This research discusses the advanced technological techniques used in the iHeritage project, which is implemented by the researcher and funded by UNESCO. The project aims to revitalize Egyptian cultural heritage by reconstructing damaged archaeological sites using modern technology. The researcher chose the Workers' City at the Pyramids and the Solar Boat of Khufu for a detailed study of the mechanisms of restoring these archaeological sites. The research aims to develop a mechanism for restoring archaeological sites by creating accurate 3D models of them and creating realistic virtual representations using emerging 3D imaging platforms and embodied interaction for visits to the original site. The researcher used qualitative and quantitative methods to identify the benefits and challenges of using technology to enhance the user experience in the Pyramids area. The research highlights the importance of collaboration between graphic designers and archaeologists to develop clear, applicable mechanisms to stimulate innovation and restore archaeological sites using advanced graphic technology, such as 3D modeling, to develop damaged sites due to the passage of time and preserve them.
الخشن, جمال الدين. (2024). Revitalising Heritage Sites Through 3D Modelling : An Analysis of the (iHeritage) Project's Outcomes ICT Solutions. بحوث في التربية الفنية والفنون, 24(2), 236-245. doi: 10.21608/seaf.2024.358356
MLA
جمال الدين الخشن. "Revitalising Heritage Sites Through 3D Modelling : An Analysis of the (iHeritage) Project's Outcomes ICT Solutions", بحوث في التربية الفنية والفنون, 24, 2, 2024, 236-245. doi: 10.21608/seaf.2024.358356
HARVARD
الخشن, جمال الدين. (2024). 'Revitalising Heritage Sites Through 3D Modelling : An Analysis of the (iHeritage) Project's Outcomes ICT Solutions', بحوث في التربية الفنية والفنون, 24(2), pp. 236-245. doi: 10.21608/seaf.2024.358356
VANCOUVER
الخشن, جمال الدين. Revitalising Heritage Sites Through 3D Modelling : An Analysis of the (iHeritage) Project's Outcomes ICT Solutions. بحوث في التربية الفنية والفنون, 2024; 24(2): 236-245. doi: 10.21608/seaf.2024.358356