3D technologies for cultural heritages

Virtual museum (VM) systems are a very effective solution for the communication of cultural contents, thanks to their playful and educational approach. In fact, these appealing technological systems have demonstrated their usefulness and value in science centres and traditional museums all over the world, thanks to the fact that visitors can view digitized artworks and explore reconstructed historical places by means of VM-hosted installations. This paper presents a methodology, based on user studies, for the comparative evaluation of different design alternatives related to the user interaction with VM systems. The methodology has been validated by means of a testbed related to a VM system hosted at the “Museum of the Bruttians and the Sea” of Cetraro (Italy). The results of the user study demonstrate that this methodology can be effectively adopted in the development process of VM systems to optimize its outcomes in terms of usability and potential for entertainment and education.

Keywords: User study , User-centered design , Virtual museum systems , Virtual reality

The paper presents the application of the technologies and methods defined in the VISAS project for the case study of the underwater archaeological site of Cala Minnola located in the island of Levanzo, in the archipelago of the Aegadian Islands (Sicily, Italy). The VISAS project (http://visas-project.eu) aims to improve the responsible and sustainable exploitation of the Underwater Cultural Heritage by means the development of new methods and technologies including an innovative virtual tour of the submerged archaeological sites. In particular, the paper describes the 3D reconstruction of the underwater archaeological site of Cala Minnola and focus on the development of the virtual scene for its visualization and exploitation. The virtual dive of the underwater archaeological site allows users to live a recreational and educational experience by receiving historical, archaeological and biological information about the submerged exhibits, the flora and fauna of the place.

Keywords: Underwater 3D reconstruction , Underwater cultural heritage , Virtual exploitation , Virtual reality

The paper describes a user-centered design (UCD) approach that has been adopted in order to develop and build a virtual museum (VM) system for the “Museum of the Bruttians and the Sea” of Cetraro (Italy). The main goal of the system was to enrich the museum with a virtual exhibition able to make the visitors enjoy an immersive and attractive experience, allowing them to observe 3D archaeological finds, in their original context. The paper deals with several technical and technological issues commonly related to the design of virtual museum exhibits. The proposed solutions, based on an UCD approach, can be efficiently adopted as guidelines for the development of similar VM systems, especially when very low budget and little free space are unavoidable design requirements.

Keywords: Human-computer interaction , User interfaces design , User-centered design , Virtual museum systems

This article explores what it takes to make interactive computer graphics and VR attractive as a promotional vehicle, from the points of view of tourism agencies and the tourists themselves. The authors exploited current VR and human-machine interface (HMI) technologies to develop an interactive, innovative, and attractive user experience called the Multisensory Apulia Touristic Experience (MATE). The MATE system implements a natural gesture-based interface and multisensory stimuli, including visuals, audio, smells, and climate effects.

Keywords: computer graphics , gesture controls , human-machine interface , multisensory virtual environment , natural user interfaces

The Bronze Age crossbar wheel found in the XIX century in Mercurago (Italy) is an amazing example of the technical innovations stimulated by the diffusion of horse draught war chariots in Europe across the third and second millennium B.C. It is a tripartite wheel, with two felloes attached to a diametric crossbar by means of internal dowels, and four thinner rods departing from the crossbar near the hub and ending into the felloes. A separate nave is inserted into the crossbar hub. Many question are still open about this wheel, concerning in particular its constructive concept, the materials and the role of each member. In this paper the tools of modern engineering, in particular the laser-scanner acquisition technology and the finite element method, were used to study the structural issues concerning the crossbar Mercurago wheel under the hypothesized operating conditions. Verisimilar explanations of some technical choices, such as the shape and the materials of the members, were obtained; furthermore, the presence of a leather tire was hypothesized on the basis of the rim-soil contact analysis. Finally, the role of the inserted nave was investigated. It was hypothesized that it could have a role similar to modern bushings, thus being a very innovative device for that time.

Keywords: Bronze Age , Chariot , Finite elements analysis , Laser-scanner acquisition , Wheel , Wood

This demonstration offers the opportunity to explore a multisensory digital interface as part of the wider research project 'Mapping Memory Routes: Eliciting Culturally Diverse Memes for Digital Archives'. The interface is conceived as a tool for capturing memes rooted in the rich intangible heritage of culturally diverse communities in London, opening up a space for intercultural exchange to be used in meaningful urban design. Based on a model developed by artist and researcher Alda Terracciano for her multisensory installation 'Streets of...7 cities in 7 minutes', the interface is used to explore new design methods to elicit cultural memories through the use of multisensory technology. The tool aims to stimulate collective curatorial practices aimed at democratising decision-making processes in critical heritage studies and urban planning.

Keywords: Community curation , Critical heritage studies , Design research , Multisensory interface design , Sensorial mapping , Sensorial urbanism , Urban planning

This work describes a simple, fast, and robust method for identifying, checking and managing the overlapping image keypoints for 3D reconstruction of large objects with numerous geometric singularities and multiple features at different lighting levels. In particular a precision 3D reconstruction of an extensive architecture captured by aerial digital photogrammetry using Unmanned Aerial Vehicles (UAV) is developed. The method was experimentally applied to survey and reconstruct the 'Saraceni' Bridge' at Adrano (Sicily), a valuable example of Roman architecture in brick of historical/cultural interest. The variety of features and different lighting levels required robust self-correlation techniques which would recognise features sometimes even smaller than a pixel in the digital images so as to automatically identify the keypoints necessary for image overlapping and 3D reconstruction. Feature Based Matching (FBM) was used for the low lighting areas like the intrados and the inner arch surfaces, and Area Based Matching (ABM) was used in conjunction to capture the sides and upper surfaces of the bridge. Applying SIFT (Scale Invariant Feature Transform) algorithm during capture helped find distinct features invariant to position, scale and rotation as well as robust for the affinity transformations (changes in scale, rotation, size and position) and lighting variations which are particularly effective in image overlapping. Errors were compared with surveys by total station theodolites, GPS and laser systems. The method can facilitate reconstruction of the most difficult to access parts like the arch intrados and the bridge cavities with high correlation indices.

Keywords: Architectural reconstruction , Area Based Matching , Feature Based Matching , Photogrammetry , SIFT algorithm

The shipment of heritage artefacts for restoration or temporary/travelling exhibition has been virtually lacking in customised packaging. Hitherto, packaging has been empirical and intuitive which has unnecessarily put the artefacts at risk. So, this research arises from the need to identify a way of designing and creating packaging for artefacts which takes into account structural criticalities to deal with deteriorating weather, special morphology, constituent materials and manufacturing techniques. The proposed methodology for semi-automatically designing packaging for heritage artefacts includes the integrated and interactive use of Reverse Engineering (RE), Finite Element Analysis (FEA) and Rapid Prototyping (RP). The methodology presented has been applied to create a customised packaging for a small C3rd BC bronze statue of Heracles (Museo Civico “F.L. Belgiorno” di Modica-Italy). This methodology has highlighted how the risk of damage to heritage artefacts can be reduced during shipping. Furthermore, this approach can identify each safety factor and the corresponding risk parameter to stipulate in the insurance policy.

Keywords: Cultural heritage , FEM , Laser scanning , Packaging , Rapid prototyping

The participation of blind people (BP) in cultural life can be improved by enhancing methodologies and tools for facilitating the 3D reproduction of artworks and, at the same time, to facilitate their exploration. The creation of integrated systems including not only tactile media such as, for instance, sculptures or bas-reliefs but even a set of tools capable of providing the users with an experience cognitively comparable to the one originally envisioned by the artist, may undoubtedly enhance artworks exploration. The present work aims to design a conceptual system to aid BP in the tactile exploration of bas-reliefs. This conceptual system comprises both a hand-tracking system and an audio device, together with a number of methodologies, algorithms and information related to physical design. The designed layout, preliminarily tested to understand its potential and limits, proved to be a promising first attempt in enhancing the BP exploration experience.

Keywords: 3D reconstruction , Blind people , Hand-tracking system , Tactile bas-relief , Tactile exploration

The Underwater Cultural Heritage (UCH) represents a vast historical and scientific resource that, often, is not accessible to the general public due the environment and depth where it is located. Digital technologies (Virtual Museums, Virtual Guides and Virtual Reconstruction of Cultural Heritage) provide a unique opportunity for digital accessibility to both scholars and general public, interested in having a better grasp of underwater sites and maritime archaeology. This paper presents the architecture and the first results of the Horizon 2020 i-MARECULTURE (Advanced VR, iMmersive Serious Games and Augmented REality as Tools to Raise Awareness and Access to European Underwater CULTURal heritage) project that aims to develop and integrate digital technologies for supporting the wide public in acquiring knowledge about UCH. A Virtual Reality (VR) system will be developed to allow users to visit the underwater sites through the use of Head Mounted Displays (HMDs) or digital holographic screens. Two serious games will be implemented for supporting the understanding of the ancient Mediterranean seafaring and the underwater archaeological excavations. An Augmented Reality (AR) system based on an underwater tablet will be developed to serve as virtual guide for divers that visit the underwater archaeological sites.

Keywords: Serious games , Underwater Archaeological sites , Underwater Augmented Reality system , Virtual museums

With the aim to improve the quality of the traditional archaeological approach and reduce costs for ceramic investigation, in this paper a computer-based method is proposed. A discrete geometric model of a pottery fragment is the starting input, from which a first distinction in axially and not-axially symmetric surfaces can be done. Geometrical and morphological features are then recognized. Only once that all these information are obtained, it is possible to proceed with the dimensional analysis. The method here proposed allows reducing the uncertainties of the traditional archaeological approach. The analysis carried on the test case here presented, proves that the automatic method presents repeatability and reproducibility that cannot be obtained even using the best application of the archaeological method. This method seems to be functional to other scopes such as for pottery classification and reconstruction of ancient ceramics.

Keywords: 3D archaeology , Automatic feature recognition , Computer methods in archaeology , Surface segmentation

Nowadays, the creation of methodologies and tools for facilitating the 3D reproduction of artworks and, contextually, to make their exploration possible and more meaningful for blind users is becoming increasingly relevant in society. Accordingly, the creation of integrated systems including both tactile media (e.g., bas-reliefs) and interfaces capable of providing the users with an experience cognitively comparable to the one originally envisioned by the artist, may be considered the next step for enhancing artworks exploration. In light of this, the present work provides a description of a first-attempt system designed to aid blind people (BP) in the tactile exploration of bas-reliefs. In detail, consistent hardware layout, comprising a hand-tracking system based on Kinect® sensor and an audio device, together with a number of methodologies, algorithms and information related to physical design are proposed. Moreover, according to experimental test on the developed system related to the device position, some design alternatives are suggested so as to discuss pros and cons.

Keywords: 3D reconstruction , Blind people , Hand-tracking system , Kinect sensor

The paper presents an outcome of the VISAS project (www.visas-project.eu) that concerns a virtual reality application for the exploitation of the underwater cultural heritage. The VR system takes advantage of novel 3D reconstruction techniques to provide geolocated and multi-resolution textured 3D models of underwater archaeological sites. Within the virtual underwater sites users live a recreational and educational experience by receiving historical, archaeological and biological information and contents about the submerged exhibits and structure of the site. Furthermore, the VR system allows divers to make a detailed planning of the operations and itinerary that will be later performed in the underwater environment.

Keywords: underwater 3D reconstruction , Underwater cultural heritage , VR systems

On November 2, 2001, the UNESCO Convention on the Protection of the Underwater Cultural Heritage provided a detailed state cooperation system and set out the basic principles for the protection of underwater cultural heritage. To date, the Convention has been ratified by 51 countries. One of the four main principles states that the in situ preservation of underwater cultural heritage should be considered as the first option before allowing or engaging in any further activities. In accordance with these principles and recommendations, in the last years many projects intended for developing and testing new techniques and tools to support in situ conservation of underwater archaeological remains have been funded and are now underway. This paper describes the contribution of the CoMAS project (In situ conservation planning of Underwater Archaeological Artifacts—http://www.comasproject.eu), funded by the Italian Ministry of Education, Universities and Research (MIUR) and run by a partnership of private companies and public research centers. The CoMAS project aims at the development of new materials, techniques, and tools for the documentation, conservation, and restoration of underwater archaeological sites in their natural environment. The paper describes in detail the results achieved during the project in the development of innovative materials, mechatronic tools, and armed remotely operated vehicle systems that can efficiently support the restorers' work in all their activities for preserving underwater cultural heritage in its original location on the seafloor.

Keywords: 3D imaging , Mechatronics , ROV , Underwater archaeological restoration , Underwater archaeology

The underwater cultural heritage is an immeasurable archaeological and historical resource with huge, but yet largely unexploited, potentials for the maritime and coastal tourism. In this regard, in the last years, national and international government authorities are supporting and strengthening research activities and development strategies, plans and policies to realize a more sustainable, responsible and accessible exploitation of the underwater cultural heritage. To this end, the paper presents the architecture of a new system that, taking advantage of the modern virtual and augmented reality technologies, allows diver and non-diver tourists to make a more engaging and educational experience of the underwater archaeological sites. This system has been developed and tested in the VISAS project (www.visasproject. eu) that aims to the enhancement of the cultural and tourist offer related to the underwater archaeology through innovation of modes of experience, both on site and remote, of the underwater environments of archaeological interest.

Keywords: AR systems , Underwater 3D reconstruction , Underwater cultural heritage , VR systems

This paper shows a VR application for explaining the meaning of the various pictograms and hieroglyphs typical of the ancient Egypt funerary rituals. The interaction between the user and the 3D environment is obtained through an Oculus Rift head mounted stereoscopic display, coupled with a Leap Motion controller as input device that digitize in real-time the hands of the end-user, displaying a skeletal version of those in the virtual environment. The interactive application is based on Unity3D and it explains the details of the rituals starting from the crate of an Egyptian sarcophagus and some typical funerary objects like the Heart Scarab and the Ushabty.

Keywords: ancient Egypt , funerary rituals , heart scarab , Hieroglyph , Leap Motion , Oculus Rift , sarcophagus , Unity3D , ushabty , VR

Digital documentation and high-quality 3D representation are always more requested in many disciplines and areas due to the large amount of technologies and data available for fast, detailed and quick documentation. This work aims to investigate the area of medium and small sized artefacts and presents a fast and low cost acquisition system that guarantees the creation of 3D models with an high level of detail, making the digitalization of cultural heritage a simply and fast procedure. The 3D models of the artefacts are created with the photogrammetric technique Structure From Motion that makes it possible to obtain, in addition to three-dimensional models, high-definition images for a deepened study and understanding of the artefacts. For the survey of small objects (only few centimetres) it is used a macro lens and the focus stacking, a photographic technique that consists in capturing a stack of images at different focus planes for each camera pose so that is possible to obtain a final image with a higher depth of field. The acquisition with focus stacking technique has been finally validated with an acquisition with laser triangulation scanner Minolta that demonstrates the validity compatible with the allowable error in relation to the expected precision.

Keywords: Cultural heritage , Focus stacking , Photogrammetry , Small artefacts , Structure from motion

The project iMARECULTURE is focusing in raising European identity awareness using maritime and underwater cultural interaction and exchange in Mediterranean Sea. Commercial ship routes joining Europe with other cultures are vivid examples of cultural interaction, while shipwrecks and submerged sites, unreachable to wide public are excellent samples that can benefit from immersive technologies, augmented and virtual reality. The projects aim to bring inherently unreachable underwater cultural heritage within digital reach of the wide public using virtual visits and immersive technologies. Apart from reusing existing 3D data of underwater shipwrecks and sites, with respect to ethics, rights and licensing, to provide a personalized dry visit to a museum visitor or augmented reality to the diver, it also emphasizes on developing pre- and after- encounter of the digital or physical museum visitor. The former one is implemented exploiting geospatial enabled technologies for developing a serious game of sailing over ancient Mediterranean and the latter for an underwater shipwreck excavation game. Both games are realized thought social media, in order to facilitate information exchange among users. The project supports dry visits providing immersive experience through VR Cave and 3D info kiosks on museums or through the web. Additionally, aims to significantly enhance the experience of the diver, visitor or scholar, using underwater augmented reality in a tablet and an underwater housing. The consortium is composed by universities and SMEs with experience in diverse underwater projects, existing digital libraries, and people many of which are divers themselves.

This paper presents an experimentation, which has been conducted in the underwater archaeological site of Capo Colonna, aimed to verify the joined use of optical and acoustic techniques for the generation of multi-resolution textured 3D models of underwater sites, obtained by merging the results of surveys carried out with these two types of systems.