Figure 37: The tomb complex from above.
The outer view was part of a larger group of tombs and so would not appear to be alone in its real setting. However, this proved too computationally expensive to show using current technology.
For readers who do not have the memory capacity to view the model itself.
This section has been designed to show several different views (figures 37-45) of the tomb as experienced in the animated fly-through generated by the model.
Figure 37: The tomb complex from above.
The outer view was part of a larger group of tombs and so would not appear to be alone in its real setting. However, this proved too computationally expensive to show using current technology.
Figure 38: Left to right: the pyramids of Taro(?), Sen-nedjem's father, Sen-nedjem, and Khonsou, Sen-nedjem's brother. Each were decorated inside in the same style as the inner tomb. The user is prevented from entering the pyramids as the interiors are not reconstructed and essentially the point of interest is the inner tomb. The white triangular shape on the top of each is a Pyramidion, which would have been covered in a variety of images and hieroglyphs. Sadly, these have not survived. There would have been other votive offerings of plaques and statues in the courtyard but again these were no longer in place when the tomb was excavated. The tomb covers are shown to be visible here to indicate that there are other pits in the courtyard, but in reality all would be very well hidden under packed earth and gravel to deter tomb robbers. The entrance to Sen-nedjem's tomb is shown to be open; at the start of the animation this is closed and as the user approaches the tomb cover slides open.
Figure 39: The courtyard and Pyramids from above. The open pit is the entrance to Sen-nedjem's tomb.
Figire 40: The view into the lower chambers. Note the footholds on either side of the pit.
Figure 41: The smaller inner pit and entrance to room C. Again, the smaller pit entrance is covered by a slab which slides across to reveal the pit opening when the user is in close proximity to the pit. The stairs to the left are those that go down to room D, a small chamber which held food and funeral goods of Sen-nedjem. These stairs are small and the avatar cannot go down into the chamber (although it is modelled as found in the archaeological reports). The door to the inner tomb is shown slightly ajar. When the user first encounters the door (at the end of the animated fly-through), it must be clicked on to make it open and reveal the inner tomb chamber. Light sources have been employed throughout the model to make the tomb chambers visible.
Figure 42: This view shows the barrel-vaulted chamber of room C. Sen-nedjem and his wife can be seen on the left of the end wall. This image clearly shows how the barrel-vaulted chamber is rendered, allowing the viewer to see the painted chamber as a whole. The diagonal lines are lighting effects caused by light coming through the tomb door.
Figure 43: This image shows the barrel-vaulted roof chamber. At this angle it is apparent that the chamber is made from rectangular faces pieced together, but from below the vault is smooth enough to appear almost spherical. This view gives the spectator a good idea of how the images are laid out in the tomb.
Figure 44: This shows the difficult image of the longer lower wall in place within the tomb. Because of the lighting, the troublesome areas are darker than the authentic ones, which hopefully masks any real problems with the image.
Figure 45: An image showing the doorway. Again, the diagonal lines are caused by the lighting algorithm, but this was the best that could be obtained. This image shows how the barrel vault joins the lower structure.
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URL: http://intarch.ac.uk/journal/issue7/terras/views.htm
Last updated: Mon Nov 29 1999