ANCIENT JERUSALEM IN VR
Lithodomos means stonemason in Ancient Greek. We are digital masons of today. We are archaeologists and artists, and we use technology to breathe life back into the ancient world through virtual reality. Importantly, our research allows us to re-create the ancient world using best practices, and our technology enables us to reconstruct ancient places or create immersive real-world spaces. Lithodomos VR will enhance the experience of any place, immerse visitors in a detailed exploration of artefacts and distribute this content to users all over the world.
What makes Lithodomos VR unique is our commitment to archaeological accuracy. We aren’t just a team of 3D modellers – we’re also a team of archaeology PhDs, checking and re-checking every detail to ensure accuracy. For this reason, our content can be considered not only for entertainment purposes but also as a useful educational tool.Simon Young
WE WORK WITH
Make your museum or gallery accessible to every person on earth. Share your works globally and inspire a new generation of visitors. Enable people to view artefacts and items at a closer range than usual, create a level of immersion and intimacy and tell complete stories.
The tourism industry is vital for almost every government. Government has a role to promote its country and to curate its cultural heritage. We use virtual reality to allow you to engage with those visitors who have journeyed to your shores, and entice new visitors from far flung places.
Virtual reality has almost limitless potential to enhance your teaching of the ancient world. In one class period, take your students from one ancient site to another and from one archaeological period to another.
As a tour operator you want to provide your customers with the experience of a lifetime and create new sources of revenue. A virtual environment adds a new layer of authority to a tour and showcases the essence of the subject matter.
ARÈNES DE LUTÈCE
Hidden among the laneways of Paris’ 5th arrondissement is the remains of the Arènes de Lutèce, a Roman amphitheatre and stage built at the beginning of the 2nd century AD. The town of Lutèce (modern-day Paris) underwent major construction during Roman occupation, with the creation of roads, a forum, bathhouses, a theatre and an amphitheatre. The people of Lutetia would have gone to this amphitheatre to watch gladiatorial contests, wild beast games, and plays, with the stage area capable of turning into a theatre. It could seat anywhere between 12,000 and 16,000 spectators.
Standing in the centre of the arena, the observer has 360 degree views inside the reconstructed amphitheatre. Additional scenes have the viewer in the seating area, much higher than the present-day remains.
TEMPLE OF VENUS AND ROME
The Temple of Venus and Rome was the largest of its kind erected in Rome, consecrated in 121 AD. Positioned on the north side of the Via Sacra, this impressive structure is said to be originally designed by Emperor Hadrian himself (Cass. Dio. Hist. 69.4) acting as a hinge between old and new sections of the city. The temple was decastyle (22 columns at each side) of Corinthian style, dipteral (two rows of columns in all façades), systyle (columns two diameters apart), and amphiprostyle (free standing columns in the pronaos). The structure measures 113 x 56 m in plan and around 30 m high.
Our VR scene takes place during the 1st century AD (5.30 pm on the 21st of June to be precise). The first scene takes place on the southeast corner of the temple, with a street level view of the temple, while the second places the observer in the portico of the temple, on the northeast corner. Both scenes give a modern viewer a greater sense of scale and detail.
ODEION OF AGRIPPA
The Odeion of Agrippa occupied central pride of place in the Athenian agora. A gift of Augustus’ son-in-law M. Vipsanius Agrippa, this building was a potent symbol of Rome’s deep respect for Greece’s cultural legacy, and would have hosted musical performances, poetry recitations and exhibitions of rhetoric skill. Constructed around 15 BC, it had a seating capacity of about 1,000. The interior of the building was richly decorated with marble, and the stage building featured alternating marble slabs and Herms.
Our virtual reality reconstruction brings the observer onto the stage, with views out towards the audience. The striking decoration on the floor and walls serve as a reminder that colour was used as an important element in ancient building spaces.
The Western Wall was part of Jerusalem’s Jewish temple complex, re-built by Herod at the end of the first century BC. Herod the Great (40 BC–4 BC) transformed Jerusalem into a Roman city adding a theatre, hippodrome, amphitheatre, palace, and fortress (Antonia fortress). The temple was eventually destroyed in 70 AD. The majority of primary source material regarding the Temple comes from Josephus (War 5.184–226 and Ant 15.410–425), a Jewish historian; and Tractate Middot of the Mishnah, written a century after its destruction.
Due to the importance of the site, three scenes have been created in order to give the viewer a rare insight into early first century AD Jerusalem. The observer is able to witness a reconstructed Western Wall with Herodian courses, a street level view surrounded by archaeologically accurate reconstructed houses, and the bridge connecting two sections of the city.