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Together with the gradual spread of BIM in the AECO industry, the concept of open BIM began to take root. Semantically HBIM has demonstrated its ability to dialogue with a wide range of stakeholders though multiple visualization and representation tools.But to be able to apply them from the perspective of interoperability among all the professionals, it is necessary to work with standards. For this reason, there has been a growing interest in HBIM, but the process requires specialized standards, today there are only a few recommendations.The bSDD allows linking between all the content inside the database. It provides a standardised workflow to guarantee data quality and information consistency. Projects must be based on openBIM methodologies, using only open, non-proprietary standards and formats, to guarantee an interoperable and collaborative workflow.It has been applied to the Rame Tower, a pre-16th century cultural heritage site, and a characterisation has been achieved based on an international standard language that is interoperable, allowing all stakeholders to share and exchange information about the objects and their properties, increasing the future possibilities for coordination and collaboration throughout the life cycle of the asset.The Digital Twin obtained through this HBIM modelling process is fully dynamic, sharable, and usable in all phases of the asset’s life cycle, and the characterisation and codification based on the interrelation between IFC and bSDD makes the project fully open and sharable.In addition the incorporation of blockchain technology together with HBIM helps to improve aspects such as: authorship and traceability of processes, metadata registration and quality in the creation phases among others.DOI: https://doi.org/10.20365/disegnarecon.32.2024.16

Structural health monitoring of Cultural Heritage (CH) is a key topic in research, as well as damage identification and failure assessment. Hence, it is mandatory to have a proper documentation as basis for further analysis.3D models from photogrammetric and laser scanning surveys usually provide 3D point clouds that can be converted in meshes. These models can be used for different purposes, from documentation to visualization to structural analysis. The point clouds usually contain noise data due to different causes: non-cooperative material or surfaces, bad lighting, complex geometry, and low accuracy of the instruments utilized. Noise not only deforms the unstructured geometry of the point clouds, but also adds useless information and reduces the geometric accuracy of the mesh model obtained and, consequently, the results of any analysis performed on it. Point cloud denoising has become one of the hot topics of 3D geometric data processing, removing these noise data to recover the ground-truth point cloud, adding smoothing to the ideal surface. These cleaned point clouds can be converted in mesh with different algorithms, some automatically processed by photogrammetric software and then turned into volumes, suitable for different uses, mainly for structural analysis.The paper wants to analyse the geometric accuracy of few automatic processes available into commercial and open-source software for the conversion of superficial 3D meshes into volumetric models that can be used for structural analyses through FEA process.DOI: https://doi.org/10.20365/disegnarecon.32.2024.15

For years now, the increasing development of virtual reality technologies and digitisation processes in architecture has been leading cultural heritage communication towards an increasingly sustainable and inclusive approach. In this sense, the accumulation of data and, consequently, of specific information that the models bring with them, offers the opportunity for numerous insights related to the conversion of parameters to achieve an even broader communication towards users with perceptual limitations. The topic of perception, although now intrinsic in the fundamental criteria of architectural design, may receive less public attention compared to more immediate issues like building accessibility.From a practical point of view, the most innovative technologies to improve the quality of life of blind subjects come mainly from neuroscience laboratories, also and above all to assess the impact of so-called sensory substitutional devices on brain activity. What is presented in this study is therefore to extend what are the operating principles of the above-mentioned tools and contextualise them within the domain of the perception of valuable architectural space, for an understanding of geometry and proportion through sound.DOI: https://doi.org/10.20365/disegnarecon.32.2024.18

This study presents the virtual anastilosis of the Baroque dome in the presbytery of Valencia Cathedral, a significant architectural piece demolished two decades ago to reveal Renaissance frescoes. Employing a novel integration of multi-temporal laser scanning data, the research reconstructs the dome’s previous state, showcasing the potential of digital techniques in preserving architectural heritage. Initially, the dome was digitally documented before its removal in 2005, following the discovery of frescoes by Paolo de San Leocadio and Francesco Pagano, hidden behind of it. This documentation utilized phase difference laser scanning, a method that captured the dome’s geometry with high precision. Recently, further scanning of the cathedral’s main chapel was conducted, providing a detailed current state against which the previous model could be aligned and integrated. The methodology involved evaluating and optimizing both sets of data to accurately position the digitally reconstructed Baroque vault within its original context, overcoming challenges such as the absence of normal information in earlier scans. The result is a high-fidelity 3D model of the cathedral’s main chapel, with the Baroque vault accurately reinstated, illustrating the harmony between Baroque and Renaissance elements that was disrupted by the dome’s demolition.This project highlights the critical role of digitized surveying and 3D modelling in architectural heritage preservation, offering insights into the importance of maintaining a digital archive for heritage sites, allowing for virtual reconstructions that honor their historical integrity and complexity.DOI: https://doi.org/10.20365/disegnarecon.32.2024.14

In recent years, the field of reality-based 3D model generation has undergone a profound transformation, impacting disciplines such as preservation, archaeology, anthropology, and virtual museums by introducing concepts like virtual heritage and extended reality (XR). The integration of digital models and 3D survey data has become pivotal, enabling immersive experiences and providing unprecedented access to previously inaccessible archaeological sites.In 2022, the Soprintendenza Archeologia, Belle Arti e Paesaggio - Città Metropolitana di Bari embarked on a groundbreaking project to explore Lamalunga cave. This cave, housing a 172,000-130,000-year-old Neanderthal skeleton and 500 faunal remnants, became the focus of an interdisciplinary effort aimed at comprehensively documenting its morphological and typological details alongside the Neanderthal remains. Over a meticulous two-year period, the project meticulously recorded 28 previously undiscovered faunal remains using precise scanning, topographic surveying, and close-range photogrammetry. Central to this endeavor is the Science of Representation, employing advanced 3D modelling techniques such as NURBS algorithms and mesh retopology. These methods facilitated the creation of highly detailed and accurate digital replicas, capturing not only the cave’s intricate physical features but also preserving the contextual integrity necessary for detailed analysis and interpretation of the archaeological findings. This study provides an overview of the digitisation process, examining both the capabilities and limitations of digital models for XR applications. By leveraging cutting-edge technology, this approach enhances preservation, accessibility, inclusivity, and global engagement with one of the world’s most significant Neanderthal sites.DOI: https://doi.org/ 10.20365/disegnarecon.32.2024.6

Although Kahn was mainly known for his public buildings, he also carried out a large number of residential projects. In 1944, along with Oscar Storonov, he submitted the Parasol Houses project to the “Equipment for Living” competition (Brownlee, 1998), which was never built. The project represents his dedication to the modern architectural language and diverges from the austerity present in his earlier housing designs and his later approaches anchored in history and tradition.The main goal of this work is the recovery of the image, through current parameters, of the Parasol Houses project by means of the creation of a virtual model developed on the basis of BIM technology. This analysis aims to rescue and highlight the architectural memory of one of Kahn’s unbuilt works, emphasizing the importance it had for his professional evolution and his contribution to the Modern Movement.Based on the available documentation developed by the architect, a virtual 3D model has been elaborated that will make it possible to approach the “built” work, allowing different aspects of the project to be studied, such as the behaviour of light, the configuration of the spaces, the materials and the furnishings. The dissemination of the model via immersive and interactive platforms also aims not only to vindicate the memory of a project that never came into the word, but also to make up for the sensation of experiencing and interacting with the work of a fundamental architect like Kahn, to the extent of the enormous possibilities that new technologies offer, sharing the historical and artistic transcendence of his creations.DOI: https://doi.org/10.20365/disegnarecon.32.2024.17

Technologies and digital tools such as laser scanning and photogrammetry are nowadays widely used in the field of architectural heritage survey, being able of producing 3D models characterized by high metric and morphological accuracy. These databases are becoming essential also for the development of more effective interventions on heritage buildings. Despite the advancement of increasingly automated analytical procedures, the management and analysis of point cloud models can still be quite time-consuming and complex, depending on specific assessments to be carried out. In the direction of optimizing these processing steps, several research is being carried out by applying Artificial Intelligence processes to make predictions based on sample data.The aim of the paper is to analyse point clouds processing focusing on geometric and radiometric features for diagnostic analysis. A specific focus aims at analysing possible in-depth uses of the intensity value as a benchmark for historical surfaces assessment, toward an optimized models’ interpretation and classification of the 3D data points, integrating data and information from different sensors.Point clouds under analysis have been carried out by different acquisition techniques; this provides an interesting opportunity to compare the results in terms of intensity value produced by different sensors. The paper will analyse the State of the Art, also illustrating a set of outcomes obtained by the authors, deepening two specific case studies, in order to outline not only the main background and shortcomings in managing complex database, but also possible innovations pointing out new research questions.DOI: https://doi.org/10.20365/disegnarecon.32.2024.8

Segmental vaults built in the 2nd century A.D. represent perhaps the most distinctive characteristic of Hadrianic architecture. These composite vaults integrate sections of traditional shapes, such as spheres and cylinders, with more complex geometries, like the trikentron. These intricate structures pose substantial challenges in both the comprehension of their original construction and contemporary conservation efforts. This paper focuses specifically on Hadrianic vaulted systems based on circular plan layouts, such as the Serapeum at Hadrian’s Villa, the Horti Sallustiani in Rome, and the Temple of Venus in Baiae, by analysing reality-based mesh models generated from laser scanning and photogrammetry data. Leveraging advanced digital tools, including automated shape recognition, best-fit algorithms, and VPL-based modelling environments, the research aims to deepen our understanding of the geometrical principles underlying the design of these structures. A central objective is to correlate these findings with ancient architectural knowledge, providing insights into the design methodology of the time. This integrated approach highlights innovative aspects of Hadrianic architecture and explores the geometrical constructions employed by Hadrianic architects to achieve these complex designs. The study confirmed the pioneering use of ellipse-based geometries in the Serapeum at Hadrian’s Villa, challenging conventional interpretations of Roman dome construction. Additionally, the proposed workflow has proven effective in abstracting features of incomplete forms, which were then utilised in further geometric analyses. Notably, this research sheds new light on the design of the trikentron, a key innovation of Hadrianic architecture, identifying a common design approach across different instances of its use.doi: https://doi.org/10.20365/disegnarecon.32.2024.5

This contribution illustrates some methodologies used to develop a communication of cultural heritage in a multisensorial and accessible way. The considerations within this article guided the inclusion of items displayed in the exhibition “A Line Between Heaven and Earth: new accessibility for the ancient sundial of the University Palace” (Genoa, 21st December 2023-21st January 2024). Both the exhibition and this article center on an ancient astronomical device located within the University Palace building at the University of Genoa. Implemented in the eighteenth century, during the time the building housed the permanent headquarters of the Genoese Jesuit College, the sundial has recently been restored to working order.In this article, we illustrate an approach addressing the paradigm shift in the creation of accessible content based on two fundamental principles. Firstly, we start from a consideration of the relationship between a disabled person and the context, in which the latter – not the former - is understood to be the cause of inaccessibility. Secondly, we acknowledge that every cognitive fact is linked to the space in which it takes place. Thus, we consider the importance not only of sight, but also substitutive perceptions and those elements that link the body in its totality to the memory of the experience and to the dynamic exploration of the space itself.In order to enhance the accessibility of the aforementioned exhibition, a virtual tour was developed accompanied by explanations both in written and audio formats. A podotactile path and tactile models were also created to provide the correct support for the mental reconstruction of spaces, with the aim of illustrating spatial and knowledge paths adaptable to different needs.DOI: https://doi.org/10.20365/disegnarecon.32.2024.19

This work aims to facilitate the experience of visually impaired people in cultural visits with the purpose that they can access in an inclusive and accessible way to their artistic and architectural heritage. For this objective, we have designed a set of reduced models that reproduce the different artistic elements that make up the heritage spaces so that they can perceive them by touch while visiting the site. In order to carry it out, different surveys have been done through laser scanner and automated photogrammetry and the models have been printed using a 3D printer, due to its accessible cost and because it is a very widespread tool in today’s society. This experience has been put into practice, with the help of the service of specialized guides, in the city of Alcalá de Henares (Madrid), a World Heritage city, which houses numerous typological heritage samples, of different sizes and nature. In this sense, our proposal seeks to adapt the models to the narrative that is developed during the visit, finding the best time to introduce the typhlological material in every particular case. Besides, if the features of the work of art require it, several models at different scales must be fabricated to facilitate the comprehensive understanding of the heritage element: from the general to the particular. To assess the effectiveness of the proposed models, tests have been carried out with visually impaired people who belong to the ONCE (National Organization of Spanish visually impaired people) delegation of Alcalá de Henares, and who have valued the experience very positively, highlighting its usefulness and identifying its limitations and areas for improvement. DOI: https://doi.org/10.20365/disegnarecon.32.2024.4

In recent years, the practice of using laser scanners or other technologies to create point clouds describing historical artifacts has become consolidated. The purpose of these surveys method is to carefully inspect architectural heritage elements. In this contest, H-BIM approach associates the geometric objects derived from these surveys with information useful for various fields (e.g., the maintenance or history of the elements). In this contribution, an analysis is made of the data required to use BIM models in extended reality (XR) applications to optimize the data accessibility for several end users (e.g., museum visitors, frails people).DOI: https://doi.org/10.20365/disegnarecon.32.2024.9

The aim of the research was to investigate the facade of the Scuola Grande di San Marco in Venice through terrestrial photogrammetry and the procedures of perspective reversal, as well as digital representation and modeling. This investigation was conducted with particular interest in spatial reconstruction of the architectural elements defined in the perspective elevations.The selection of photogrammetric methodology has permitted the acquisition of geometric data pertaining to the building that, in certain instances, are challenging to infer. In addition to the projections and moldings of the Renaissance decorative apparatus, an orthogonal photographic mosaicking has been obtained that returns a planar projection of the main facade. The photogrammetric study was conducted in the lower portion of the elevation, where the illusionistic reliefs are situated. The reconstructions of these portions subsequently permitted the restoration of the plan and elevation in relation to the scene imagined in the marble perspectives, as well as the further three-dimensional modelling.The integration of advanced sensing applications, perspective restitution, and digital representation of architecture enables the development of models that can be translated into augmented or virtual reality applications and physical-tactile replicas. These models can be utilized in a wider range of contexts, according to the specific needs of different categories of public (e.g., age, education, culture, disability, etc.).They can serve as effective tools for dissemination and communication.DOI: https://doi.org/10.20365/disegnarecon.32.2024.12

The article presents a methodology for integrating data into 3D Heritage Building Information Modeling (3D-HBIM) digital models, specifically focusing on the Chapel of the Holy Chalice case study in the Metropolitan Cathedral of Valencia. This approach is oriented towards efficiently managing and visualising crucial information for conserving architectural heritage. The methodology begins with data acquisition through terrestrial laser scanning (TLS), an advanced technique that enables the acquisition of an accurate and detailed point cloud of the architectural environment.Following data acquisition, a meticulous process of segmentation and processing is undertaken. This phase involves the use of various machine learning algorithms, including Random Sample Consensus (RANSAC) and K-Means, for data classification. These algorithms play a crucial role in identifying and classifying points based on their geometry and chromatic characteristics. A key feature of the approach is the use of colorimetry-based classification, which detects significant changes in the RGB values of the points, thereby aiding in the identification of patterns and potential deterioration in construction materials.The processed data are seamlessly integrated into BIM environments, enabling the incorporation of detailed alphanumeric data and the comprehensive visualisation and analysis of three-dimensional models. This integration is pivotal for the accurate representation and analysis of heritage architecture, providing a robust foundation for decision-making regarding its conservation and maintenance.The article examines the benefits of the proposed methodology, highlighting how the combination of advanced data acquisition techniques and digital processing can significantly enhance the representation and analysis of historical architectural structures.DOI: https://doi.org/10.20365/disegnarecon.32.2024.11

Surface Reconstruction from raw Pointclouds generates polygonal meshes characterised by typical local issues that need to be addressed by a global reorganisation of mesh connectivity during the Remeshing process. While in the applications for which remeshing algorithms have historically been developed, the problem can be addressed without affecting the mesh polycount, for the authoring of 3D assets intended for Real-Time Rendering applications, maintaining a low polycount is mandatory. However, there is a trade-off between the number of polygons and accuracy. Hence, in cases where accuracy is a primary concern, such as with Digital Cultural Heritage Objects, the topology of the mesh that ensures this reduction becomes crucial since, to an even polycount, the dimensional discrepancy between the original and different simplified meshes can vary significantly.Therefore, it is vital to evaluate the characteristic quality obtainable from different remeshing algorithms with simplification, but despite the importance of the matter, there is a lack of metrics to perform such comparative benchmarks. This study aims to address this gap by defining and testing a Shape Complexity Index on real-world case studies, which is applicable uniformly and consistently to geometric shapes of generic complexity. Such index allows for pre-determine a target polycount and subsequently normalising signed distance computations among different test simplified meshes, posing the basis for both quantitative and qualitative analysis of accuracy achievable by any automatic remeshing tool. Additionally, the proposed workflow is employable as an instrument for planning, monitoring, and reporting a digitisation campaign of objects belonging to the Cultural Heritage.DOI: https://doi.org/10.20365/disegnarecon.32.2024.10

The article illustrates the methodology and the first experimentation of the “HERIVERSO project”, which aims to create a gamification platform for the digitisation and representation of Intangible Cultural Heritage (ICH). The workflow used is defined by the study of the criteria for the conservation of intangible values. This methodology was designed to be applicable to different examples of ICH, based on the experience of the pilot case. The project also aims to test a new way of managing tangible and intangible Cultural Heritage through blockchain technology, implementing a heritage management system that will work by tokenizing digital assets to enable their reinterpretation and sale.Underlying the project is therefore the question: how to digitise ICH and use it in gamification, without distorting its meaning or losing its values, but allowing a full fruition and accessibility? The methodology used to answer this question is described using the example of the chosen case study: the Corpus Christi celebration in Valencia (Spain).To achieve these objectives, an agnostic, scalable and flexible platform for the digitisation of spaces, artifacts and instruments has been developed, composed of six technological modules. The contents must be introduced by the cultural agent and are based on two essential elements for the functioning of the system: the geolocation of ICH in the territory and the geolocation of digital content and gamification dynamics within real environments. In addition, the use of NFTs ensure the authenticity of the intangible asset and facilitating the generation of economic benefits for it.DOI: https://doi.org/10.20365/disegnarecon.32.2024.7

The ongoing technological development in the AEC sector is also radically influencing the area of cultural heritage, which is notoriously very conservative. The processes of digitisation of the historical architecture and archaeological heritage are giving great pulse to projects and programmes aimed at physical and cultural accessibility, conservation, tourist attractiveness, dissemination and scientific research with positive effects in terms of enhancement and visibility.3D survey, H-BIM and scan-to-BIM processes, Machine Learning and Artificial Intelligence applications are contributing to a methodological and design approach revolution referred to cultural heritage.This paper shows a workflow related to the analysis of the degradation of ancient surfaces and its digital transposition on parametric models through the semi-automatic segmentation of high-resolution images. The goal is to provide a useful tool for populating ultra-specialized information in BIM environment for maintenance and restoration activities. The case study on which the methodology was applied is a part of the western fortifications of the Aragonese Castle of Ischia; these protect Piazza d’Armi, are overlooking the sea and incessantly subjected to the corrosive actions of the wind, salt and rain. The object has been identified for its intrinsic inaccessibility and the consequent difficulties to intervene with traditional survey and analysis of degradation approaches.The research is part of a scientific collaboration agreement between the Department of Civil, Building and Environmental Engineering of the University of Naples Federico II and the Aragonese Castle s.a.s. which is producing studies and research on architectural emergencies inside the fortified citadel.DOI: https://doi.org/10.20365/disegnarecon.32.2024.13

The monumental entrance to the Imperial Villa at Tivoli, built by Emperor Hadrian (117-138 AD), is a part of the famous Palace that is currently inaccessible, even though it can be partially explored visually. Although today this access area does not have the same grandeur and monumentality as other areas of the Villa, it should be considered as one of the strategic points for understanding the complexity of the archaeological site. In fact, the area shows the coexistence of distributive paths with different functions, both for imperial and servant use, with structures built at different levels, not all visible to the visitor, especially without entering, but which are fundamental to the design of the imperial residence. All these structures in fact are important for a comprehensive understanding of the space and if completely ignored, would produce in the visitor an evident cognitive gap on some basic concepts of the whole Hadrian’s Villa.The research aims to provide an overall view of the access to Hadrian’s Villa by combining the 3D reality-based models of the site – which digital survey was carried out in August, 2022 – with a plausible reconstruction based on multidisciplinary studies, capable of providing the observer with an appropriate cognitive accessibility of the closed and non-visible areas through real-time online platforms, in order to promote a more inclusive virtual visit, also for non-ambulatory people and from unprecedented points of view. The basic idea of this contribution is therefore to structure, around the digital survey and the reliable 3D model of this area, a cognitive system for the interactive and perceptual enjoyment, in order to encourage the understanding of the area and provide guidelines for the future musealisation and educational applications, in anticipation of a possible inclusion of the site in the walkable visit tour.DOI: https://doi.org/10.20365/disegnarecon.32.2024.3

Representation based on the visualization of reality, acquired through active and passive sensors, has allowed a rethinking of the traditional cognitive and communicative process. The Vitruvian approach has been replaced by the discrete visualization of large number of point-images. Image- or range-based coordinates allow to overcome the limitations of the drawing or photographic image, configuring a 3D model that can be explored in any direction and detail, even remotely. Automatic and semi-automatic procedures manage the information to be conveyed to the numerical control of the models.Many scientific papers deal with the certified reliability of the data or the optimization of the models; several papers discuss the development of programmed instructions to automate the “intelligent” recognition of components in Building Information Modeling (BIM) and Heritage Building Information Modeling (H-BIM) workflows. However, few discussions focus on the heuristic value of using time-saving procedures. The phases of acquisition, processing, critical synthesis, and communication of results are now included in a single workflow centered on the use of Information and Communication Technologies (ICT) to capture and transfer the archived information framework. This unified process has affected research and teaching methods, as well as the way in which information is disseminated and citizens are involved, in order to obtain the approval and thus the resources needed for the political management of heritage.Starting from these considerations, it seemed appropriate to recontextualize a process that is not limited to the improvement of fast and simplified operations, as an alternative to calculations congruent with the purpose of the project or survey. Indeed, the call for this issue was intended to propose and encourage a broader reflection of current research trends and to stimulate discussion on the limits and potentials of advanced automation processes in relation to the comparison of established and innovative practices.The awareness gained from digital language shows the widespread reconsideration of geometric logic. A trend that can be clearly seen in the papers dealing with the digital representation of complex vaulted systems or design solutions based on the reinterpretation of the Vitruvian concept of scenography. Less obvious, but no less diriment for this reason, are the geometric considerations that support quad-dominant remeshing or retopology solutions, according to the lexicon of computer graphics.Refined geometric solutions to improve analysis and details applicable to “reliable copies” of the virtually reconstructed object to control the change of state in the physical duplicate can also be observed in reverse modeling techniques.In parallel, the evolution of digital language with services provided by the network enhances the physical experience, improving it with the help of virtual content to guide meaningful experiences. In this dual perspective, the title of the volume alludes to the path, cyclical and interactive, that unites, without confusing, the construction of image- and range-based, in order to use them as spaces of collaboration suitable for the active dissemination of knowledge.DOI: https://doi.org/10.20365/disegnarecon.32.2024.ed

Intervistare il professor Marco Gaiani su questo particolare numero della rivista mi sembra occasione veramente opportuna, considerando le esperienze di ricerca da lui maturate ed in particolare le sue recenti realizzazioni. In realtà ricordo con piacere che sono state diverse e reiterate le occasioni in cui ho avuto l’opportunità di scambiare opinioni con lui sull’evoluzione della nostra disciplina. La sua importanza nel nostro settore scientifico infatti, non richiede presentazioni. Mi fa particolarmente piacere quindi commentare il motivo per il quale capiti a me, distante per luogo geografico, formazione ed esperienze, di intervistarlo. Il contesto, come già accennavo, è sicuramente riconducibile anche al tema che questo numero affronta, ma è particolarmente e più ampiamente connesso all’attenzione dovuta agli avvenimenti che in questi decenni hanno fatto evolvere, non solo gli strumenti della nostra disciplina, ma persino il suo ruolo. Mi riferisco quindi in particolare alle innovazioni scientifiche e strumentali introdotte dall’avvento del digitale e post-digitale che in quest’ultimo mezzo secolo hanno indotto significative ricadute, positivamente mi sentirei di anticipare e in particolare all’interno dei corsi di studio offerti nelle Facoltà/Dipartimenti di Ingegneria.Presenze come quella del prof. Gaiani ci guidano a cogliere con attenzione le trasformazioni, di metodi e processi, a leggerle come manifestazioni di un nuovo linguaggio. Nel significato ontologico della parola disegno, il prof. Gaiani rivendica uno spazio indipendente per l’elaborazione di percorsi, strutturati dai fondamenti scientifici, per guidare analisi ed orientare sintesi originali. In queste dissolve antinomie vecchie e nuove: rilievo/progetto, modelli/ricostruzioni, analogico/digitale, materiale/immateriale, tangibile/intangibile. Identifica il vero motore, il moto-propulsore, su cui costruire il futuro dell’attività propria del nostro ruolo, ovvero di ricerca, di didattica, di trasferimento tecnologico, che genera impatto sociale e sul territorio, attività oggi qualificate come strumenti di Terza missione.Di lui, Marco Gaiani, cattedratico dell’Alma Mater di Bologna, in cui ha compito il suo percorso di laurea in Ingegneria, ricorderò soltanto che ha insegnato anche in diversi altri Atenei italiani. È stato infatti docente presso l’Università degli studi di Ferrara, il Politecnico di Milano, lo IUAV di Venezia, la Scuola Normale Superiore di Pisa e ha tenuto comunicazioni in molte altre Università italiane e straniere.È con grande interesse, derivato dal complesso intreccio di sollecitazioni ricevute dal suo lavoro di ricerca e dagli attestati della sua attività accademica, che inizio la mia intervista. Le poche domande che farò spero possano cogliere il cuore della tua esperienza di ricercatore e di docente, convinta come sono che possano costituire, specie in questo tempo di grandi cambiamenti della intera società, un aiuto al comune sforzo di miglioramento di tutte le sue dimensioni e, in particolare, di quelle che ci riguardano sul piano professionale e umano.DOI: https://doi.org/10.20365/disegnarecon.32.2024.dw

This research proposes the use of laser scanners to analyse the conditions and characteristics of transit spaces in the vicinity of hospitals, from the perspective of universal accessibility and the integration of vulnerable people. To this end, we use the Hospital Universitario Príncipe de Asturias (Alcalá de Henares, Madrid) as a case study and we continue previous research consisting of the detection of the most important routes that occur in its urban environment and which have served to locate the most stressed spaces in which to develop this work. Through the use of the scanner and its treatment by means of different applied software, we developed a methodological process that allows us to treat, analyse and expose the problems detected in these spaces. With this, we can point out and manage different layers of information that are especially relevant from the accessibility point of view, such as changes in pavement, its width, ramp slopes, lighting, vegetation, etc., all with the precision offered by this digitalisation tool. Likewise, the graphic apparatus developed allows the results to be displayed in an inclusive way to facilitate their understanding by all users, regardless of their training; all of which contributes to facilitating possible actions to improve the accessibility of hospital environments.DOI: https://doi.org/10.20365/disegnarecon.32.2024.2

The actual greater diffusion of advanced surveying and representation tools, increasingly user friendly, represent an advantage in terms of cultural heritage digitizing and knowledge sharing, but it requires a series of consideration on the quality of the procedures adopted and the possibility of qualitatively and quantitatively evaluating the results obtained.Surveying means knowing and understanding the existing, in its geometric-morphological-constructive specificities; the different methods and tools of data acquisition must be chosen with the objective of documenting and representing the real geometries, ensuring that recognition of the differences between the stratified elements, which represents the first moment of diagnostic analysis of the historical asset. Only graphical elaborations made according to these criteria, with levels of detail according to the different scales of representation, can usefully become support for conservation project and management of restoration processes.The characteristics of uniqueness and complexity of each historic building require an ad hoc design of the survey activities, tools and methodologies to be adopted, and of the forms and scales of representation. Nonetheless, it is possible to identify a general workflow of the surveying activities in order to obtain data that could be geometrically reliable, quantitatively controllable, comparable and repeatable over time.This paper aims to make a series of considerations about these questions, starting from the analysis of case studies addressed in recent years.DOI: https://doi.org/10.20365/disegnarecon.31.2023.19

The article delves into the results of the renovation of the Torino Esposizioni complex, a masterpiece by Pier Luigi Nervi and a pivotal part of Turin’s architectural legacy. This building has once again become a focal point in contemporary discussions, given its central role in the Technical Economic Feasibility Plan (PFTE) proposed by the Isolarchitetti studio in collaboration with Rafael Moneo, slated for completion in 2022. This team played a pivotal role in implementing and refining the BIM methodology within the professional realm, specifically for crafting the architectural model of such a distinguished property. The process of breaking down the building into standard H-BIM components began with a preliminary phase of study that leveraged an extensive iconographic collection. This assemblage of images underscores the intricacy of an architectural entity deeply rooted in our heritage and chronicles its myriad modifications and restorations over the years. This paints a vivid picture, drawing profound parallels between historical images and today’s digital renditions.DOI: https://doi.org/10.20365/disegnarecon.31.2023.6

For centuries, high-altitude landscapes remained untouched by human activities. Between the 19th and 20th century, the construction possibilities offered by industrialisation and the economic prosperity in Europe after the second World War period, started a progressive modification of the Italian mountain skyline. The most significant interventions generally took place above 1,500 metres altitude over sea level, where snow persisted in the winter months. Alpine skiing, the magical discipline of ‘gliding’, was born and developed within this context, as the business of high-altitude mass tourism too.Right from the beginning of the 20th century, in the Apennines, and on the Gran Sasso d’Italia in particular, the highest and most significant peaks became attractive hubs for the first ski facilities, which were created on both the L’Aquila and Teramo sides. Less successful were the initiatives for Castel del Monte and Campotosto, that definitively died out in the following decade. These areas, on the margins of the Gran Sasso region [Fig. 1], were undertaken in a delicate and complex context at the end of the 1960s. In those years, the mass tourism profit due to Alpine skiing began to decline, the interests of local communities clashed with entrepreneurial initiatives, and the process of formation of the National Park was in sight, ready to limit building investments on areas of environmental value.This study analyses the planning instruments and building proposals for these two locations as evidence of the desire to import the mass tourism system of the Alpine area to the mountains of L’Aquila. It lies, ever since, on the limbo between remaining magnificently virgin and being terribly abandoned.DOI: https://doi.org/10.20365/disegnarecon.31.2023.11

Since the most recent European provisions on the enhancement of Cultural Heritage, much emphasis is being placed on the preservation of the identity values of places, the recovery of local traditions, the virtualization of contexts and their inclusive use. Within this panorama, the work presented here is situated within the study of ephemeral architectures that took place in the city of Paris during the 18th century: a theme of immaterial connotation, whose ideas and testimonies are preserved exclusively through written texts, iconographic apparatuses, and archival drawings. Specifically, the majestic eighteenth-century event held in Paris under the rule of Louis XV and described in the volume entitled Festes donneés par la ville de Paris A L’occasion du Mariage de Madame Louise Elisabeth de France […] (1739) is examined here. Through the discipline of Drawing, as a medium of cognitive investigation as well as narrative and technical representation, this study analyzes the ways in which the project images attached to the text are graphically represented and, through the use of digital modeling, proposes to give form to ephemeral architectures (otherwise described only in orthogonal and perspective projection) and to place them virtually in coeval urban environments. The goal is to return ‘unseen images’ geared toward a renewed and more inclusive enjoyment of Cultural Heritage, whose sources are intangible.DOI: https://doi.org/10.20365/disegnarecon.31.2023.5

Recent trends in the Digital Humanities – conceived as new modalities of collaborative, transdisciplinary and computational research and presentation – also strongly influence research approaches and presentation practices in museums. Indeed, ongoing projects in museums have considerably expanded digital access to data and information, documentation and visualization of ancient ruins and objects. In addition, 3D modelling and eXtended Reality opened up new avenues of interacting with a wider public through digital reconstructions that allow both objects and sites to be presented through visual narratives based on multidisciplinary scholarly research. The article illustrates the use of 3D digital reconstruction and virtual reality to re-contextualise standing statues of Sekhmet in the Temple of Ptah at Karnak, where they were found in 1818. Today, they are on display at Museo Egizio, Turin. The theoretical framework of the research and the operational workflow – based on the study of the available archaeological, textual, and pictorial data – is presented here.DOI: https://doi.org/10.20365/disegnarecon.31.2023.4

The project aims to present the 3D reconstruction of the Roman Theater of Amman, the ancient Philadelphia of the Palestinian Decapolis, through rigorous representative models. The outcomes will be part of a future exhibition providing site-specific installations and user experience artifacts based on digital interaction and tactile models. The paper illustrates the multidisciplinary approach associated with using 3D virtual reconstruction and game engine tools to reflect on the practice of representing ancient monuments and digital museology. Travelers of the 18th and 19th centuries drafted the fascination of discovery as an experience in their notebooks. At the same time, their written records could address contemporary visitors to an extensive cultural knowledge of places and buildings, the historia of Philadelphia. Investigations are shifting scientific models towards a dynamic cultural experience representative of cultural heritage, including intangible heritage, stories, and new technological paradigms, increasingly rapidly making it possible to duplicate art and heritage. This shift is pinpointing the role of representation for cultural studies and humanities, experimenting with practices and tools to drill methodologies, and producing models for interaction design, socialization, gaming, and museum experience.DOI: https://doi.org/10.20365/disegnarecon.31.2023.15

Over time, the definition of cultural heritage has undergone a constant process of evolution, now encompassing all components, both tangible and intangible, that synergistically contribute to the construction of the identity of places and communities. The need to document and preserve intangible cultural heritage also makes it essential to identify standardized methodologies for research and digitalization of cultural heritage. In this context, the visual paradigm, supported by integrated digital technologies, plays a crucial role in the management of cultural heritage. Current strategies for enhancement and communication employ information and communication technologies (ICT) in the processes of technical documentation and knowledge dissemination, offering the possibility to experiment with immersive experiences in digital environments that encourage community involvement in the active preservation of cultural assets, their history, and their memory. This shared participation in defining the value of heritage culminates in Heritage making, a collective discourse leading to the shared construction of cultural heritage. This article proposes and synthesizes a structured workflow for the management of cultural heritage, starting from the well-established phases of Heritage survey and cataloging and Heritage preservation and enhancement, passing through the process of Heritage presentation and interpretation, to reach community participation in the phase of Heritage making and sharing. The contribution exemplifies the application of the workflow to the case study of fortified architecture in Umbria.DOI: https://doi.org/10.20365/disegnarecon.31.2023.12

Underground spaces present a particular problem as a specific heritage typology, because of their own excavated nature, they are in many cases forgotten, and therefore hidden from human vision. This research aims to propose a series of graphic and design strategies to enhance their value in order to fully understand what is hidden, what is not seen, underground architecture.Based on studies carried out by previous research, a process of critical reflection is proposed on different graphic interpretative models that will enable the representation of underground heritage spaces and which, in addition, provide a distinctive visual identity.The main objective of these reflective processes is to improve the enhancement of this heritage typology by facilitating legibility for all the agents involved. The research approaches apparent oppositions such as the relationship between reality and interpretation, the tangible and the intangible. This experimental interpretative model is based on the case study of the Palombaro Lungo at Matera city, Italy.DOI: https://doi.org/10.20365/disegnarecon.31.2023.17

Digital surveying and rapid prototyping techniques are important tools to support processes related to cultural and architectural heritage. Digital surveying can be used to document, analyse, and enjoy the built heritage thanks to point clouds and detailed digital models resulting from the processing of data acquired during field activities. 3D printing, on the other hand, enables the creation of realistic physical replicas of heritage artefacts that can support activities related to analysis, documentation, conservation, valorisation and enjoyment. The use and combination of these techniques to architectural and cultural heritage have brought benefits and advantages since digital and physical replicas can be used in the processes of documenting, analysing, preserving and enhancing historical artefacts by promoting their accessibility on multiple levels.The paper discusses the results of research aimed at defining and testing an effective workflow for the development of physical models suitable for the analysis, documentation and communication of architectural heritage. The experimentation was performed considering as a case study a peculiar element of architecture, a historical portal. The paper illustrates the technical challenges faced starting from the photogrammetric survey to the digital reconstruction of the analysed artefact for 3D printing, with a focus on the printing parameter settings used to produce physical replicas with high-quality, but different resolutions and scales, to be used for several purposes, such as analysis and documentation and education and communication.DOI: https://doi.org/10.20365/disegnarecon.31.2023.18

The contribution aims to describe the "Amiternum Project," one of the points of the University's Strategic Plan. The aim of this project is to transform the archaeological area in a short time into a virtuous example of cultural welfare. Archaeology, therefore, conceived as a form of salutogenesis, would be transformed into a useful tool for the prevention of social and cognitive decay, as well as a means of overcoming the cultural divide, through the tools of culture, inclusion and active involvement of the population, leveraging the "founding myth" that the city of Amiternum has always constituted for the entire L'Aquila area, surrounding towns and small villages.The most relevant aspect of the project is the promotion of active participation of citizens in the enhancement of the territory in an exercise of identity self-representation, the peculiarities of its heritage and culture.DOI: https://doi.org/10.20365/disegnarecon.31.2023.16

This study, starting from the representations of a number of projects kept in Palermo in public and private archives, seeks to highlight their role not only in the knowledge of little-known architecture, but above all their value as custodians of memory and bearers of knowledge. “The architecture in the drawer”, that which remains on paper and not debased by compromises, not only takes on a “material” value but above all an ethical value because making visible the thought and operative practice of an architectural scholar is a moral act.Analytical and critical redesign, in this sense, contributes with its natural slowness, which is synonymous with reflection, to nourishing knowledge of the project, of making architecture, of compositional and figurative processes and, last but not least, of the constituent principles of an architectural thought.Through the analysis of a number of drawings preserved in two archives containing projects by Salvatore Caronia Roberti and Salvatore Cardella, the aim is to show part of the points of a timeline, in this case coinciding, describing themes and modes of architecture making in Palermo, with the awareness that many significant passages are left out.Thus a drawing of a timeline, open and welcoming, which however identifies two substantial points in its development; two graphical stages that may constitute further reflections that assist architectural historiography and above all the knowledge of what has often been relegated to an unknown fate.DOI: https://doi.org/10.20365/disegnarecon.31.2023.9

The city of L'Aquila is characterised by a variety of cultural heritage, both monumental assets, such as churches and noble palaces, or minor buildings, such as the many civil houses, which represent the historical evolution and changing material and immaterial cultures over time. This heritage is enriched by the public areas the citizen recognises as their own and in which daily life is conducted in its multiple aspects. Among these, a central role is played by Cathedral square, which represents a public space that synthesises the evolutionary history of the city, incarnating its collective identity values. This place, the scene of multiple events, has undergone numerous transformations. The digitisation and three-dimensional reconstruction work matured as a result of scientific research based on the principles of Heritage Interpretation, which favours the dissemination of scientific knowledge. A digital application has been developed that exploits the communicative potential of Virtual Reality (VR) technologies to make the different settings of main square between past and present accessible in immersive and desktop mode, thus enabling the main architectural transformations that have taken place over time to be visualized. App based on VR technology are capable of narrating a broad audience about the architectural evolution and environments over time, facilitating the production of images that recount moments from the past, thus helping to promote the city's tangible and intangible heritage.DOI: https://doi.org/10.20365/disegnarecon.31.2023.14

The 60s of the last century were characterized by a great cultural ferment on the theme of urban space and its transformations resulting from conurbation. The political, social, economic, and environmental implications of this phenomenon were notable, to which we attempted to give both a cultural and scientific response. An important aspect concerned the need to govern urban and territorial transformations, guaranteeing the quality of urban space but, at the same time, safeguarding the memory of the historic centers which, precisely in those years, were undergoing the strong pressure of conurbation dynamics. One of the key studies is undoubtedly The Image of the City by Kevin Lynch from 1960 in which the author analyzes the role of environmental images in the perception of the city and its space. These studies are followed by other equally famous contributions (Cullen, 1961; Rossi, 1966; Norberg-Schulz, 1979) which, by exploring the mechanisms of the individual’s perception of the environment, have given rise to a vast literature in the international field. Experiments in which the authors deal with urban reality, with its experience and the history of the traditional city in an attempt to develop codes to interpret and evaluate not only the characteristics of the physical city, but to look at urban spaces as spaces of relation.Subsequent studies were started from the theories developed by Lynch and Cullen which define different methodologies for analyzing the urban landscape, to support the planning of new interventions and the transformation of pre-existing urban areas. Between the 70s and 80s, a group of researchers from University College London laid the foundations of what is now defined as spatial syntax, also known as configurational theory, applied to studies and analyses of urban space.DOI: https://doi.org/10.20365/disegnarecon.31.2023.7

The paper describes a research experience conducted on the maiolica floorings of the Oratories of the Bianchi and San Mercurio in Palermo. The study focuses on the analysis, documentation, and digital reconstruction of the drawing of the two floorings, which, due to various circumstances, have been severely damaged, compromising their original image. The research aims to develop a multimedia application using motion tracking to digitally experience the lost configurations. The process involved archival research, surveys using laser scanning and photogrammetric techniques, graphic analysis, and comparison with similar elements. The survey, thoroughly documenting the state of preservation of the flooring, allows for accurately relating the ‘reconstructed’ drawing to the ‘partial’ state of affairs. Starting from survey data, it is possible to obtain three-dimensional digital models that enable users to explore objects or environments digitally in detail. User movement can be tracked to provide an engaging and personalised experience. The multimedia motion tracking application, developed for the flooring of the Oratorio di San Mercurio, constitutes a form of virtual restoration, allowing the exploration of an imaginary context without direct physical interventions on the artifacts. In this way, virtual reconstruction becomes an integral part of the interpretation process of the flooring.DOI: https://doi.org/10.20365/disegnarecon.31.2023.13

In recent decades, there has been a shift in the approach, revaluation, and preservation of architectural heritage, emphasizing the importance of contemporary society’s reinterpretation of historical and identity components from a comprehensive perspective that enables new developments and reappropriations. In this context, a pictorial turn also takes place through which heritage no longer remains confined to fixed meanings. Instead, new images with a life of their own emerge, transitioning from traditional representation to presentation. Within this context, this article aims to investigate the images generated around Rosario’s port heritage, which began to transform with the reinvention of the river in the mid-1980s and continues in process today. It focuses on the study of grain storage silos, initially known as Davis, transformed in 2004 into the Museum of Contemporary Art of Rosario (MACRO). The research uses a transdisciplinary qualitative methodology combining urban-architectural heritage, cultural and visual studies. It is recognized that the diverse images generated in recent years around the architectural heritage of the silos have facilitated new and everyday appropriations by the city’s inhabitants, redefining it as a new urban icon. This process has sparked a reimagining of the city’s heritage, history, and memory with images that speak for themselves and generate new individual and collective meanings.DOI: https://doi.org/10.20365/disegnarecon.31.2023.21

The concept of Cultural Heritage, in its tangible and intangible meanings, has been expanding its contents and definitions for more than twenty years, involving multiple subjects and spaces at different scales. It plays a crucial role in the progress of societies, promoting dialogue between cultures and respecting identity and diversity. At the same time, it is an invaluable resource for education, employment, tourism, and sustainable development. In this scenario, reading, understanding, and valorising the cultural resources of territories becomes essential for understanding an urban area’s aims and relational complexity, which is aimed at redesigning the actual spaces. In an urban context, Cultural Heritage is exposed, subjected to interpretation and understanding by residents and tourists alike. In this process, visual storytelling becomes a key instrument for communication, identifying the recipient and its cultural background and proceeding to a cultural mediation to bridge the gap between perceived content and its meanings. The article starts with a state-of-the-art discussion of visual communication applied to cultural heritage, exploring the domain’s techniques and methodological approaches. Then, starting from the contextualisation of the research, set within the Esquiline district in Rome, the study focuses on the critical-comparative analysis between different visual approaches of different itineraries, relating the type of communication, the object of the communication, and the results achieved. The aim is to validate the visual approach regarding an active cultural experience, guaranteeing an accessible, participatory, and inclusive experience of Cultural Heritage.DOI: https://doi.org/10.20365/disegnarecon.31.2023.8

In the history of the city of L’Aquila, squares have always had a pivotal role in the foundation and transformation of its design. In fact, squares in L’Aquila have always been part and parcel of the city’s image, each one with its specific identity and meaning; meeting and gathering places in which the inhabitants recognize themselves and of which they have suffered the absence during these years of reconstruction following the earthquake of 2009, still underway today, that is finally allowing the population to reclaim the spaces of the historic centre.The paper delves into the values of hand and life drawing, which still has great potential as a scientific process made up of technique, perception and critical restitution, in order to read and document the urban spaces of the city’s identity and to recognize their historical and architectural values.DOI: https://doi.org/10.20365/disegnarecon.31.2023.20

The fate of architecture in the second half of the twentieth century is often that of being absorbed into an anonymous urban fabric, metaphorically becoming the backdrop of daily life for inhabitants to whom only the monument is known. Abruzzo does not escape this fate, accentuated by the frenetic development of postwar reconstruction, which progressively occupied city spaces with high-density buildings. The Ministry of Culture’s initiative to census these architectures marks, the moment of the physical rediscovery of these artifacts and a first step toward the protection of those that have not reached fifty years since they were built. The research induces the rediscovery not only material of the works, which in the instant of the photographic capture fixes the character of the architecture, its physical semblances trying to capture the intangible dimensions of each of them through the original design expression. Thus, the analytical, graphic-documentary and photographic operation, in its expressive dimension, marks a parallel through the years with the role of the images that accompanied the design drawings, portraying the building showing itself, emerging from the building fabric and offering itself as a unique element in the urban palimpsest. In the comparison between the original representation, which imagined the urban scene in the making, and the current photographic shot, which contextualizes the built environment in the real context, the volumetric and spatial figurative elements of the projects and the contemporary city can be brought to light.DOI: https://doi.org/10.20365/disegnarecon.31.2023.10

Advances in photogrammetric surveys and immersive visualization through Virtual Reality (VR) have brought about a revolution in all areas of architectural representation. Architectural heritage has not escaped this revolution, since these techniques make possible the recovery of heritage elements that are currently missing or decontextualized, which otherwise would not be possible to contemplate. This article develops a paradigmatic case in this field such as the recovery of the Gothic choir of the Cathedral of Girona, completely dismantled and partially preserved in different locations of the Spanish geography. Based on previous work of recontextualization of similar environments carried out by the authors (Sánchez Riera et al., 2022a), this paper describes the construction of a virtual and hyperrealistic immersive model of the missing ensemble and its original context. The geometric and luminic integration of both models is shown in a self-developed application and different scenes built by means of its use are exemplified. The proposal allows the interactive visualization of the complex by switching between its current and original states. The possibility of consulting additional information on certain singular elements, now disappeared or decontextualized, in the very location for which they were originally conceived, aims to promote their study and dissemination. It will also make it possible to establish hypotheses about their original design, use and configuration, ultimately promoting the conservation of architectural heritage that would otherwise remain forgottenDOI: https://doi.org/10.20365/disegnarecon.30.2023.8

Heritage Building Information Modelling (H-BIM) has completely changed the meaning of managing architectural sites and ancient buildings. Nowadays, the application of cutting-edge methods for analysis, conservation and restoration is made possible by the modern 3D scanning technologies, such as terrestrial laser scanners (TLS) and digital cameras, which produce highly accurate point clouds. Furthermore, as these files are time-consuming and computationally expensive, strategies are being developed to optimise their handling and to streamline the conversion of a point cloud into a BIM model, adopting Scan-to-BIM approaches and widespread Artificial intelligence.In this scenario, the current work investigates the use of the CANUPO multiscale algorithm and the RANSAC model-fitting method for the classification of the staircase of Palazzo Nico, a neoclassical building in Gioia del Colle, Italy, using data obtained through TLS. The location’s geometry, which includes numerous floors, vaults, balustrades, and typical 19th-century-style ornate staircase, makes it an excellent case study for assessing the applicability of these tools, serving as a source base for additional modelling procedures.DOI: https://doi.org/10.20365/disegnarecon.30.2023.20

This work presents part of the experience accumulated by the research team of which the authors are members in data collection and information management for the representation of architectural and artistic heritage. To do so, we will analyze the results according to the characteristics of the elements to be studied, which we shall classify according to their scale, location, and nature. In this sense, we propose three working approaches: the L scale, linked to exterior urban spaces, the M scale, for buildings and their interiors, and the S scale, for movable objects and sculptures. Likewise, we address an aspect that is not often dealt with in scientific publications, such as the importance of the graphic planning of tasks and timings in order to make campaigns more efficient. In addition, we performed a critical analysis of the workflows prioritizing the characteristics of the object and the physical constraints that researchers in this field must overcome.As a case study, we shall use the Chapel of San Ildefonso, the foundational space of the University of Alcalá (Madrid), declared a World Heritage Site by UNESCO. The heritage qualities of this space allow us to test and exemplify the work process according to the aforementioned scales of approximation. That is to say, the facade as an example of urban scale (L), the wooden coffered ceiling as the main element of the building´s interior (M) and the tomb of Cardinal Cisneros and the adjacent altarpiece as an example of movable scale (S). In short, the contribution is a reference for the effective planning and execution of the survey process, as well as for the processing of the models discussed.DOI: https://doi.org/10.20365/disegnarecon.30.2023.5

Funerary architecture often presents a series of specificities that makes it necessary to combine different techniques for its adequate graphic restitution. These conditioning factors are usually present both in the exterior, such as nearby trees and metalwork elements, and in the interior, due to the arrangement of small objects and furniture as well as poor lighting in the rooms.This paper focuses on the methodology followed for the graphic restitution of the Pedreño y Deu family pantheon in the main cemetery of Cartagena (Spain). The pantheon, built in 1875, consists of a circular chapel on the ground floor and a crypt below ground level. At the start of the survey, the building, protected by municipal planning, was in a state of advanced deterioration.The techniques used for the survey of each part will be described, as well as the procedure followed to assemble them into a single model. In this work, we have been able to verify that hybridization in survey techniques is one of the best options to represent architectural heritage in case studies where there are situations of very different natures.DOI: https://doi.org/10.20365/disegnarecon.30.2023.15

The Escuelas Pías church of Valencia is a milestone of Neoclassicism whose architecture is compared to Agrippa’s Pantheon. Its dome with a 24.5 m span has cracks in four sectors, just like in its drum. Thanks to a recent survey with a laser scanner (TLS), orthoimages have been obtained to follow a methodology for the study of collapses and unevenness, which have served to determine the diagnosis of the pathology. For this, the methodology is based in obtaining the heights on reference bases and capturing them on reference axes, resulting in a graphic that facilitates the reading of the interpretation of the pathological diagnosis of the monument.DOI: https://doi.org/10.20365/disegnarecon.30.2023.12

This research delves into the profound significance of the Science of Representation, demonstrating its pivotal role in crafting semantic and interoperable analysis. The adept application of these ‘mediums’ could represent a primary shift for future generations in how information is conceptualized, interpreted, represented, and communicated, ultimately fostering a deeper level of understanding and collaboration among professionals in the field. In this context, the convergence of digital representation, knowledge-driven semantic refinement, and techniques for intricate model conversion could assume a foundational role. Given these paramount considerations, the study emphasizes the urgency of establishing interoperable procedures and cultivating a comprehensive understanding of digital representation as a crucial informational medium.The results served as vessels for disseminating archaeological knowledge and as powerful tools for dissecting the structural intricacies of ancient environments. To achieve this, a highly specialized cognitive process was required to elucidate both the tangible and intangible elements within the ontological framework. The introduction of the interoperable approach at the archaeological site of Villa dei Quintili in Rome served as a prime example of the critical function of digital models able to interpret, disseminate, and preserve our cultural heritage accurately. It proved instrumental, both theoretically and practically, in transferring geometries and information for diverse analytical purposes, significantly enhancing their effectiveness through a thoughtfully selected range of exchange formats for preservation and structural analysis. Finally, the study introduces a methodology for translating digital models into advanced mediums, including extended reality (XR), pushing the boundaries of heritage preservation in the digital age.DOI: https://doi.org/10.20365/disegnarecon.30.2023.25

Historic centres bring together the numerous values of architectural history, forming a specific context that can be considered an “educational city” in which situated learning can be enhanced. They offer the possibility of providing visitors with tours and points of interest related to heritage. Among the various approaches to the study of historic architecture, one focuses on its forms and dimensions, analyzing proportions and geometric layouts, which can help us to understand the criteria that guided the project phases and construction process. Additionally, the analysis of forms is applicable to observing existing architecture and its graphic representation. With the aim of promoting this type of research, this investigation explores the possibilities of Augmented Reality (AR) as a technology for visualization and graphic interaction that introduces innovative developments in the field of Cultural Heritage, with the common thread of geometric layouts.DOI: https://doi.org/10.20365/disegnarecon.30.2023.23

In recent years, various advancements have been made in the implementation of digital model into HBIM as a valid option for managing and visualizing the information generated in the documentation of heritage architecture and preventive conservation actions. However, there is a set of analyses often ignored due to a lack of knowledge about the documentary value they can provide. These encompass geometric, compositional, and metrological analyses in preliminary studies of heritage architecture. This contribution presents a protocol for conducting geometric, compositional, and metrological analyses within the context of heritage buildings using an HBIM framework. It incorporates a comparative study between theoretical models and the actual state extracted from point clouds generated by 3D laser scanning. All of this is aimed at deriving insights into the immediate visualization of the design process carried out by the master builder, as well as the variations experienced by the analyzed elements, both during the construction process and over their life cycle. For this purpose, the vaulted spaces of the bell tower at Valencia Cathedral serve as a test laboratory.DOI: https://doi.org/10.20365/disegnarecon.30.2023.24

In the context of 3D surveying methods, the role of drones is growing in importance. The capacity to approach the object and acquire both photos and videos from points that are highly inaccessible from the ground make these devices an efficient tool on the architectural and territorial scales, whether anthropized or not. Even more widespread are so-called unmanned aircraft systems (UAS), inoffensive and lighter than 250 g, due to the simplification of the related standards and continued improvements in their acquisition devices. The most advanced photo-modelling programs are now able to process video clips directly, automatically selecting the photos suitable for input in scale-invariant feature transform (SIFT) and speeded up robust features (SURF) algorithms, essential aspects of structure from motion (SfM). This technological progress constitutes a significant jump in automating SfM investigations, especially when made with UAS. With this background, the case study presented here is the sighting tower of Capo d’Omo, situated atop Mount Argentario near Grosseto. Two questions are addressed: assessment of the metric reliability of a model automatically reconstructed from video clips (in this case, taken from an UAS) through comparison with a model acquired from an active sensor device; and a study of its potential and possible use in the SfM workflow, also considering the limited software and hardware requirements necessary to process this type of product.DOI: https://doi.org/10.20365/disegnarecon.30.2023.6

The research deals with the topic of archaeological surveys through the use of laser scanners and drones and the integration of appropriate data processing methodologies, aimed at promoting processes of documentation, knowledge, restoration and enhancement of the archaeological heritage.The object of the investigation is the Mausoleum of Sant’Urbano at the 4th mile of the Via Appia Antica, dating back to the 4th century AD, annexed to the Appia Antica Archaeological Park in 2021. Prior to 2021 it was privately owned and had undergone disfigurements and alterations of the original masonry.The research presented derives from a scientific collaboration agreement between the Appia Antica Archaeological Park, the Department of Architecture at Roma Tre University, the Department of Humanities, Philosophical Studies, and History of Art at Tor Vergata University, aimed at study, survey and monumental analysis of the mausoleum.The presented research resulted in the definition of a survey methodology of the archaeological heritage in which the data acquisitions from the aerial photogrammetric method and from the instrumental method are integrated aimed at the documentation, knowledge and dimensional and morphological restitution of an asset of significant historical and identity interest. The first results have made it possible to obtain a graphic restitution, numerical models or orthophotos on the basis of which the archaeological and historical multidisciplinary studies, the restoration and conservation interventions and the enhancement and use strategies by the Appia Antica Archaeological Park will be conducted.DOI: https://doi.org/10.20365/disegnarecon.30.2023.4

The architectural graphic expression, with all the variants that make it up, strengthens a substantial part of the process of approaching the project, also of its resolution. When the architectural intervention corresponds to the rehabilitation of a historic building, the aforementioned link acquires greater prominence, both in the previous phases of analysis, and in the consequent decisions that will derive from them. The help of technologies in the capture of information and the possibilities of virtualization provided by computer applications, have determined both the work methodologies and the forms of graphic representation to obtain results.This article describes the processes carried out for the graphic representation of a Renaissance palace in the province of Teruel, Casa Castellote, as a starting point to advance in its knowledge.Every graphic survey, any virtual model analyzing an architectural object, the intangible contribution of the initial sketches, and the conclusive planimetric representation configure an essential scientific research to address a project solution.This analytical graphic process, as well as the consequent creative graphic process, require systematization. The result is the obtaining of a digital model that will allow the study and analysis of the model through different visualizations, whether planimetry, or virtual three-dimensional models, which, in addition, enable accessibility to the documentation of the heritage asset and its dissemination to society.DOI: https://doi.org/10.20365/disegnarecon.30.2023.9

This research article aims to propose a new method for procedurally modeling unique architectural heritage spaces and explore new approaches to 3D-model parameterizable architecture, specifically focusing on neoclassical architecture. Procedural modeling, known for its time-saving benefits, has been used in CGI and architectural drawing alongside parametric modeling. The study applies these concepts to the field of architectural heritage digital modeling, which presents challenges due to deformations and imperfections that need to be parametrized. The research focuses on the side chapels of the Cathedral of Valencia, built in the neoclassical style, and develops an adaptable parametric model to account for their slight dimensional differences. The methodology involves using interior point cloud data from a 3D scan of the cathedral, creating an ideal model, dividing it into parts, and developing graphic scripts using Grasshopper for Rhinoceros. The research yields a new pipeline for 3D modeling parameterizable architecture, saving time and resulting in accurate digital models of the side chapels. The study concludes that procedural and parametric modeling can be used not only for projected architecture but also for surveying existing architecture and heritage. The proposed workflow reduces the time required to model similar architectural cases while maintaining accuracy.DOI: https://doi.org/10.20365/disegnarecon.30.2023.16