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The paper investigates the advance in the most intimate understanding of the construction methods of the Fabrica Solimene (1952–1955) in Vietri sul Mare, (Campania-Italy). The aim is to increase the level of geometric and informative detail of the model, digitally (re)built by means of an indirect method using a total station survey and subsequently by means of a direct method, i.e., by importing the elaborations derived from laser scanner acquisitions and photographic data sets into a BIM authoring vector software. For this purpose, using photogrammetry, new details are acquired, specifically addressed to the study of the static-mechanical behaviour of the perimeter wall studied in its mathematical configuration of the projecting bodies from bottom to top. This study is organised on the elaboration of new clean and decimated point cloud acquisitions to be converted into volumetric models for direct use in finite element calculation (FEM) codes aimed at structural analysis. Thanks to the proposed procedure, it possible to maintain the level of geometric detail appropriate to the resolution required for the analysis. At the same time, it makes it possible to find the best pipeline to reduce the size of the model and obtain the most accurate static-structural results.

Protecting and enhancing inherited assets is a duty of every age; ours requires disclosure through the services of the interconnected network, the only one, to date, capable of reaching a wide audience and with it attracting adequate economic resources for the implementation of programs. In keeping with the international definition of "Cultural Heritage", the paper describes the methodology that guided the construction in 3D of the monumental building sculpted in the iconographies between 52 and 62 AD on the marble slab now preserved at the archaeological museum of Perugia. An informative workflow on what has been collected is proposed to then discuss the potential of its uses. The focus lies in particular on the possibility of the model to act as an interoperable collector to compare the reconstructive hypotheses.The final objective looks at the opportunity to create multimedia, multimodal and cross modal collaboration spaces to remedy aspects that, by affecting a wider audience of users, encourage socio-economic policies.

La stampa 3D di manufatti e monumenti consente alle persone non vedenti e ipovedenti di scoprire, comprendere e godere della bellezza del patrimonio culturale. La riproduzione dei manufatti inizia solitamente con il rilievo 3D con tecniche basate sulla realtà al fi ne di ottenere la loro copia digitale metrica e accurata. Con una corretta post-elaborazione, il modello digitale viene quindi predisposto per la stampa. Il risultato è un modello fi sico che può essere toccato e ispezionato, rendendo l’arte visibile a tutti.Questo articolo presenta la pipeline seguita per la riproduzione 3D della famosa Tomba di Giulio II di Michelangelo, visibile nella chiesa di San Pietro in Vincoli a Roma. Il rilievo fotogrammetrico viene descritto e valutato, e tutto il processo seguito per post-elaborare il modello 3D al fi ne di renderlo computabile per la stampa 3D. Particolare attenzione è stata data ai problemi verifi catisi durante il rilievo (mancanza di spazio, luci) e quindi la post-elaborazione relativa alla creazione di diversi modelli fi sici stampati. I modelli fi nali sono stati stampati in accordo con le richieste del cliente, in modo da renderli adatti ai non vedenti.

we developed a massive online open course (MOOC) through co-creation between medical students and academic staff on heart semeiotics and evaluated its teaching efficiency and user satisfaction."The Heart, Its Signs and Symptoms" was a MOOC aimed to teach medical students to collect clinical history and perform physical examination of patients presenting with chest pain, dyspnea, palpitations, or syncope. It consisted of 4 interactive cases with preliminary, interim and final evaluation tests. A group of medical students, with the supervision of a multidisciplinary team of University professors residents, health management and informatics researchers developed the MOOC.Users (n = 701) registered to the online platform over 1 month. Students from 34 of the 40 Italian medical faculties participated. 96% of those who started the online course completed at least one of the 4 modules. Among users completing both the preliminary test and the final exam (n = 239, 34% of those registered to the online platform), the percentage of subjects passing the evaluation test raised s from 74% to 95% after the course. Younger age, attendance of Universities in Southern Italy, and a lower number of correct answers during the pre-test predicted a greater increase in the number of correct answers; Almost all participants who provided a feedback (n = 238) felt satisfied by the course.Partnership of medical students and academic staff was a key asset for the success of the initiative. The high rate of involvement and positive feedback from learners suggest a still unmet need for online learning resources.

The use of Finite Elements Analysis (FEA) for ancient structures and artefacts has recently shown great potentialities. The typical workflow of such analysis involves the use of CAD 3D models made by mathematical surfaces, representing the ideal shape of the object to be simulated. For Cultural Heritage objects, altered by the time passed since their original creation, the representation with a schematic CAD model may introduce an excessive level of approximation leading to wrong simulation results. The focus of this paper is to present a new method, based on a wise use of retopology procedures, aiming at generating the most accurate 3D representation of a real artefact/scenario from 3D models derived from reality-based techniques, maintaining as much as possible the accuracy of the high-resolution polygonal models in the solid ones while minimizing the number of nodes to a level compliant with FEA. This allows to obtain FEA results that are closer to the actual mechanical behaviour of the analysed heritage asset. Such methodology is here described and applied to the structural analysis of the Tower of the Marenyet in Valencia (Spain).

Thanks to recent technological developments in 3D surveys, computer graphics and virtual reality, new scenarios have been opened for the documentation and enhancement of ancient sculptures. When not totally preserved, sculptures can be digitally reproduced, modified and visualized to simulate their physical or virtual reconstruction in a non-invasive way for specialists or for dissemination aims. The virtual sculptural reconstruction process starts usually from the 3D survey of real fragments, and then continues by integrating missing parts with 3D modelling techniques by means of source evaluation. Along with primary data sources (reality-based model), secondary data sources (photos, drawings and 3D models of similar sculptures) can be directly used in the reconstruction process. This approach has a double advantage of making the reconstruction activities easier and less arbitrary, contributing to a decrease in the degree of uncertainty for the sculptural reconstruction work, also thanks to many iconographic comparisons to ancient copies. Moreover, virtual reconstruction can be easily visualized alongside a scalable rendering system using open-source Web3D apps and platforms, accessing information, 3D models and descriptions in order to enhance the experience of artworks. Inspecting theoretical and technical approaches, this work aims at establishing how primary and secondary data sources can be effectively used in sculptural reconstruction workflows, and how 3D outputs can be applied to implement digital sculptural heritage exploitation for museums and cultural institutions. The statues of Aesculapius and Hygeia from the sanctuary of Isis in Lilybaeum (Marsala, Italy) were chosen as a case study.

The best way to disseminate culture is, nowadays, the creation of scenarios with virtual and augmented reality that supply the visitors of museums with a powerful, interactive tool that allows to learn sometimes difficult concepts in an easy, entertaining way. 3D models derived from reality-based techniques are nowadays used to preserve, document and restore historical artefacts. These digital contents are also powerful instrument to interactively communicate their significance to non-specialist, making easier to understand concepts sometimes complicated or not clear. Virtual and Augmented Reality are surely a valid tool to interact with 3D models and a fundamental help in making culture more accessible to the wide public. These technologies can help the museum curators to adapt the cultural proposal and the information about the artefacts based on the different type of visitor’s categories. These technologies allow visitors to travel through space and time and have a great educative function permitting to explain in an easy and attractive way information and concepts that could prove to be complicated. The aim of this paper is to create a virtual scenario and an augmented reality app to recreate specific spaces in the Capitoline Museum in Rome as they were during Winckelmann’s time, placing specific statues in their original position in the 18th century.

The use of 3D digitizing tools is becoming the base for subject-specific products, such as the orthopaedic production process of orthoses and prostheses. This paper aims at comparing the metrological behaviour of low-cost devices (Kinect 1 and 2 by Microsoft, Structure Sensor by Occipital) and high-resolution active sensors (O&P Scan by Rodin4D, NextEngine Ultra HD, Konica Minolta Vivid 9i, GOM ATOS II 400 and Artec Leo) for the survey of human body parts. A calibrated flat plane and a test-field composed of eight calibrated spheres of different radii and placed at different heights were used to evaluate the standard quality parameters (flatness, probing errors in form and size and the standard deviation) for each device as recommended by the VDI/VDE 2634 guidelines. Subsequently, three different parts of a mannequin were surveyed as samples of human body parts. The results demonstrated the higher accuracy of fixed devices with respect to handheld ones, among which Artec Leo and Structure Sensor provided a satisfying level of accuracy for the orthopaedic application. Moreover, the handheld devices enabled performing a fast reconstruction of the mannequin parts in about 20 s, which is acceptable for a person that has to remain as still as possible. For this reason, the Structure Sensor was further tested with five motion approaches which identified that smooth motion provides the lowest deviation and higher reliability. The work demonstrated the appropriateness of handheld devices for the orthopaedic application requirements in terms of speed, accuracy and costs.

The integration between 3D survey techniques and digital reconstruction allows to increase the knowledge and awareness of a Cultural Heritage. Its use becomes fundamental not only to study an ancient building or artefact, but also to communicate it to non-experts and make it more accessible and understandable. Basing the digital reconstruction on an accurate data such as a survey using reality-based techniques, allows to have an accurate and precise data base, as well as metrics, from which the reconstruction can be derived. The study of the geometry and characteristics of the site is favoured as the survey provides a metric and detailed basis of the characteristics of the building surveyed. This contribution aims at describing the methodology used to reconstruct the medieval cloister of ancient Oppido Mamertina (RC) in 3D, starting from the survey using a photogrammetric technique. The purpose of the work is to provide the Municipality and the Superintendency with accurate documentation of the site, as well as a navigable digital model that can be used for tourism purposes in view of the definition of a visit path for the enhancement of the site.

Reality-based 3D techniques and Finite Element Analysis share the way the object under investigation is discretized. Although their purpose, the generation methods and the quality metrics are dierent, both of them ground on the concept of mesh. Unfortunately, a mesh derived from a reality-based technique are not suitable to be used in a nite element solver directly. This paper aims at comparing dierent methods to prepare computational mesh of geometries derived from non-contact reality-based technologies. A benchmark test object has been acquired with dierent devices, a triangulation laser scanner, a multi-stripe triangulation scanner and a digital camera, and post processed in order to x artifacts. Then, two dierent decimation approaches have been used: a triangular simplication and retopology. The acquired geometry, before and after the simplications, has been compared with a CAD model employed as reference: mean and standard deviation between the nominal and the acquired geometries have been tracked. Finally, a tensile test has been simulated making use of a general-purpose nite element analysis software and the results have been compared with the exact solution.

Low-cost 3D sensors are nowadays widely diffused and many different solutions are available on the market. Some of these devices were developed for entertaining purposes, but are used also for acquisition and processing of different 3D data with the aim of documentation, research and study. Given the fact that these sensors were not developed for this purpose, it is necessary to evaluate their use in the capturing process. This paper shows a preliminary research comparing the Kinect 1 and 2 by Microsoft, the Structure Sensor by Occipital and the O&P Scan by Rodin4D in a medical scenario (i.e. human body scans). In particular, these sensors were compared to Minolta Vivid 9i, chosen as reference because of its higher accuracy. Different test objects were analysed: a calibrated flat plane, for the evaluation of the systematic distance error for each device, and three different parts of a mannequin, used as samples of human body parts. The results showed that the use of a certified flat plane is a good starting point in characterizing the sensors, but a complete analysis with objects similar to the ones of the real context of application is required. For example, the Kinect 2 presented the best results among the low-cost sensors on the flat plane, while the Structure Sensor was more reliable on the mannequin parts.

Conservation of Cultural Heritage is a key issue and structural changes and damages can influence the mechanical behaviour of artefacts and buildings. The use of Finite Elements Methods (FEM) for mechanical analysis is largely used in modelling stress behaviour. The typical workflow involves the use of CAD 3D models made by Non-Uniform Rational B-splines (NURBS) surfaces, representing the ideal shape of the object to be simulated. Nowadays, 3D documentation of CH has been widely developed through reality-based approaches, but the models are not suitable for a direct use in FEA: the mesh has in fact to be converted to volumetric, and the density has to be reduced since the computational complexity of a FEA grows exponentially with the number of nodes. The focus of this paper is to present a new method aiming at generate the most accurate 3D representation of a real artefact from highly accurate 3D digital models derived from reality-based techniques, maintaining the accuracy of the high-resolution polygonal models in the solid ones. The approach proposed is based on a wise use of retopology procedures and a transformation of this model to a mathematical one made by NURBS surfaces suitable for being processed by volumetric meshers typically embedded in standard FEM packages. The strong simplification with little loss of consistency possible with the retopology step is used for maintaining as much coherence as possible between the original acquired mesh and the simplified model, creating in the meantime a topology that is more favourable for the automatic NURBS conversion.

Since the advent of the first Kinect as motion controller device for the Microsoft XBOX platform (November 2010), several similar active and low-cost range sensing devices have been introduced on the mass-market for several purposes, including gesture based interfaces, 3D multimedia interaction, robot navigation, finger tracking, 3D body scanning for garment design and proximity sensors for automotive. However, given their capability to generate a real time stream of range images, these has been used in some projects also as general purpose range devices, with performances that for some applications might be satisfying. This paper shows the working principle of the various devices, analyzing them in terms of systematic errors and random errors for exploring the applicability of them in standard 3D capturing problems. Five actual devices have been tested featuring three different technologies: i) Kinect V1 by Microsoft, Structure Sensor by Occipital, and Xtion PRO by ASUS, all based on different implementations of the Primesense sensor; ii) F200 by Intel/Creative, implementing the Realsense pattern projection technology; Kinect V2 by Microsoft, equipped with the Canesta TOF Camera. A critical analysis of the results tries first of all to compare them, and secondarily to focus the range of applications for which such devices could actually work as a viable solution.