futuras posiciones del escáner, puesto que estando estacionados en estas bases, le damos coordenadas a las dianas que se usan para georeferenciar cada nube de puntos.

A continuación se muestra el listado de bases topográficas sobre las cuales se apoya el levantamiento realizado con el láser escáner:

Base Coord. X (m) Coord. Y (m) Coord. Z (m)

BR-01 1000.000 2.000.000 500.000 BR-02 1016.256 1976.828 495.225 BR-03 990.028 1984.766 497.672 P-02 985.684 1987.010 501.464 P-03 979.218 1980.669 501.795

CLAV-01 1011.363 1983.678 495.421 BR-05 980.551 1992.189 500.613 BR-06 981.216 2003.024 500.942

CLAV-02 981.800 1982.200 500.458 BR-07 965.015 1996.081 500.940

CLAV-03 976.790 1998.660 501.038 P-04 968.822 1981.692 493.915 P-05 959.061 1980.605 493.889

BR-04 1000.450 1984.885 495.605 P-06 1014.910 1969.190 496.165

BR-08 984.165 1985.370 494.997 BR-09 976.746 1986.110 493.417 P-07 966.145 1986.473 494.601

BR-10 987.354 1967.899 489.711 BR-11 977.427 1966.415 489.588 BR-13 966.650 1927.570 477.100 BR-14 964.596 1962.677 489.397

3.3.2 TOMA DE DATOS CON LÁSER ESCÁNER

El proceso de trabajo con el láser escáner, empieza con la captura de datos a campo. Esta primera fase implica una planificación previa del trabajo, en la que se tiene que tener en cuenta la finalidad del escaneo, o sea el producto final, y en consecuencia, la resolución de la captura y la cantidad de posiciones para cubrir toda la superficie. Más adelante profundizaremos más en la densidad de puntos necesarios por este proyecto y cómo influye en la captura de datos.

Al ser un sistema que documenta una superficie, normalmente es necesario combinar diferentes posiciones de escaneo (una escaneada por posición), ya que siempre hay presencia de obstáculos visuales (muro, árbol, etc.) que impiden que se puedan captar las partes del elemento ocultas desde la posición del escáner, creando así zonas de sombra sin información en la nube de puntos. En cada posición del escáner, se realiza una escaneada, por lo tanto, cuando se habla de posición, entenderemos que equivale a una escaneada cada vez.

Para ir completando estas zonas de sombra, es necesario realizar varías posiciones del escáner, buscando cubrir las zonas ocultas con una posición en la que sea visible la zona anteriormente oculta.

Tabla 3.3.1: Bases topográficas usadas


Figura 3.3.2.1: En esta imagen podemos observar los datos obtenidos desde una única posición de escaneo.

Figura 3.3.2.2: Resaltamos en rojo las zonas donde el escáner no obtiene datos, debido a obstáculos como la sombra proyectada tras uno de los arcos de atrio, o la misma sombra que genera bajo el trípode del propio escáner.

Figura 3.3.2.3: En esta tercera imagen se muestran los datos obtenidos desde una posición de escaneo adyacente, captando datos de las zonas donde el escaneo anterior no obtenía.

Figura 3.3.2.4: Con esta imagen mostramos las dos posiciones de escaneo fusionadas y observamos que se han eliminado las zonas de sombra de las dos posiciones escaneo que observábamos por separado.


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Cuantos más objetos obstaculicen la lectura del escáner, o el hecho de estar limitados por unas perspectivas muy restringidas de las áreas que se quieren documentar, implica más trabajo de campo, puesto que son necesarias más posiciones para cubrir todo el elemento a registrar.

De aquí la importancia de una buena planificación de las posiciones del escáner, puesto que puede hacer que queden zonas sin cubrir al no cerciorarnos en campo. Así pues, primero (y si puede ser anterior al momento de estar en campo), se planifica la distribución de las posiciones, si tenemos a nuestra disposición toda la información necesaria, si no, se tiene que planificar “in situ” antes de empezar a escanear.

El trabajo de campo de este proyecto se divide en diferentes jornadas, escaneando la parte exterior en 2 jornadas diurnas y realizando 3 jornadas nocturnas más para cubrir la parte interior:

Zona Nº scans Nº puntos (millones)

Fachadas 36 954 Interior (nivel 1) 33 874.5 Interior (nivel 2) 7 185.5 Interior (nivel 3) 2 53 Campanario 4 106 Cripta 6 159 Cubiertas 7 185.5

Total 95 2517.5

Estas diferentes escaneadas se combinan en una única nube georeferenciada, gracias al hecho de utilizar dianas de control. Estos elementos con posición fija, se registran en cada posición de escaneo, tanto con el escáner como con topografía y sirven de referencia para combinar todas las nubes individuales.

En cada posición de escaneo se distribuyen un mínimo de 3 dianas alrededor de éste, con una buena distribución, abriendo al máximo los ángulos descritos entre ellas y el escáner, tanto en horizontal como en vertical.

Todas las dianas tienen que estar posicionadas dentro de la visual del escáner, y se debe procurar que la diana esté lo más frontal posible respecto al escáner, puesto que una posición oblicua haría perder precisión en la medición. Estas dianas son reconocidas por el software FARO Scene, propio del fabricante del escáner, con el que georeferenciamos cada escaneo, y como también están leídas por topografía, obtenemos las nubes en coordenadas relativas de proyecto.

Una vez posicionado y orientado el escáner hacia el objeto a levantar, pasamos a la adquisición de datos, que puede hacerse conectado a un PC, PDA o con el escáner “libre”, almacenando cada escaneo en el disco duro interno.

El proceso de cambiar la posición del escáner, dianas y la posición de la estación total, se repite hasta cubrir las necesidades del proyecto.

Figura 3.3.2.5: Estacionamiento de láser escáner y posición de referencias.

Figura 3.3.2.6: Base de estación topográfica y lectura de referencias.

Tabla 3.3.2.1: Posiciones de escaneo y número de puntos obtenidos.


3.4 POST-PROCESADO

Con todos los datos obtenidos a campo, se empieza a procesar y tratar, primeramente, los datos del trabajo topográfico, del que se obtienen las bases sobre las que se apoya el escáner.

Obtenidas las coordenadas de cada una de las dianas leídas en campo, comienza el trabajo de procesado de las nubes de puntos.

3.4.1 GEOREFERENCIACIÓN DE LAS NUBES DE PUNTOS

Una vez tenemos las nubes de puntos o escaneos gravadas en nuestro pc, se procede a georeferenciarlos, de ahora en adelante, registrarlos, para obtener una sola nube de puntos de todo el objeto escaneado.

Por cada señal reflejada, el escáner puede recoger 5 medidas:

- Dos ángulos (horizontal y vertical)

- Distancia

- Intensidad, es decir, el valor de reflexión de cada punto en los diferentes materiales

- Valor RGB de cada punto extraído de la cámara digital calibrada (en el caso de opción color)

Con estos dos ángulos y la distancia, el software obtiene unas coordenadas polares para cada punto y las transforma inmediatamente en coordenadas cartesianas (x,y,z). A esta coordenada le añade el valor de la intensidad y el valor de RGB si se trabaja con color. El centro de este sistema de coordenadas relativo es el centro geométrico del escáner (0,0,0), justo donde el láser se encuentra con el espejo.

Finalmente, a estas coordenadas cartesianas propias de cada nube de puntos (uno por posición), se le aplica una roto-traslación dentro del sistema de coordenadas de proyecto mediante el software de FARO Scene, puesto que se tienen las dianas en el sistema de coordenadas del escáner y las mismas dianas en el sistema de coordenadas de proyecto.

Este proceso se repetirá para cada nube de puntos de cada posición de escaneo.

Con la georeferenciación o registro de cada posición, FARO Scene reporta un pequeño informe con las desviaciones por cada diana y el resultado de la roto-traslación aplicada.

El dato más importante a tener en cuenta es la distancia mínima (en mm.) que se ha obtenido entre la diana identificada por FARO Scene y esta misma obtenida por topografía y poder valorar si está dentro del error admisible por el tipo de trabajo.

El error medio obtenido en la georeferenciación de las nubes han sido valores de 4 a 5mm. No se descartó ninguna nube de puntos por fuera de rango, puesto que el resultado obtenido se consideró dentro de la precisión buscada.

Figura 3.4.1.1: Coordenades polares. Imagen extraída de manual de FARO Scene

Figura 3.4.1.2: Coordenades cartesianas. Imagen extraída de manual de FARO Scene

Figura 3.4.1.3: Roto-traslación. Imagen extraída de manual de FARO Scene

Figura 3.4.1.4: Informe de registra extraído delsoftware FARO Scene.


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Con el software de FARO se pueden registrar las nubes de puntos mediante diferentes métodos:

- Planos. Se pueden identificar planos comunes en diferentes escaneos. Definiendo un scan como referencia, se pueden georeferenciar el resto de scans al sistema de coordenadas de este.

- Dianas. Con el software identificamos las dianas, obteniendo el centro. Cada diana tiene un nombre intransferible y serán coincidentes los datos de topografía y del escáner. Damos como fijas las coordenadas de las dianas obtenidas a partir de la estación total y el software realiza una roto-traslación de las dianas del escaneo a las de topografía.

- Otros métodos, como un registro mediante “pipe”, malla, esferas u otros tipos de dianas menos fiables o más costosas en cuanto a tiempos en campo.

En nuestro caso, el sistema empleado ha sido el registro con dianas. Las dianas que se han usado en este proyecto son unas dianas giratorias de aluminio, calibradas por el fabricante (Leica), manteniendo siempre el centro de la diana en la misma posición. Esta diana tiene adherida una etiqueta adhesiva circular y reflectante, con un círculo blanco sobre un fondo azul.

El software FARO Scene, reconoce este tipo de dianas y es capaz de reconocer de manera semi-automática el centro del círculo blanco, realizando un contraste entre el blanco y el fondo azul. Este centro encontrado es el mismo que el obtenido por topografía. Este se toma colimando primero al centro de la diana y después colimando a un mini prisma para leer la distancia, o leyendo directamente con el distanciómetro láser de la estación, si ésta tiene.

A cada diana se le asigna el mismo nombre tanto al identificarla con FARO Scene, como cuando se toma por topografía con la estación total, para que el software busque correspondencias entre nombres iguales.

3.4.2 FILTROS

La nube de puntos puede contener perturbaciones, causadas por puntos erróneos que pueden llevar a malas interpretaciones de la nube una vez visualizada y tratada. Estos puntos erróneos pueden aparecer por varios motivos:

- Reflexiones por obstrucciones temporales como por ejemplo vehículos o personas que pasan por la escena mientras escaneamos.

- Malas reflexiones que dependen de los materiales, como cristales o espejos, el cielo, o los objetos con aristas muy pronunciadas, que generan un lagrimeo de puntos.

Para limpiar todos estos puntos erróneos, se usan filtros predeterminados dentro del software de tratamiento de nubes de puntos. El proceso de filtrado se divide en dos partes: una primera dentro del software de FARO y en otra fase posterior, dentro del software Pointools View Pro. Éste es un software donde, además de realizar algún filtro, nos permite visualizar la nube de puntos y que generar ortoimágenes.

3.4.2.1 Filtros en Faro Scene

Dentro del programa, hay muchas posibilidades de filtrar las nubes de puntos, pero nombramos los que se consideran adecuados por este trabajo, que son:

- Puntos de escaneo oscuros: el proceso de selección se basa en el valor de reflectancia de los puntos que se consideran oscuros, y por lo tanto, ruido en la nube de puntos. Una vez estudiado el entorno y objeto escaneado, se define el rango de valores de reflectancia (p.ej.: 200 de un máximo de 2047) y todos los puntos por debajo de este valor definido se eliminan.

- Basado en la distancia: elimina los puntos según la distancia de estos con respecto al escáner. Se define la distancia mínima y máxima al escáner, por debajo o sobre este rango los puntos serán eliminados.

- Filtro para puntos dispersos: elimina los puntos de escaneo dispersos según los siguientes parámetros:

o Tamaño de cuadrícula: es el tamaño del área contra la que se evaluará el punto de escaneo.

o Umbral de distancia: distancia máxima permitida para que un punto de escaneo circundando sea considerado cercano.

o Umbral de asignación: la cantidad mínima de puntos cercanos que tiene que tener un punto de escaneo. Los puntos que tienen una cantidad menor de puntos cercanos se eliminan.

Figura 3.4.2.1.1: Ejemplo de puntos dispersos. Imagen izquierda, nube de puntos original. Imagen derecha, nube de puntos tras aplicación de filtro.

Figura 3.4.1.5: Diana tomada con topografía.

Figura 3.4.1.6: Diana tomada con láser escáner. Nube de puntos de una diana, identificada dentro de Faro Scene.


3.4.2.2 Filtros con Pointools View Pro

Tras todos los procesos realizados dentro del software FARO Scene, se procede a la importación de las nubes de puntos al software Pointools View Pro. Estas nubes están en el formato de FARO (.FLS) y todavía individuales, es decir, en un mismo sistema de coordenadas, pero no formando una sola nube de puntos conjunta de todo el entorno escaneado.

En este software se combinan todas las nubes en un solo conjunto se le aplican un último filtro parecido al Filtro para puntos dispersos de FARO. Este consiste en definir una distancia entre puntos, definida directamente por la escala a la que necesitamos trabajar, por ejemplo con las ortoimágenes que se extraerán. Después se explica el criterio seguido para elegir los parámetros de este filtro, puesto que es el mismo filtro con el que obtenemos una densidad de puntos concreta.

A partir de este proceso, obtenemos una nube de puntos homogénea y estructurada de toda la zona escaneada, para facilitar su tratamiento y explotación.

3.4.3 LIMPIEZA MANUAL DE LAS NUBES DE PUNTOS

La presencia de elementos que interfieren entre el escáner y el objeto escaneado, como vegetación, personas, mobiliario urbano no deseado, circulación de vehículos, etc., se puede eliminar de la nube de puntos mediante:

- Software de FARO: proceso de forma totalmente manual y tratando cada escaneo de forma individual, lo que comporta un tiempo considerable. Este ha sido el método empleado en este proyecto y la clave ha sido escanear con la zona totalmente limpia de obstáculos y elementos móviles.

- Pointools Edit Pro: el procedimiento es también manual, pero con la particularidad de poder actuar sobre varias nubes a la vez. Este proceso no se ha podido realizar por no disponer de licencia de este software.

Los dos actúan sobre una selección de partes concretas de la nube de puntos, permitiendo así la eliminación de los puntos no deseados, que pueden llegar a distorsionar los resultados de la representación final.

Figura 3.4.3.1: Ejemplo de nube de puntos sin limpieza de elementos fijos y en movimiento (trípode y personas).

3.4.4 DENSIDAD DE PUNTOS

Cómo ya se ha comentado al apartado 3.3.2, se debe conocer el producto final para saber la densidad de puntos necesaria y poder así definir los parámetros del escáner que nos permitirán tener una mayor o menor densidad de puntos.

Así pues, contra lo que a priori parecería un buena opción, que es hacer escaneadas con la mayor densidad de puntos posibles y después ya eliminaremos, se debe valorar con criterio. Esta opción puede multiplicar muchísimo el tiempo de captura de datos en campo y lo mismo con el tiempo de post-proceso de las nubes, puesto que se tendrán que filtrar muchos más puntos para después tener la cantidad necesaria, y todo esto a cambio de obtener un nivel de resolución en la información que, dependiendo del caso, puede ser muy superior a la necesaria.

Se tiene que valorar pues el grado de precisión y densidad de puntos que son necesarios en función de las necesidades del proyecto.

La base de datos obtenida de todo el proceso se compone de una nube de millones de puntos que, a pesar de que se pueden utilizar directamente (por visualizadores y realizar cualquier tipo de medidas, etc.), en este proyecto se procesa para obtener finalmente unas ortoimágenes. Sobre algunas de ellas, se representa el objeto escaneado en formato CAD 2D, vectorizando las líneas principales de estas ortoimágenes.

Conociendo al producto final al cual queremos llegar, es cuando al importar las nubes de puntos (formato .fls de FARO) al software Pointools View Pro, aplicamos un tipo diferente de filtro de uniformidad, el cual dará una densidad de puntos concreta a la nube.

Figura 3.4.4.1: Ejemplo de filtro en Pointools View Pro, donde se define la densidad de puntos de la nube importada.

Para la obtención de unas buenas ortoimágenes, se define un filtro de 1 punto cada 5mm, puesto que la necesidad de densidad de puntos se la siguiente:

- 1 punto / 5mm para trabajar a escalas de 1/50 y 1/20 en zonas de detalle como capiteles u otros posibles detalles interiores de la iglesia.

- 1 punto / 2cm para trabajar a escalas de 1/100 y 1/200 en fachadas interiores y exteriores y planta general interior.


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- 1 punto / 10cm para escalas de 1/500 o superiores, como por ejemplo en la planta general de entorno al monasterio.

3.4.5 GENERACIÓN DE ORTOIMÁGENES

Consideramos una ortoimagen como una imagen digital generada en proyección ortogonal a partir de fotografía extraída de la nube de puntos.

Al visualizar frontalmente la nube de puntos correspondiente al plano a representar (una fachada por ejemplo), y puesto que esta visualización es de puntos con medidas absolutas, se puede obtener una imagen en la que toda la fachada se representa sin deformaciones y sobre la que se pueden obtener medidas. Toda la información de cada píxel de la imagen obtenida está en su posición espacial precisa. El resultado puede ser similar al obtenido mediante otros procesos de rectificación de imágenes.

Sobre esta ortoimagen se pueden tomar medidas, realizar calcos y otros tipos de representaciones. Es muy útil sobretodo en zonas donde la perspectiva sobre el objeto es muy grande y harían falta muchas imágenes parciales o muy deformadas para obtener una ortoimagen completa. También se pueden obtener ortoimágenes no frontales al objeto, sino creando perfiles, secciones, plantas, etc., sobre las cuales también poder tomar medidas.

La calidad de la ortoimagen, es decir, la textura del objeto representado, o la definición de los bordes de los elementos, etc., depende en gran parte de la densidad de puntos y de la intensidad captada en la nube de puntos.

Figura 3.4.5.1: Ejemplo de ortoimagen obtenida a partir de una nube de puntos a color. Imagen cedida por la empresa CAPTAE.



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5 CONCLUSIONES

El objetivo de este trabajo ha sido realizar un levantamiento arquitectónico con la tecnología láser escáner 3D. A medida que crecia el proyecto y se procesaba la gran cantidad de información obtenida, hemos podido ir viendo los resultados y comprobado la exactitud de la medición por este sistema y las grandes ventajas que se obtienen.

Al iniciar los trabajos de campo con láser escáner vimos que la captura de datos era tan rápida, que se nos hizo difícil hacer solo el levantamiento de la iglesia, pero tuvimos en cuenta que toda la gran cantidad de datos obtenidos en campo, requería mucho trabajo de despacho de post-procesado.

La mayor dificultad de este proyecto ha sido plasmar en 2D toda la cantidad de información obtenida en 3D. Al obtener un modelo completo en 3D (nube de puntos), se pueden realizar infinitas secciones, que al representar en plano cuesta mostrar toda la información captada. Y a demás al vectorizar sobre la nube de puntos, perdemos parte de la precisión, ya que culquier cosa que se genere a partir de la nube de puntos, dista más de la realidad.

En cuanto a las diferentes técnicas de medición, podríamos afirmar, que a más complejidad de la herramienta empleada menor es el tiempo de captura de datos en campo, pero aumenta el tiempo de procesado de los datos en despacho para obtener una representación del objeto en líneas 2D ó 3D. Sin embargo, la ventaja no es sólo la reducción del tiempo de trabajo de campo, sino la mayor variedad de productos finales que se pueden obtener, entre ellos la posibilidad de representar tridimensionalmente el objeto.

Otro factor a favor del Escáner es que, con un registro bien planificado, se evitan posteriores salidas a campo. Es habitual que con métodos topográficos como la Estación Total, una vez que se están procesando los datos sea necesario ampliar la información registrada o representar algún elemento que no se ha registrado inicialmente, o que la cantidad de puntos tomada sea insuficiente para analizar detalles como por ejemplo deformaciones de estructuras. La nube de puntos registrada con el escáner solventa estas inconveniencias y aquí radica uno de los principales beneficios de esta herramienta: la capacidad de componer una base de datos muy completa, precisa y detallada, que puede ser explotada de diferentes formas para obtener distintos productos finales, y que además permite recurrir a ella indefinidamente, sin agotar sus potencialidades con un número determinado de usos.

Por otra parte, hay que tener en cuenta que esta herramienta todavía presenta un elevado coste en el mercado, no sólo en lo que respecta a la adquisición del aparato, sino también a los programas de gestión de datos, encareciendo también los costes de los trabajos a realizar. Además, su manejo requiere personal especializado, ya que los programas de toma de datos y post-procesado requieren una formación específica. La realización de este proyecto nos ha permitido conocer con exactitud el monasterio de Sant Pere de Rodes, enriqueciéndonos profesional y personalmente, ya que ha sido todo un reto por la magnitud que ha adquirido el trabajo. Nos ha dado una visión más amplia de las nuevas tecnologias de medición, que nos ha abierto un mundo de posibilidades existentes en el mercado que hasta ahora nos parecían futuristas. Entonces nos planteamos, si pensamos y vemos en 3D, ¿cómo podemos representar sólo en 2D?



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6 BIBLIOGRAFÍA

J.A. Adell i Gisbert, J. Llinàs i Pol, M. Mataró i Pladelasala, E. Riu-Barrera, J. Sagrera i Aradilla. (1994) La cel.la i el primer monestir (s. IX-XI) Badia i Homs, Joan. (2002) Monestir de Sant Pere de Rodes : guia històrica i arquitectónica. Lorés, Immaculada. (2004) El Monestir de Sant Pere de Rodes. Lorés, Immaculada. (1994) El Claustre romànic de Sant Pere de Rodes: de la memòria a les restes conservades : una hipòtesi sobre la seva composició escultórica. Masmartí i Recasens, Sònia. (2009) Sant Pere de Rodes, lugar de peregrinación. Pujol i Canelles, Miquel. (1993) Sant Pere de Rodes. Un projecte de restauració del monestir a la segona meitat del segle XIV. Vélez, Pilar. (2006) La Fortuna d'unes obres. Sant Pere de Rodes, del monestir al museu. Núñez Mª A., Buill F., Muñoz F. (2005) Comportamiento de un sensor láser escáner. upcommons.upc.edu/e-prints/bitstream/2117/646/1/articulo.pdf (Dic-2012) Marambio A., Dra. García Almirall P. (2006), Escáner laser: modelo 3d y orto imágenes arquitectónicas de la iglesia de Santa María del Mar en Barcelona. UPC. upcommons.upc.edu/revistes/bitstream/2099/2081/1/TEM_alexmarambio_articulo.pdf (Dic-2012) Schultz T., Ingensand H. (2005), El escaneado por láser terrestre: investigaciones y aplicaciones del escaneado de alta precisión. Topografía y cartografía: Revista del Ilustre Colegio Oficial de Ingenieros Técnicos en Topografía, nº22. arqarqt.revistas.csic.es/index.php/arqarqt/article/viewPDFInterstitial/87/84 (Dic-2012) Norbert P. (2004), Development Applications and challenges Terrestrial Laser Scanning. gim-international.com (Dic-2012)

Pérez A., Lerma J.L., Martos A., Jordá F., Ramos M., Navarro S. (1998), Generación automática de ortofotografías verdaderas en arquitectura. Depto. Ing. Cartográfica, Geodesia y Fotogrametría. UPV. jllerma.webs.upv.es/pap098.pdf (Dic-2012)

Dipòsit memòries arqueològiques. Memòries i planimetries http://calaix.gencat.cat/ Memòria 1994 http://calaix.gencat.cat/handle/10687/7967 Memòria 1996 http://calaix.gencat.cat/handle/10687/8330 Patmapa. Element arquitectònic i arqueològic http://patmapa.gencat.cat/web/guest/patrimoni/arquitectura?articleId=HTTP://GAUDI_ELEMENTARQUITECTONIC_196 Gencat. Imatge, vídeos, 3D http://arquitphp.cultura.gencat.cat/

ppt general St. Pere de Rodes http://www.slideshare.net/jllorenc/el-monestir-de-sant-pere-de-rodes ppt general arquitectura romànic http://www.slideshare.net/PILARMANZANO/lart-romnic icomos.org (última entrada Sep-2012) faro.com (última entrada Dic-2012) optech.ca (última entrada Jul-2012)

laserscanning.org.uk (última entrada Dic-2012)

es.wikipedia.org/wiki/Escaner_3D (última entrada Dic-2012)

sprl.upv.es/IOP_RF_01%28a%29.htm (última entrada Dic-2012)



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7 GLOSARIO Ortoimágen: también ortofotografía (del griego Orthós: correcto, exacto) es una presentación fotográfica de una zona de la superficie terrestre, en la que todos los elementos presentan la misma escala, libre de errores y deformaciones, con la misma validez de un plano cartográfico.

Georeferenciación: neologismo que refiere al posicionamiento con el que se define la localización de un objeto espacial (representado mediante punto, vector, área, volumen) en un sistema de coordenadas y datum determinado. Este proceso es utilizado frecuentemente en los Sistemas de Información Geográfica (SIG).

Tintas hipsométricas: representación simbólica del relieve del terreno mediante la aplicación de distintos colores a zonas de diferentes alturas.



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8 CONTENIDO DEL CD

- Memoria del proyecto (formato PDF)

- Resumen del proyecto (formato PDF)

- Anexo1. Posiciones de escaneo y vistas 360º (Planos de posiciones formato PDF e imágenes 360º en formato JPG)

o A-01/05. Bases topográficas y escáner. Sección horizontal (+12.20m)




o A-05/05. Vistas 360º

- Anexo 2. Características técnicas de los equipos de medición (formato PDF)

- Documentación técnica. Planos (formato PDF)

o P-01/18. Plano de situación

o P-02/18. Emplazamiento iglesia

o P-03/18. Sección horizontal ortofoto (+2.20m)

o P-04/18. Sección horizontal (+2.20m)

o P-05/18. Sección horizontal cotas (+2.20m)

o P-06/18. Sección horizontal cripta (-1.60m)



o P-09/18. Sección horizontal ortofoto cenital (+2.20m)

o P-10/18. Sección transversal ortofoto

o P-11/18. Sección transversal

o P-12/18. Sección longitudinal ortofoto

o P-13/18. Fachada principal ortofoto

o P-14/18. Detalle capitel

o P-15/18. Sección horizontal. Deformación planta (+2.20m)

o P-16/18. Sección horizontal cenital. Deformación bóvedas (+2.20m)

o P-17/18. Deformación bóvedas. Estudio en detalle

o P-18/18. Sección longitudinal. Deformación pilares


Documents

PFC Monestir de Sant Pere de Rodes - UPCommons2 historia: arquitectura romÁnica del monestir de sant pere de rodes’ 07 2.1 ficha tÉcnica 07 2.2 romÁnico catalÁn 07 2.2.1 europa