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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.

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.

In recent decades, 3D reconstruction has progressively become a tool to show archaeological and architectural monuments in their current state, presumed past aspect and to predict their future evolution. The 3D representations trough time can be useful in order to study and preserve the memory of Cultural Heritage and to plan maintenance and promotion of the historical sites. This paper represent a case study, at architectonic and urbanistic scale, based on methodological approach for CH time-varying representations proposed by JPI-CH European Project called Cultural Heritage Through Time (CHT2). The work is focused on the area of Milan Roman circus, relatively to which was conducted both a thorough philological research based on several sources and a 3D survey campaign of still accessible remains, aiming at obtaining the monumental representation of the area in 3 different ages.

Temporal analyses and multi-temporal 3D reconstruction are fundamental for the preservation and maintenance of all forms of Cultural Heritage (CH) and are the basis for decisions related to interventions and promotion. Introducing the fourth dimension of time into three-dimensional geometric modelling of real data allows the creation of a multi-temporal representation of a site. In this way, scholars from various disciplines (surveyors, geologists, archaeologists, architects, philologists, etc.) are provided with a new set of tools and working methods to support the study of the evolution of heritage sites, both to develop hypotheses about the past and to model likely future developments. The capacity to “see” the dynamic evolution of CH assets across different spatial scales (e.g. building, site, city or territory) compressed in diachronic model, affords the possibility to better understand the present status of CH according to its history. However, there are numerous challenges in order to carry out 4D modelling and the requisite multi-data source integration. It is necessary to identify the specifications, needs and requirements of the CH community to understand the required levels of 4D model information. In this way, it is possible to determine the optimum material and technologies to be utilised at different CH scales, as well as the data management and visualization requirements. This manuscript aims to provide a comprehensive approach for CH time-varying representations, analysis and visualization across different working scales and environments: rural landscape, urban landscape and architectural scales. Within this aim, the different available metric data sources are systemized and evaluated in terms of their suitability.

Cultural Heritage documentation and preservation has become a fundamental concern in this historical period. 3D modelling offers a perfect aid to record ancient buildings and artefacts and can be used as a valid starting point for restoration, conservation and structural analysis, which can be performed by using Finite Element Methods (FEA). The models derived from reality-based techniques, made up of the exterior surfaces of the objects captured at high resolution, are - for this reason - made of millions of polygons. Such meshes are not directly usable in structural analysis packages and need to be properly pre-processed in order to be transformed in volumetric meshes suitable for FEA. In addition, dealing with ancient objects, a proper segmentation of 3D volumetric models is needed to analyse the behaviour of the structure with the most suitable level of detail for the different sections of the structure under analysis. Segmentation of 3D models is still an open issue, especially when dealing with ancient, complicated and geometrically complex objects that imply the presence of anomalies and gaps, due to environmental agents such as earthquakes, pollution, wind and rain, or human factors. The aims of this paper is to critically analyse some of the different methodologies and algorithms available to segment a 3D point cloud or a mesh, identifying difficulties and problems by showing examples on different structures.

Although 3D models are useful to preserve the information about historical artefacts, the potential of these digital contents are not fully accomplished until they are not used to interactively communicate their significance to non-specialists. Starting from this consideration, a new way to provide museum visitors with more information was investigated. The research is aimed at valorising and making more accessible the Egyptian funeral objects exhibited in the Sforza Castle in Milan. The results of the research will be used for the renewal of the current exhibition, at the Archaeological Museum in Milan, by making it more attractive. A 3D virtual interactive scenario regarding the “path of the dead”, an important ritual in ancient Egypt, was realized to augment the experience and the comprehension of the public through interactivity. Four important artefacts were considered for this scope: two ushabty, a wooden sarcophagus and a heart scarab. The scenario was realized by integrating low-cost Virtual Reality technologies, as the Oculus Rift DK2 and the Leap Motion controller, and implementing a specific software by using Unity. The 3D models were implemented by adding responsive points of interest in relation to important symbols or features of the artefact. This allows highlighting single parts of the artefact in order to better identify the hieroglyphs and provide their translation. The paper describes the process for optimizing the 3D models, the implementation of the interactive scenario and the results of some test that have been carried out in the lab.

The purpose of this paper is to analyze how optical pre-processing with polarizing filters and digital pre-processing with HDR imaging, may improve the automated 3D modeling pipeline based on SFM and Image Matching, with special emphasis on optically non-cooperative surfaces of shiny or dark materials. Because of the automatic detection of homologous points, the presence of highlights due to shiny materials, or nearly uniform dark patches produced by low reflectance materials, may produce erroneous matching involving wrong 3D point estimations, and consequently holes and topological errors on the mesh originated by the associated dense 3D cloud. This is due to the limited dynamic range of the 8 bit digital images that are matched each other for generating 3D data. The same 256 levels can be more usefully employed if the actual dynamic range is compressed, avoiding luminance clipping on the darker and lighter image areas. Such approach is here considered both using optical filtering and HDR processing with tone mapping, with experimental evaluation on different Cultural Heritage objects characterized by non-cooperative optical behavior. Three test images of each object have been captured from different positions, changing the shooting conditions (filter/no-filter) and the image processing (no processing/HDR processing), in order to have the same 3 camera orientations with different optical and digital pre-processing, and applying the same automated process to each photo set.