heritage
Article
3D Reconstruction & Modeling of the Traditional Greek
Trechadiri: “Aghia Varvara”
Andreas Arapakopoulos 1, *, Orestis Liaskos 2 , Sofia Mitsigkola 2 , Georgios Papatzanakis 2 , Sofia Peppa 1 ,
Georgios Remoundos 3 , Alexandros Ginnis 2 , Christos Papadopoulos 2 , Dimitrios Mazis 4 , Odysseas Tsilikidis 4
and Yannis Yighourtakis 2
Citation: Arapakopoulos, A.; Liaskos,
O.; Mitsigkola, S.; Papatzanakis, G.;
Peppa, S.; Remoundos, G.; Ginnis, A.;
Papadopoulos, C.; Mazis, D.;
Tsilikidis, O.; et al. 3D Reconstruction
& Modeling of the Traditional Greek
Trechadiri: “Aghia Varvara”. Heritage
2022, 5, 1295–1309. https://doi.org/
10.3390/heritage5020067
Academic Editors: Katerina Kabassi
and Emmanuel Maravelakis
Received: 5 May 2022
Accepted: 13 June 2022
Published: 16 June 2022
Publisher’s Note: MDPI stays neutral
with regard to jurisdictional claims in
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iations.
Copyright: © 2022 by the authors.
Licensee MDPI, Basel, Switzerland.
This article is an open access article
distributed under the terms and
conditions of the Creative Commons
Attribution (CC BY) license (https://
creativecommons.org/licenses/by/
4.0/).
Heritage 2022, 5, 1295–1309. https://doi.org/10.3390/heritage5020067
1 Department of Naval Architecture, University of West Attica, 12243 Athens, Greece; speppa@uniwa.gr
2 School of Naval Architecture and Marine Engineering, National Technical University of Athens,
10682 Athens, Greece; liaskos.orestis@gmail.com (O.L.); smitsigkola@gmail.com (S.M.);
gpap@deslab.ntua.gr (G.P.); ginnis@naval.ntua.gr (A.G.); chpap@central.ntua.gr (C.P.);
yiannyiyou@gmail.com (Y.Y.)
3 Department of Shipping, Trade and Transport, School of Business, University of the Aegean,
82132 Chios, Greece; gremoundos@aegean.gr
4 Green Maritime Technology Group, 16562 Glyfada, Greece; d.mazis@gmtech.gr (D.M.);
o.tsilikidis@gmtech.gr (O.T.)
* Correspondence: andreasarapakopoulos@gmail.com; Tel.: +30-693-490-2277
Abstract: 3D modeling techniques have grown increasingly prevalent in a variety of disciplines,
including cultural heritage and ship design. The methodology used in the 3D reconstruction of a
traditional Greek boat with the Trechadiri hull type named “Aghia Varvara” is presented in this study.
The original boat was built in 1925 and is characterized as a modern cultural heritage monument by
the Greek Ministry of Culture. The digital reconstruction of the boat is explained in detail, including
3D laser scanning and computer aided geometric design (CAGD), as well as the description of the 3D
printing process. The boat’s 3D digital model has been used for the enrichment of the NAVS Project’s
digital library, demonstrating the unique geometrical, typological, and cultural characteristics of
Greek traditional shipbuilding, a living craft which listed on Greece’s National Inventory of Intangible
Cultural Heritage.
Keywords: 3D laser scanning; cultural heritage; traditional shipbuilding; point cloud editing;
structural design; ship design; 3D printing; exhibition
1. Introduction
1.1. Related Works
3D modeling and reconstruction of cultural artifacts is becoming increasingly popular,
supporting, amongst others, the preservation and promotion of cultural heritage (CH) [1–3].
The use of advanced 3D technologies provides the means of preserving items of cultural
heritage [4]. Currently, 3D modelling, 3D visualization, virtual reality, and augmented
reality are the most commonly used methods for documenting, recovering and presenting
cultural heritage artifacts [5]. The results of 3D modeling can be used to assist and fulfill
research efforts on cultural heritage [6].
As far as maritime cultural heritage is concerned, 3D modeling of historical and
traditional vessels may be used as an effective and innovative means of depicting and
highlighting maritime history [7–9] and traditional shipbuilding [10].
Different techniques have been employed to carry out the digital documentation of
ships, but there is no standard [11]. Many research studies used laser scanning to document
traditional ships, including those of [12–14].
Cultural institutions and museums use new media to engage with new audiences
and provide new ways to impart historical facts, expanding the reach of knowledge to
https://www.mdpi.com/journal/heritage
Heritage 2022, 5 1296

visitors [15–17]. Furthermore, 3D printing technology can be used to recreate and preserve
historical and traditional artifacts [18–20].

1.2. Greek Traditional Shipbuilding & Trechadiri

Wooden shipbuilding (or traditional shipbuilding) is the handcrafted construction of
a vessel using natural wood [21] involving the vessel’s conception, design, construction,
equipment, and ornamentation, as well as the associated cultural activities, social practices
and values [22–24]. In 2013, the National Inventory of Intangible Cultural Heritage of
Greece added wooden shipbuilding (or traditional shipbuilding) to its list of intangible
cultural heritage [25].
Trechadiri is one of the most known traditional Greek vessels. The first evidence
of Trechadiri boat building is from the mid-seventeenth century. Trechadiri was first
constructed in 1658 on the Greek island of Hydra. This boat type was common in the 19th
century [26] in the islands of the Argosaronic Gulf. Hydra and Spetses were the islands
where the majority of the Trechadiri crafts were erected in the 18th and 19th centuries.
Boats with a Trechadiri hull type were built in nearly every small shipyard of the Aegean
Sea in the beginning of the twentieth century. Most Trechadiri hull boats today have an
overall length of 8 to 20 m and a carrying capacity of 4 to 50 tons. The concave curving
shape of the stem post is the most distinguishing feature of the hull of a Trechadiri. Another
characteristic feature is that the stern post is raked aft and is practically straight. Older
drawings, on the other hand, depict the stern post as having a gentle curve. A smooth
curve of the hull at the bilge level characterizes the middle section of a Trechadiri. The two
upper sides of this section are shaped on a bow and buttock plan with an angle of around
15 degrees [22–24].

1.3. “Aghia Varvara”

“Aghia Varvara” is a former fishing boat which was declassified and withdrawn about
20 years ago, turning into a museum exhibit, within the framework of the Community
legislation for the reduction of overfishing [27]. The boat has a corresponding certificate
from the Ministry of Rural Development [28] and is owned by the Municipality of Perama
(hosted by Maritime Tradition Museum [29] since 2011). The general characteristics of this
boat are the following:
Type: Trechadiri,
Place of Construction: Perama, Greece,
Year of Construction: 1925
Length Overall: 10.60 m, Beam: 4.55 m
In Figure 1, a perspective view of the Trechadiri “Aghia Varvara” in its present state is
illustrated. Figure 2 also depicts the boat’s deck as well as its appendages (propeller and
rudder). A close examination of the hull reveals multiple cracks in the deck timber and the
boat’s stern.
The internal structure of the hull where the frames and longitudinal strengthening
components are shown in Figure 3. Many unnecessary objects are observed, which are not
generated during the reconstruction process.
Heritage 2022, 5, FOR PEER REVIEW 3

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Figure 1. The Greek Trechadiri “Aghia Varvara” (perspective view).

Figure1.1.The
Figure TheGreek
GreekTrechadiri
Trechadiri“Aghia
“AghiaVarvara”
Varvara”(perspective
(perspectiveview).
view).
Figure 1. The Greek Trechadiri “Aghia Varvara” (perspective view).

Figure 2. Deck of the “Agia Varvara” (left/middle photos); stern side with propeller and rudder
(right photo).

FigureThe internal
2. Deck structure
of the of the hull
“Agia Varvara” where the
(left/middle frames
photos); andside
stern longitudinal strengthening
with propeller and rudder
Figure
Figure 2.
2.
components Deck
Deck of
of the
the “Agia
“Agia Varvara”
Varvara” (left/middle
(left/middle photos);
photos); stern
stern side
side with
with propeller
propeller andare
and rudder
rudder
(right photo). are shown in Figure 3. Many unnecessary objects are observed, which not
(rightphoto).
(right photo).
generated during the reconstruction process.
The internal structure of the hull where the frames and longitudinal strengthening
The internal structure of the hull where the frames and longitudinal strengthening
components are shown in Figure 3. Many unnecessary objects are observed, which are not
components are shown in Figure 3. Many unnecessary objects are observed, which are not
generated during the reconstruction process.
generated during the reconstruction process.

Figure3.3.Internal
Figure Internalstructure
structureof
ofthe
thehull:
hull:frame
framesections
sectionsand
andlongitudinal
longitudinalstrengthening
strengtheningcomponents
components
(right, left photos).
(right, left photos).

1.4.
1.4. Objectives
FigureObjectives
3. Internal structure of the hull: frame sections and longitudinal strengthening components
Figure 3. Internal structure of the hull: frame sections and longitudinal strengthening components
(right, left
This photos).
This paper
paper presents
presents the
the implementation
implementation of of consolidated
consolidated methods
methods andand procedures
procedures for
for
(right, left photos).
3D
3D recreation
recreationof ofthe
thehull
hullof
ofaatraditional
traditionalboat.
boat. The
The actions,
actions, decisions,
decisions, and
and methodology
methodology of of
1.4.reconstruction
the
the Objectives
reconstruction process
process are
are all
all described
described and
and analyzed
analyzed in
in detail.
detail. The
The reconstruction
reconstruction of
of
1.4. Objectives
“Aghia Varvara”
This aims toward
paper presents the creation of of
the implementation a digital model methods
consolidated and a printed model under
and procedures for
scale. This
The paper
modelspresents
are the implementation
created to show the ofinconsolidated
boat its original methods
shape, and procedures
ignoring any for
existing
3D recreation of the hull of a traditional boat. The actions, decisions, and methodology of
3D recreation of the hull of a traditional boat. The actions, decisions, and methodology of
the reconstruction process are all described and analyzed in detail. The reconstruction of
the reconstruction process are all described and analyzed in detail. The reconstruction of
 “Aghia Varvara” aims toward the creation of a digital model and a printed model under
scale. The models are created to show the boat in its original shape, ignoring any existing
Heritage 2022, 5 damage, and providing as much comprehensive and precise design information as possi-1298
ble to highlight the unique hull type and retain traditional shipbuilding’s cultural features.
This is significant since traditional shipbuilding is not documented, as ships were ‘built
by damage,
eye’ using and‘rules-of-thumb’
providing as much [Error! Reference source
comprehensive not found.],
and precise and most hulls
design information are
as possible
onlytopartially
highlight preserved,
the unique lacking majorand
hull type structural elements, as
retain traditional a result of deformation
shipbuilding’s pro-
cultural features.
cesses.
This is significant since traditional shipbuilding is not documented, as ships were ‘built by
eye’
Theusing ‘rules-of-thumb’
research’s main goals[30],
and and most hulls
objectives arefollows:
are as only partially preserved, lacking major
• structural elements, as a result of deformation processes.
to analyze and present the digital model reconstruction techniques using 3D technol-
The research’s main goals and objectives are as follows:
ogy: 3D laser scanning and editing of point clouds, Rhino3D Design, texturing, and
• 3D to analyze and present the digital model reconstruction techniques using 3D technol-
printing
• ogy: 3D laser
to contribute scanning
to culture and editing
preservation by of point clouds,
recreating Rhino3D
a digital model Design, texturing,
of a Trechadiri typeand
boat3Dwith
printing
as much detailed and precise design information as feasible.
• to contribute to culture preservation by recreating a digital model of a Trechadiri type
Theboat
results
with ofas
this research
much mayand
detailed be useful
precisetodesign
researchers in casesasoffeasible.
information developing digital
databases for determining traditional hull types and improving 3D modeling to be uti-
The results of this research may be useful to researchers in cases of developing digital
lized in digital libraries and virtual museums
databases for determining traditional hull types and improving 3D modeling to be utilized
in digital libraries and virtual museums.
2. 3D Reconstruction Process
2.1.2.3D3DLaser Scanning
Reconstruction Process
2.1.
3D3D Laser
laser Scanning
scanning is a non-contact, non-destructive technology that digitally captures
the shape 3Dof physical
laser objects
scanning using a line non-destructive
is a non-contact, of laser light. 3D laser scanners
technology create “point
that digitally captures
clouds”
the shape[Error!ofReference source using
physical objects not found.]
a lineofofdata
laserfrom the3D
light. surface
laser of an object.
scanners In other
create “point
words,
clouds”3D laser scanning
[31] of data fromis athe
waysurface
to capture
of ana object.
physicalInobject’s exact size
other words, and shape
3D laser scanningintois a
theway
computer world
to capture as a digital
a physical 3D representation.
object’s exact size and shape into the computer world as a digital
3D Arepresentation.
state-of-the-art 3D laser scanner has been used by the G.M.T Group [Error! Refer-
ence source not found.] engineers
A state-of-the-art during the
3D laser scanner haspresent
been usedonboard
by thesurvey.
G.M.T The 3D [32]
Group laserengineers
scan-
nerduring
(Faro Focusthe present onboard
S70, Lake Mary,survey. The[Error!
FL, USA) 3D laser scanner (Faro
Reference sourceFocus S70, Lake
not found.] Mary, FL,
is shown
USA)
on the left[33] is shown
of Figure on the left
4, spherical of Figure
targets 4, spherical
are used targets
to register are used
the spot scans,toand
register the spot
are shown
scans,
on the and are
middle shown4.on
of Figure the middle
Further, of Figuretargets
checkerboard 4. Further,
(shown checkerboard
on the right targets
of Figure(shown
4)
areonalsotheused
rightasofadditional
Figure 4) targets,
are alsomainly
used asfor
additional targets,tomainly
plane surfaces, ensurefor
theplane surfaces,
overall accu- to
racyensure
of thethe overall accuracy
registration process.of the registration process.

Figure 4. Left—FARO
Figure Laser
4. Left—FARO scanner
Laser Focus
scanner 3D; 3D;
Focus Middle—Sphere targets;
Middle—Sphere Right—Checkboard
targets; target.
Right—Checkboard target.

TheThe
3D 3D
laser scan
laser procedure
scan procedure waswas
carried outout
carried as part of the
as part NAVS
of the NAVS project on on
project thethe
grounds of the
grounds Maritime
of the Tradition
Maritime Tradition Museum
Museum [Error! Reference
[29] under sourceand
the consent notkind
found.] under
support of its
theadministration.
consent and kind Vibration
supportand noise
of its issues have not
administration. influenced
Vibration the scanned
and noise data. not
issues have Other
barriers the
influenced in the area, such
scanned data.asOther
the boat’s supports
barriers in Figure
in the area, such5,ascould have altered
the boat’s supportstheinscanned
Fig-
data. However, the point cloud of “Aghia Varvara” has millimeter-level accuracy.
ure 5, could have altered the scanned data. However, the point cloud of “Aghia Varvara”
has millimeter-level accuracy.
 Heritage 2022, 5, FOR PEER REVIEW 5
Heritage 2022,5 5, FOR PEER REVIEW
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Figure 5. Scanned boat-model in Autodesk ReCap.

Figure5.5.Scanned
Figure Scannedboat-model
boat-modelininAutodesk
AutodeskReCap.
ReCap.
Upon 3D scan survey completion [Error! Reference source not found.], Autodesk
ReCapUpon
Upon 3Dscan
3D
[Error! scansurvey
Referencesurvey completion
completion
source [Error!
[34],
not found.] Reference
Autodesk
was used ReCap source
in order tonot
[35] wasfound.],
used
process datainAutodesk
order to
and pro-
ReCap
process
duce the [Error!
data Reference
andregistration
final produce the source
final
files not found.]
inregistration was used
files in which
which all scanned in order
areas all to
arescanned process
depicted areas data
in aare and pro-
depicted
point cloud
duce
in the
a point
format final
forcloud registration
furtherformat
use and files in use
for further which
post-processing. andall Inscanned
post-processing.
Figure 5, areas are depicted
In Figure
a representative inrepresentative
5, apoint a point
cloudcloud
pro-
format
point
duced isfor
cloud further
produced
presented use and
inisAutodeskpost-processing.
presented in Autodesk
ReCap In Figure
concerning ReCap 5,concerning
the a representative
areas the areas
of interest point
of cloud
of interest
the pro-
of
particular
duced
the is presented
particular
vessel. vessel. in Autodesk ReCap concerning the areas of interest of the particular
The
Thebubbles,
vessel. bubbles,which
whichare aredepicted
depictedin inFigure
Figure5,5,correspond
correspondto tothe
thespots
spotsin inwhich
whichaascanscan
has been
The done. The
bubbles, total
which number
are of
depicted scanin
has been done. The total number of scan positions is 26. positions
Figure 5, is 26.
correspond to the spots in which a scan
has In
Inthe
been next
nextstep,
thedone. The the
theunnecessary
step,total number
unnecessary objects
of scan from
fromthe
positions
objects is
the surrounding
26.surroundingarea areaaround
aroundthe theboat
boat
are
areerased
In the(Figure
erased (next
Figure 6)
6) and
step, theaaunnecessary
and .e57
.e57[36] file is
[Error! exported
objects
Reference from from Autodesk
the surrounding
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file and
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isaround
exported to
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boat
Rhino3D
are erased [24],
( as
Figurealso
6) shown
and a in
.e57 Figure
[Error! 6.Reference
Autodesk ReCap and imported to Rhino3D [24], as also shown in Figure 6.source not found.] file is exported from
Autodesk ReCap and imported to Rhino3D [24], as also shown in Figure 6.

Figure6.6.Point
Figure Pointcloud
cloudfrom
from the
the laser
laser scanner
scanner show
show thethe image
image of Trechadiri:
of the the Trechadiri:
FourFour
viewsviews
of theof the
boat
Figure
boat 6. Pointincloud
imported from the laser scanner show the image of the Trechadiri: Four views of the
Rhino3D.
imported in Rhino3D.
boat imported in Rhino3D.
2.2.
2.2.Design
Designin inRhino3D
Rhino3D
2.2. The
Design in Rhino3D
Thedesign
designininRhino3D
Rhino3D[37] initiates
[Error! by processing
Reference source the
notimported point cloud
found.] initiates (Figure 6).
by processing
The The design
the outcome
imported in Rhino3D
ofpoint
this process [Error!
is
cloud (Figure Reference
red interpolation
6). The outcome source ofnot
curves, found.]
which
this areinitiates
process is red by
shown at processing
the top of
interpolation
the
Figure imported
7. point
Afterwards, cloud
green (Figure
smooth 6).
NURBS The outcome
[38,39] of
curves this
are process
generated
curves, which are shown at the top of Figure 7. Afterwards, green smooth NURBS [38,39] is red
from interpolation
the red ones
tocurves, which
represent the are
shipshown at
sections. the top
These of
are Figure
the 7.
controlAfterwards,
curves of green
the smooth
outer
curves are generated from the red ones to represent the ship sections. These are the control hull NURBS
surface, [38,39]
which
curves
iscurves
depictedarethe
of generated
at the
outer from
bottom
hull of the red
Figure
surface, ones
7.
which istodepicted
represent
Following theat the
theship
information sections.
bottom of
ofthe These
point
Figure are
7. cloudtheand
Following control
the
the
curves
hull of theaof
surface
information outer
solid hull
the point surface,
(closed whichtheishull
polysurface)
cloud and depicted
is generated
surface at athe bottom
together
solid of Figure
with
(closed proper7. Following
openings,
polysurface) the
is gener-as
information
seen
ated at ofwith
the bottom
together theofpoint cloud
Figure
proper 7. and the
openings, hull at
as seen surface a solidof(closed
the bottom Figurepolysurface)
7. is gener-
ated together with proper openings, as seen at the bottom of Figure 7.
Heritage 2022, 55, FOR PEER REVIEW
Heritage 2022, 13006

Figure 7. Hull design in Rhino3D: ship sections (top); hull surfaces & solid (bottom).
(bottom).

In addition,
addition,Figure
Figure7 7(bottom)
(bottom)shows a visual
shows surface
a visual analysis
surface usingusing
analysis the Rhino3d Zebra
the Rhino3d
command [40] to highlight the smoothness and continuity of the entire
Zebra command [Error! Reference source not found.] to highlight the smoothness and closed polysurface.
The hull surface
continuity of the indicates G2 (position
entire closed + tangency
polysurface. The hull+surface
curvature) continuity
indicates on the entire
G2 (position + tan-
surface.
gency + At the connection
curvature) between
continuity theentire
on the hull surface and
surface. Atthe
theadjacent surfaces
connection G0 (position)
between the hull
continuity
surface andisthe
indicated.
adjacent surfaces G0 (position) continuity is indicated.
Based on the aforementioned visual
Based on the aforementioned visual surface,
surface, the
the transverse
transverse stiffeners
stiffeners were
were designed,
designed,
as depicted in green and red color. The differentiation on the color indicates the
as depicted in green and red color. The differentiation on the color indicates the existence existence
of
of two different wooden strips. The red ones are longer and visible above the deck. Both
two different wooden strips. The red ones are longer and visible above the deck. Both
red
red and
and green
green stiffeners end on
stiffeners end on the
the keel
keel with
with blue
blue color,
color, as
as shown
shown in in Figure
Figure 8,
8, and
and they
they
correspond
correspond to to the
the pair
pair of
of sections
sections at
at the
the top
top of
of Figure
Figure 3.3.
Heritage
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Figure 8.8.Pair
Figure8.
Figure Pair of
Pairof structural
ofstructural sections.
structuralsections.
sections.

In
In Figure
Figure 99the
the cyan
thecyan colored
cyancolored wooden
coloredwooden strips
woodenstrips are
stripsare depicted.
depicted. These
aredepicted. These strips
strips support
support the
the
entire deckand
entiredeck andconnect
connectthethetransverse
transversestiffeners
stiffenersfor
forextra
extradurability.
durability.The
Thevertical
verticalstiffeners
stiffeners
were also
werealso colored
alsocolored cyan.
cyan. The
coloredcyan. The purple
purple and
and the
the gold
gold wooden
wooden strips
strips support
support the
thetransverse
transverse
stiffeners.
stiffeners. The
The colors’
colors’ variation
variation represents
represents the different kind
the different kind of
ofstiffeners
stiffenerssupporting
supporting the
the
boat’s
boat’sstructure.
structure.

Figure 9.9.Hull
Figure9.
Figure Hull design
Hulldesign in
designin Rhino3D:
inRhino3D: skeleton
Rhino3D:skeleton (top);
skeleton(top); details
(top);details of
detailsof inner
ofinner area
innerarea (bottom).
area(bottom).
(bottom).
Heritage
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The final model together with the rudder, the propeller and the deck parts designed
in Rhino3D is appeared
The final in Figure
model together with10.
theDue to lack
rudder, theof information
propeller about
and the theparts
deck model of the
designed
propeller,
in Rhino3D a Wageningen
The finalismodel
appeared B3-60 [Error!
in Figure
together with 10. Reference
the Due source
to lack
rudder, not found.]
of information
the propeller was
about
and the chosen
deckthe (as
model
parts a
ofcon-
designedthe
ventional
in
propeller, approach
Rhino3Da is to
Wageningen the
appeared in unknown
Figure
B3-60 original
10. Due
[Error! one) and
to lacksource
Reference it was
of informationdesigned
about
not found.] by
wasthe the parametric
model
chosen (asof the
a con-
modeler
ventionalpresented
propeller, aapproach on
Wageningen to[Error!
B3-60
the Reference source
[41] wasoriginal
unknown chosen (asnot
one) found.].
a conventional
and approach
it was designed bytothe
theparametric
unknown
original
modelerone) and it was
presented designed
on [Error! by the parametric
Reference source not modeler
found.]. presented on [42].

Figure 10. 3D model of “Aghia Varvara”.

Figure10.
Figure 10.3D
3Dmodel
modelof
of“Aghia
“AghiaVarvara”.
Varvara”.
Figure 11 shows the small deviation between the 3D model and the point cloud. A
visual comparison
Figure
Figure 11
11 showscanthe
shows also
the be done
small
small between
deviation
deviation the original
between
between the 3D boat
the 3D model(Figures
model and
and the1–3)
the and
point
point the 3D
cloud.
cloud. A
A
model
visual (Figures
visual comparison8–10).
comparison can
can also
also be
be done
done between
between the
the original
original boat
boat (Figures
(Figures 1–3)
1–3) and
and the
the 3D
3D
model
model(Figures
(Figures8–10).
8–10).

Figure 11.
Figure 11. Comparison
Comparison between
between 3D
3D model
model and
and point
point cloud.
cloud.
Figure 11. Comparison between 3D model and point cloud.
Figure
Figure 1212 is
is aa rendering
renderingof
ofthe
theboat
boatwithout
withoutits
itshull,
hull,totofurther
furtherillustrate
illustratethe
thecomplexity
complex-
of
ityits stiffener
of Figure arrangement.
its stiffener arrangement.
12 is a rendering of the boat without its hull, to further illustrate the complex-
ity of its stiffener arrangement.

Figure 12. Rendering

Figure 12. Rendering of
of the
the “Aghia
“Aghia Varvara”
Varvara” without
without its
its hull.
hull.
Figure 12. Rendering
Once the solid of
isthe “Aghia Varvara”
completed, without
it needs to beitsretopologized
hull. [43]. Rhino3D offers a
built-in tool for such purpose, QuadRemesh [44], which produces a mesh that is useful in
the following step (texturing) since the generated topology is rather simple, as shown in
Figure 13.
 Once the solid is completed, it needs to be retopologized [Error! Reference source
following step (texturing) since the generated topology is rather simple, as shown in Fig-
not found.]. Rhino3D offers a built-in tool for such purpose, QuadRemesh [Error! Refer-
ure 13.
ence source not found.], which produces a mesh that is useful in the following step (tex-
Heritage 2022, 5 turing) since the generated topology is rather simple, as shown in Figure 13. 1303

Figure 13.
Figure 13. 3D
3D model before QuadRemesh
model before QuadRemesh (Top);
(Top); 3D
3D model
model after
after QuadRemesh
QuadRemesh(Bottom).
(Bottom).

Figure
2.3.13. 3D model before QuadRemesh (Top); 3D model after QuadRemesh (Bottom).
Texturing
2.3. Texturing
After “Aghia Varvara” was retopologized
2.3. Texturing retopologized (Figure 13) and UV unwrapped unwrapped using
Blender [45], detailed maps were created with the use of Adobe
Blender [45], detailed maps were created with the use of Adobe Substance 3D Substance 3D Painter
Painter [46].
[46].
After
The “Aghia
process Varvara”
followed for was isretopologized
this similar to the (Figure
one 13) and
followed for UV
“The unwrapped
Ships of using
Navarino”,
The process followed for this is similar to the one followed for “The Ships of Navarino”,
Blender [Error! Reference
although source not found.], detailed maps were createddue with the use ofthat
although “Aghia Varvara”
“Aghia Varvara” is
is much
much less
less demanding
demanding in in materials,
materials, and
and due to to the
the fact
fact that
Adobe
this Substance 3D Painter [Error! Reference source notquality
found.]. Thedeemed
processnecessary
followed[47].
this is
is not
notaaVirtual
VirtualReality
Realityproject reducing
project reducing the texture
the texture is not
quality is not deemed necessary
for Reference
this is similar to the
pictures takenonefrom
followed for “The
the existing boatShips
were of Navarino”, although “Aghia
[47]. Reference pictures taken from the existing boat used
were in thein
used creation of texture
the creation maps
of texture
Varvara”
(Figure is much
14). A less demanding
matter of in
historical materials,
significance and
is due
the to the fact
positioning that
of this
the is not
waterlinea Virtual
that needs
maps (Figure 14). A matter of historical significance is the positioning of the waterline that
Reality
to beproject
hand reducing in the texture quality is not deemed to thenecessary [Error! Reference
needs to bepainted
hand paintedorderinto reassure
order resemblance
to reassure resemblance actual
to the boat.
actual boat.
source not found.]. Reference pictures taken from the existing boat were used in the cre-
ation of texture maps (Figure 14). A matter of historical significance is the positioning of
the waterline that needs to be hand painted in order to reassure resemblance to the actual
boat.

Figure 14. “Aghia Varvara” 3D model: UV Layout (left); Model View in Blender (right).
Heritage 2022, 5, FOR PEER REVIEW 11
Heritage2022,
Heritage 2022,55, FOR PEER REVIEW 11
1304

3. 3D
3. 3D Rendering & & 3D Printing
Printing
3. 3DRendering
Rendering &3D 3D Printing
After
After the 3D textured model hashas been generated,
generated, the Cycles
Cycles [48] render
render engine of
of
After the
the3D
3Dtextured
texturedmodel
model hasbeen been generated, the
the Cycles [48]
[48] render engine
engine of
Blender was
Blender was used toto apply the
the 3D rendering
rendering process. 3D
3D rendering is is a computer graphics
graphics
Blender wasusedused toapply
apply the3D
3D renderingprocess.
process. 3Drendering
rendering isaacomputer
computer graphics
technique
technique that converts a digital three-dimensional scene into a two-dimensional image.
techniquethat
thatconverts
converts aadigital
digitalthree-dimensional
three-dimensional scene
scene into
into aatwo-dimensional
two-dimensional image.
image.
The
The developed
developed photorealistic
photorealistic images
images of
of “Aghia
“Aghia Varvara”
Varvara” with
with proper
proper lightning
lightning are
are shown
shown
The developed photorealistic images of “Aghia Varvara” with proper lightning are shown
in Figures
in Figures 15 and
and 16.
in Figures15 15 and16.
16.

Figure 15.
Figure 15. Two
Twoviews
viewsof
ofthe
therendered
renderedmodel
modelof
of“Aghia
“AghiaVarvara”
Varvara”ininBlender.
Blender.
Figure 15. Two views of the rendered model of “Aghia Varvara” in Blender.

Figure 16. Rendered details of inner area in Blender.

Figure16.
Figure 16.Rendered
Rendereddetails
detailsof
ofinner
innerarea
areaininBlender.
Blender.
 Heritage 2022, 5, FOR PEER REVIEW 12
In particular, Figure 15 depicts two perspective views of the final rendered model i
Heritage 2022, 5 Blender, while Figure 16 depicts the inner area of the boat, illustrating the completed 1305 3D
model. Once again, a visual comparison between the rendered model and the real boat i
In particular, Figure 15 depicts two perspective views of the final rendered model in
provided
Blender, while(Figures
Figure1–3).
16 depicts the inner area of the boat, illustrating the completed 3D
model. Furthermore,
In particular,
Once again, a the
Figure ship
15
visual model
depicts twowas
comparison printed
perspective
between on
theviews anofSLA
rendered themodel[Error!
final and Reference
rendered boatsource
model
the real inis no
found.]while
Blender,
provided 3D printer
Figure
(Figures 1–3).named
16 depictsiSLA300
the inner [Error!
area ofReference source not
the boat, illustrating thefound.].
completed Generally,
3D th
printing
model. process
Once again,in
Furthermore, the
a visual
the shipcase of “Aghia
comparison
model Varvara”
between
was printed isSLA
similar
theanrendered
on with
model
[Error! the the
and
Referenceonereal
followed
boatnot
source is for “Th
provided
found.]
Ships of3D (Figures
printer1–3).
Navarino” named
[Error!iSLA300 [Error!
Reference Reference
source source not
not found.], found.].
since the sameGenerally,
printer thewas use
Furthermore,
printing the ship model was printed on an SLA [49] 3D printer
process in the case of “Aghia Varvara” is similar with the one followed for “The
in both cases. named iSLA300 [50].
Generally, the printing process in thesource
Ships There
of Navarino” [Error!
is a slight Reference
increment on case ofnot
the scaling“Aghia
found.],
ratio Varvara”
since the
(1:25) ofisthe
similar
same withwas
printer
printed the used
model one
compare
followed
in for “The Ships of Navarino” [47], since the same printer was used in both cases.
to both cases.
the one used for printing the models of “The Ships of Navarino” (1:125), due to the fac
There
Thereisisaaslight
slightincrement
incrementon onthe
thescaling
scalingratio
ratio(1:25)
(1:25)of ofthe
theprinted
printedmodelmodelcompared
compared
that there
to is a rather large difference between the overall length of the respective ships.
tothe
theone
oneused
usedfor forprinting
printingthe themodels
modelsof of“The
“TheShips
Shipsof ofNavarino”
Navarino”(1:125),(1:125),dueduetotothe
thefact
fact
that Due to the printing volume constraints of the specific printer (300 mm × 300 mm
thatthere
thereisisaarather
ratherlarge
largedifference
differencebetween
betweenthe theoverall
overalllength
lengthofofthe therespective
respectiveships.
ships.
300 Due
mm), the
Duetotothethe hull was
printing printed
volume
printing into
constraints
volume parts
of thein
constraints oforder
specific to generate
printer
the specific (300 mmthe
printer × model
300
(300 mmmm×as large
×300
300 mm),
mm as× feasible
300 mm), the hull was printed into parts in order to generate the model as large as feasible, in tha
while
the hull part
was of the
printed hull
into was
partsomitted,
in order as
to illustrated
generate the in Figures
model as 17
large and
as 18, facilitating,
feasible, while
part
way,
whileof the
the hull
part washull
visibility
of the omitted,
for
was the as illustrated
visitors
omitted, asof in Figures
the in 17
exhibition.
illustrated and 18,
Figures 17facilitating, in that way,
and 18, facilitating, the
in that
visibility
way, thefor the visitors
visibility ofvisitors
for the the exhibition.
of the exhibition.

Figure
Figure17.
Figure 17.Hull
17.Hullparts
Hullpartsduring
parts the
theprinting
during
during the process:
printing
printing bow
bow(left);
process:
process: bow stern
(left); stern(middle);
(left); deck
deckparts
stern (middle);
(middle); (right).
deck
parts parts (right).
(right).

Figure 18. Finished products after alcohol rinse and UV cure.

Figure
Figure 18.18.
During Finished
Finished products
the printing
products afterafter
process alcohol
rinse rinse
supports
alcohol and
on the
and UV UV cure.
printed
cure. parts were generated for better
stability, as shown in Figure 17 and later they were removed (Figure 18).
During
In thethe
addition, printing
printed process supports
parts were brushedon andthe printed
rinsed parts were
in isopropyl generated
alcohol (IPA) andfor bette
afterwards they were placed in a UV Curing Chamber [Error! Reference
stability, as shown in Figure 17 and later they were removed (Figure 18). source not
found.] to improve their hardness and stability. The SLA parts were painted and
In addition, the printed parts were brushed and rinsed in isopropyl alcohol (IPA) anthen
assembled
afterwardsbytheyan artist,
were as placed
shown ininFigure
a UV19.Curing Chamber [Error! Reference source no
found.] to improve their hardness and stability. The SLA parts were painted and the
assembled by an artist, as shown in Figure 19.
Heritage 2022, 5 1306

During the printing process supports on the printed parts were generated for better
stability, as shown in Figure 17 and later they were removed (Figure 18).
In addition, the printed parts were brushed and rinsed in isopropyl alcohol (IPA)
and afterwards they were placed in a UV Curing Chamber [51] to improve their hardness
Heritage 2022, 5, FOR PEER REVIEWand stability. The SLA parts were painted and then assembled by an artist, as shown in 13
Figure 19.

Figure19.
Figure 19. 3D
3Dprinted
printedmodel
modelof
of“Aghia
“AghiaVarvara”
Varvara”after
afterthe
thepainting
paintingprocess.
process.

4.
4. Discussion
Discussion
This
Thispaper
paperdescribes
describeshow howthethe
3D3D
laser scanning,
laser CAD,
scanning, texturing,
CAD, and 3D
texturing, andprinting may
3D printing
be combined to recreate a historical and traditional boat, such as the
may be combined to recreate a historical and traditional boat, such as the TrechadiriTrechadiri “Aghia
Varvara”. The entire
“Aghia Varvara”. The3D reconstruction
entire process process
3D reconstruction was presented in detail.in In
was presented addition,
detail. an
In addi-
accurate digital model of the “Aghia Varvara” with 3D geometry was created
tion, an accurate digital model of the “Aghia Varvara” with 3D geometry was created and and a physical
model of the
a physical boat of
model wastheproduced
boat wasusing a 3D printer.
produced using a 3D printer.
This
This work was carried out as partthe
work was carried out as part of of NAVS Project
the NAVS and the
Project 3D the
and geometric of “Aghia
3D geometric of
Varvara” vessel was used for the development of the digital database of
“Aghia Varvara” vessel was used for the development of the digital database of geometric geometric ship
models for thefor
ship models NAVS ProjectProject
the NAVS accompanied
accompaniedby digital documentation
by digital (3D designs,
documentation point
(3D designs,
clouds), photographs, and historical information [52]. One of the project’s
point clouds), photographs, and historical information [Error! Reference source not goals was to
digitally capture
found.]. One designs
of the of traditional
project’s goals was to boat hull types,
digitally capturesuch as theofTrechadiri
designs traditionalhullboattype,
hull
contributing toward the preservation of Greek wooden shipbuilding heritage. Also, the
types, such as the Trechadiri hull type, contributing toward the preservation of Greek
3D-printed model of “Aghia Varvara” was painted in the original boat’s colors in order to
wooden shipbuilding heritage. Also, the 3D-printed model of “Aghia Varvara” was
be presented in an exhibition titled “The NAVS Project: a novel way to study and preserve
painted in the original boat’s colors in order to be presented in an exhibition titled “The
traditional shipbuilding heritage” hosted at the Eugenides Foundation in Athens, Greece.
NAVS Project: a novel way to study and preserve traditional shipbuilding heritage”
Furthermore, keeping in mind that virtual and augmented reality may provide a more
hosted at the Eugenides Foundation in Athens, Greece.
immersive experience, digital ship models generated according to the presented process,
Furthermore, keeping in mind that virtual and augmented reality may provide a
such as the one of “Aghia Varvara”, might be used in the development of a virtual museum
more immersive experience, digital ship models generated according to the presented
in which visitors have the opportunity to explore the distinctive geometry of the hull types
process, such as the one of “Aghia Varvara”, might be used in the development of a virtual
of the traditional Greek boats, online, via a WebGl application [53].
museum in which visitors have the opportunity to explore the distinctive geometry of the
hull types
Author of the traditional
Contributions: Greek boats,
Conceptualization, online,
O.L., S.M.,via a WebGl
A.A., application
A.G., C.P. [Error!
and S.P.; Data Reference
curation, O.L.,
source not found.].
S.M., A.A., A.G., C.P. and S.P.; Funding acquisition, A.G., C.P. and G.R.; Investigation, O.L., S.M.,
A.A., S.P. and G.R.; Methodology, O.L., S.M., G.P. and S.P.; Project administration, O.L., A.A., A.G.
Author
and C.P.;Contributions:
Resources, O.L., Conceptualization, O.L.,and
S.M., A.A., G.P., A.G. S.M., A.A.,
C.P.; A.G., C.P.
Software, and
O.L., S.P.;A.G.,
G.P., DataD.M.
curation, O.L.,
and O.T.;
S.M., A.A., A.G.,
Supervision, O.L.,C.P.
G.R.and
andS.P.;
S.P.;Funding acquisition,
Validation, S.M. and A.G., C.P. and G. R;O.L.,
G.P.; Visualization, Investigation,
S.M., A.A.,O.L.,
G.P.S.M.,
and
A.A.,Writing—original
Y.Y.; S.P. and G.R.; Methodology, O.L., A.A.,
draft, O.L., S.M., S.M., G.P. andG.R.;
S.P. and S.P.; Project administration,
Writing—review O.L., O.L.,
& editing, A.A.,S.M.,
A.G.
and C.P.;
A.A., G.P., Resources, O.L.,G.R.,
A.G., C.P., S.P., S.M.,D.M.,
A.A.,O.T.
G.P., A.G.
and Y.Y.and
All C.P.; Software,
authors O.L.,
have read andG.P., A.G.,toD.M.
agreed and O.T.;
the published
Supervision,
version of the O.L., G.R. and S.P.; Validation, S.M. and G.P.; Visualization, O.L., S.M., A.A., G.P. and
manuscript.
Y.Y.; Writing—original draft, O.L., S.M., A.A., S.P. and G.R.; Writing—review & editing, O.L., S.M.,
A.A., G.P.The
Funding: NAVS
A.G., C.P., Project—promotion,
S.P., G.R., D.M., O.T. documentation,
and Y.Y. All authorsand technical
have readsupport
and agreedof “The Greek
to the pub-
shipbuilding
lished versionlegacy—the Battles of Navarino and Salamis” launched in June 2020, co-financed
of the manuscript.
by the European Regional Development Fund of the European Union and Greek national funds
Funding:
through theThe NAVS Project—promotion,
Operational documentation,
Program Competitiveness, and technical
Entrepreneurship support of
and Innovation, “Thethe
under Greek
call
shipbuilding legacy—the Battles of(project
RESEARCH–CREATE–INNOVATE Navarino andT1EDK-05103).
code: Salamis” launched in June 2020, co-financed by
the European Regional Development Fund of the European Union and Greek national funds
Institutional Review Board
through the Operational Statement:
Program Not applicable.
Competitiveness, Entrepreneurship and Innovation, under the
call RESEARCH–CREATE–INNOVATE (project code: T1EDK-05103).
Institutional Review Board Statement: Not applicable.
Informed Consent Statement: Not applicable.
Heritage 2022, 5 1307

Informed Consent Statement: Not applicable.

Data Availability Statement: Not applicable.
Acknowledgments: The authors would like to thank all those who participated in the project. In
particular, Green Maritime Technology (GMT) who contributed to the 3D laser scanning of the
ship model. Additionally, the team would like to thank E. Nomikou and C. Troumpetari from the
Eugenides Foundation for commenting on drafts of this paper, as well as associate researcher A.
Pagonas for his support on the 3D reconstruction & modeling of “Aghia Varvara”.
Conflicts of Interest: The authors declare no conflict of interest.

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