Periodic Reporting for period 1 - S.A.L.V.A. (Shine a Light on Villa Adriana. Analysing and reconstructing the original lighting asset and the illumination design process of the architectural complex of Villa Adriana, Tivoli.)
Okres sprawozdawczy: 2022-11-01 do 2025-10-31
The project was carried out in the Archaeology Area of the Department of Geography, History and Philosophy at Pablo de Olavide University of Seville), under the supervision of Prof. Rafael Hidalgo Prieto. It originated from a clear scientific and cultural need: although Hadrian’s Villa in Tivoli, a UNESCO World Heritage Site since 1999, had been extensively studied in all its aspects for centuries due to its extraordinary state of preservation and architectural complexity, the role of light in shaping its architecture has remained rather neglected.
Against this background, the project pursued the overarching objective of analysing and reconstructing the original lighting arrangements and illumination design processes of selected architectural complexes within the villa. Understanding light as a fundamental dimension of architecture—its “fourth dimension”—the research aimed to address a crucial gap in Roman architectural studies while contributing to broader heritage-related needs, including enhanced interpretation, visitor engagement and evidence-based conservation strategies.
The motivation behind the project lay in the recognition of the important role that lighting solution had in the formation of Roma architectural culture, which forms the foundation of much of Europe’s built heritage. Yet, archaeological remains often lack their full elevations, making it difficult to perceive how light would have interacted with volumes, surfaces and functions. By reconstructing some of the villa’s luminous environments, the project responded to the need to recover an essential component of ancient architectural experience and to integrate it into contemporary cultural and tourism policies.
Drawing on my background and expertise in the site, I approached the topic systematically, addressing previously unanswered questions: How was architectural illumination conceived and implemented in Hadrian’s Villa? Which lighting effects were intentionally produced in its pavilions? What levels and qualities of luminous comfort were required for different functions?
To reach substantive answers, the project focused on some case-studies, such as the area of Palazzo Imperiale with its triclinia halls, used for banquets and elite representation and the Bath complexes, characterised by varied spatial typologies and sensory expectations.
Their archaeological remains were surveyed using cutting-edge technologies, allowing the collection of precise spatial data. These were analysed in context and combined with reconstructive hypotheses and digital models to recreate the original luminous atmospheres of the selected spaces.
A secondment at the School of Specialization in Archaeological Heritage (SSBA) of Sapienza University of Rome and at the Visualizing Science in Media Revolution Research Group (VSMR) of the Biblioteca Hertziana enabled me to address the engineering and history-of-science dimensions of ancient lighting systems. The project also included a six-month non-academic placement at KatatexiLux (KL), a firm specialised in virtual reconstructions and IT-assisted research in Roman architecture, which supported the dissemination and validation of the results. The Istituto autonomo Villa Adriana e Villa d’Este – MiBAC (IVAVE) acted as associated partner, ensuring relevance for site management and heritage policies.
Against this background, the project pursued the overarching objective of analysing and reconstructing the original lighting arrangements and illumination design processes of selected architectural complexes within the villa. Understanding light as a fundamental dimension of architecture—its “fourth dimension”—the research aimed to address a crucial gap in Roman architectural studies while contributing to broader heritage-related needs, including enhanced interpretation, visitor engagement and evidence-based conservation strategies.
The motivation behind the project lay in the recognition of the important role that lighting solution had in the formation of Roma architectural culture, which forms the foundation of much of Europe’s built heritage. Yet, archaeological remains often lack their full elevations, making it difficult to perceive how light would have interacted with volumes, surfaces and functions. By reconstructing some of the villa’s luminous environments, the project responded to the need to recover an essential component of ancient architectural experience and to integrate it into contemporary cultural and tourism policies.
Drawing on my background and expertise in the site, I approached the topic systematically, addressing previously unanswered questions: How was architectural illumination conceived and implemented in Hadrian’s Villa? Which lighting effects were intentionally produced in its pavilions? What levels and qualities of luminous comfort were required for different functions?
To reach substantive answers, the project focused on some case-studies, such as the area of Palazzo Imperiale with its triclinia halls, used for banquets and elite representation and the Bath complexes, characterised by varied spatial typologies and sensory expectations.
Their archaeological remains were surveyed using cutting-edge technologies, allowing the collection of precise spatial data. These were analysed in context and combined with reconstructive hypotheses and digital models to recreate the original luminous atmospheres of the selected spaces.
A secondment at the School of Specialization in Archaeological Heritage (SSBA) of Sapienza University of Rome and at the Visualizing Science in Media Revolution Research Group (VSMR) of the Biblioteca Hertziana enabled me to address the engineering and history-of-science dimensions of ancient lighting systems. The project also included a six-month non-academic placement at KatatexiLux (KL), a firm specialised in virtual reconstructions and IT-assisted research in Roman architecture, which supported the dissemination and validation of the results. The Istituto autonomo Villa Adriana e Villa d’Este – MiBAC (IVAVE) acted as associated partner, ensuring relevance for site management and heritage policies.
The overall objective was to analyse and reconstruct the original lighting arrangements and illumination design processes of selected buildings in Hadrian’s Villa and, through them, to consolidate a research field on lighting in Roman architecture. The work addressed three main problems: the difficulty of visualising incomplete archaeological elevations; the absence of systematic studies on ancient lighting design; and the need for evidence-based tools for heritage interpretation and management. In the European context, the action aligned with strategies on cultural heritage and digital transformation, demonstrating how advanced technologies and humanities-based approaches can renew our understanding of the past and support informed conservation and tourism policies.
Social sciences and humanities were central to the project. Archaeology provided the stratigraphic and contextual framework; architectural history guided the reconstruction of space and form; history of science informed the reading of lighting devices and ancient optical knowledge; and heritage studies framed the implications for visitor experience and local communities. These perspectives were complemented by digital humanities, lighting engineering and IT-based visualisation.
The pathway to impact unfolded on three levels. Scientifically, the project developed a transferable methodology for analysing light in ancient architecture, integrating textual, material and digital evidence. At the heritage level, it produced surveys, 3D models and luminous reconstructions that can be used by site managers for monitoring, conservation and on-site or online interpretation. Societally, it contributed to changing how visitors and citizens perceive Hadrian’s Villa and Roman architecture, fostering a more experiential understanding of antiquity. The impacts are local – with direct benefits for the management and attractiveness of Hadrian’s Villa – and European, by placing the EU research area in an emerging field of heritage-based research and digital innovation.
The research activities revolved around some case studies representing different functions within the villa: triclinia halls for banqueting and representation and Baths complexes. Work began with a review of the state of the art on Hadrian’s Villa, Roman lighting technologies, materials affecting luminous behaviour, and textual and iconographic sources on light and visual comfort. This phase produced a critical reassessment of existing interpretations and identified specific questions for the subsequent steps.
The second line of work consisted of advanced on-site surveys. Using a suite of instruments acquired by UPO – including laser scanner, drones and GPS – the project produced high-resolution point clouds, orthophotos and video documentation of the case studies. These data were processed into two-dimensional drawings. The surveys and the catalogue of lighting-related elements (openings, windows, porches, wall thicknesses, reflective surfaces, etc.) formed the technical backbone of the research.
On this basis, the project developed three-dimensional reconstructive hypotheses of the elevations of the selected buildings, with attention to roof solutions, window and door configurations and interior decorative schemes. The models were tested and refined through consultations with archaeologists, architects and historians of science. They were then imported into specialist software to simulate natural and artificial lighting scenarios.
The main scientific achievements are: the identification of recurrent design patterns in the positioning and sizing of openings, revealing a deliberate strategy to modulate light according to function and hierarchy; the demonstration that in the Baths light was not only a visual factor but also an active component in thermal regulation; and a set of digital models, drawings and datasets that document the case studies in detail and provide a workflow for future research.
Social sciences and humanities were central to the project. Archaeology provided the stratigraphic and contextual framework; architectural history guided the reconstruction of space and form; history of science informed the reading of lighting devices and ancient optical knowledge; and heritage studies framed the implications for visitor experience and local communities. These perspectives were complemented by digital humanities, lighting engineering and IT-based visualisation.
The pathway to impact unfolded on three levels. Scientifically, the project developed a transferable methodology for analysing light in ancient architecture, integrating textual, material and digital evidence. At the heritage level, it produced surveys, 3D models and luminous reconstructions that can be used by site managers for monitoring, conservation and on-site or online interpretation. Societally, it contributed to changing how visitors and citizens perceive Hadrian’s Villa and Roman architecture, fostering a more experiential understanding of antiquity. The impacts are local – with direct benefits for the management and attractiveness of Hadrian’s Villa – and European, by placing the EU research area in an emerging field of heritage-based research and digital innovation.
The research activities revolved around some case studies representing different functions within the villa: triclinia halls for banqueting and representation and Baths complexes. Work began with a review of the state of the art on Hadrian’s Villa, Roman lighting technologies, materials affecting luminous behaviour, and textual and iconographic sources on light and visual comfort. This phase produced a critical reassessment of existing interpretations and identified specific questions for the subsequent steps.
The second line of work consisted of advanced on-site surveys. Using a suite of instruments acquired by UPO – including laser scanner, drones and GPS – the project produced high-resolution point clouds, orthophotos and video documentation of the case studies. These data were processed into two-dimensional drawings. The surveys and the catalogue of lighting-related elements (openings, windows, porches, wall thicknesses, reflective surfaces, etc.) formed the technical backbone of the research.
On this basis, the project developed three-dimensional reconstructive hypotheses of the elevations of the selected buildings, with attention to roof solutions, window and door configurations and interior decorative schemes. The models were tested and refined through consultations with archaeologists, architects and historians of science. They were then imported into specialist software to simulate natural and artificial lighting scenarios.
The main scientific achievements are: the identification of recurrent design patterns in the positioning and sizing of openings, revealing a deliberate strategy to modulate light according to function and hierarchy; the demonstration that in the Baths light was not only a visual factor but also an active component in thermal regulation; and a set of digital models, drawings and datasets that document the case studies in detail and provide a workflow for future research.
Before this action, studies on Roman lighting were fragmented, often limited to isolated archaeoastronomical cases or to the analysis of windows and glass without a comprehensive link to architectural design. The project went beyond this state of the art by treating lighting as an integrated design variable, both technical and symbolic. It showed that Hadrian’s Villa can be understood as a laboratory of luminous solutions, where light was orchestrated to structure ritual, convivial, thermal and administrative spaces.
The main results with potential impact are threefold. First, the methodological framework – combining archaeological observation, architectural reconstruction, history of science and digital simulations – is transferable to other Roman and ancient sites and can support a comparative corpus on lighting in imperial architecture. Second, the datasets and 3D models generated by the project constitute a resource for conservation authorities, who can use them for monitoring structural conditions, planning interventions and designing interpretive tools, including immersive installations and virtual or augmented reality paths. Third, the project has shown that reconstructing luminous environments enhances public understanding and engagement, with potential for museum and site-based applications, as well as for education and creative industries.
To support further uptake, several needs have been identified. On the research side, there is scope for expanding the methodology to other typologies and regions and for closer collaboration with lighting engineers to refine quantitative simulations. In terms of exploitation, partnerships with cultural heritage institutions and digital heritage companies will be essential to turn the models and scenarios into interactive applications or remote-visit platforms. Continued support for open-science practices and interoperable data standards will be crucial to integrate the project’s outputs into larger infrastructures. Although the project itself did not pursue direct commercialisation, the tools and know-how developed provide a basis for future initiatives seeking funding in digital heritage, cultural tourism and creative media.
The main results with potential impact are threefold. First, the methodological framework – combining archaeological observation, architectural reconstruction, history of science and digital simulations – is transferable to other Roman and ancient sites and can support a comparative corpus on lighting in imperial architecture. Second, the datasets and 3D models generated by the project constitute a resource for conservation authorities, who can use them for monitoring structural conditions, planning interventions and designing interpretive tools, including immersive installations and virtual or augmented reality paths. Third, the project has shown that reconstructing luminous environments enhances public understanding and engagement, with potential for museum and site-based applications, as well as for education and creative industries.
To support further uptake, several needs have been identified. On the research side, there is scope for expanding the methodology to other typologies and regions and for closer collaboration with lighting engineers to refine quantitative simulations. In terms of exploitation, partnerships with cultural heritage institutions and digital heritage companies will be essential to turn the models and scenarios into interactive applications or remote-visit platforms. Continued support for open-science practices and interoperable data standards will be crucial to integrate the project’s outputs into larger infrastructures. Although the project itself did not pursue direct commercialisation, the tools and know-how developed provide a basis for future initiatives seeking funding in digital heritage, cultural tourism and creative media.