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Historical buildings and monuments are typically subject to degradation over time due to the passage of time and constant exposure to external agents. The use of artificial intelligence (AI) to support the work of conservation and restoration specialists in identifying surface decay is a research topic of considerable interest at present. This study presents two approaches: ChatGPT and an object detection architecture (YOLOv5). Specifically, this investigation sought to evaluate the ChatGPT’s ability to identify and describe surface degradation pathologies by exploiting its pre-trained models for image analysis. The ICOMOS-ISCS: Illustrated Glossary on Stone Deterioration Patterns (2008) was provided as a reference to guide the use of specific terminology. In the first test phase, to verify the accuracy of the ChatGPT results, benchmark images (depicting different types of damage) extracted from the UNI 11182 (2006) standard referring to the definition of degradation types were used. Only later were images from literature studies and other photographic datasets also used. In general, the results of the analysis were validated with the conclusions of professionals and with the conclusions of other AI techniques, as well as with the descriptions provided by reference manuals in the literature. In particular, the decay annotations predicted by the pre-trained object detection model were compared with those made by human experts. The capabilities and limitations of both approaches as tools for identifying deterioration pathologies are illustrated.

Digital technology provides methods to record and preserve cultural heritage, support conservation and restoration efforts, and share our collective past with a worldwide audience. Between 2011 and 2017, the 3D Survey Group from Politecnico di Milano operated an annual workshop in the medieval village of Ghesc in which photogrammetry and laser-scanner surveys were carried out. The point cloud data acquired in these activities has become “time slices” documenting different stages of the preservation interventions in Ghesc and the evolution of advanced survey techniques. The main objective of this research is to streamline the workflow of delivering immersive and interactive experiences for complex heritage by directly utilising the 3D survey point cloud data, whether derived from a photogrammetric survey, static laser scanner, or mobile mapping.A point cloud-based multiplatform application is designed and delivered with versatile functions. It runs on PC and VR devices to provide virtual access to the village and narrate its revitalisation story. Additionally, it operates on mobile devices with an AR feature that brings vibrancy to the on-site experience. This application integrates high-fidelity point cloud models, detailed information on vernacular architecture in the Ossola Valley, and information on the preservation project with gamified learning experiences. The unconventional approach of using points as rendering primitives in virtual applications offers a practical solution for visualising complex heritage, enabling an efficient transition from the data collection stage to the data sharing stage without the need for 3D reconstruction and intricate BIM modelling.

Image classification and object detection techniques have been widely discussed and developed in recent years; they are the basis of various prosperous applications, for example, real-time mapping. Promising as it is, the practical test in the cultural heritage field encountered multiple problems. In this paper, the authors attempt to share the research experimentations and the empirical knowledge focusing on the classification and detection of architectural pathology. The tests are built on elaborated training sets annotated with analysed and in-advance defined categories. The trained models were examined from the perspective of evaluation sets, model explanation and unseen datasets. The outcomes indicated the mistakes and confusions behind things and stuff in the object detection efforts, to which cultural heritage and architectural field are closely related. The model also reveals specific visual patterns for recognition from thousands of instances in the training set. By digging into different aspects of model performance, the potential and limitations of these techniques in practical applications can be better understood.

The research purpose is to present a project of cultural dissemination and enhancement of the “Madonna della Pace” Sanctuary at Rocchetta di Airuno (Lecco - Italy), based on an immersive experience of knowledge of the history and places that characterize not only the sanctuary but also the “Cammino di Sant’Agostino” (of which it is one of the stages). The research goal focuses on the direct employment and exploitation of HBIM models for the digital fruition project. An integrated digital survey based on a terrestrial laser scanner and photogrammetry was conducted to provide a complete geometrical representation of the sanctuary and its surroundings. Both output point clouds were employed as metric and geometric references to create the reality-based parametric model. Specifically, the work focuses on creating a three-dimensional chronological model of the sanctuary, which not only represents the current state of the cultural asset but is also enriched through the definition of different evolutionary phases of the architectural artifact based on an indepth study of the photographic and bibliographic documentations. Four Project Phasing has been identified to represent the most significant transformations of the building and were managed using the time parameter in the same BIM project. The sanctuary geometric and parametric models were displayed and navigable thanks to the aid of Virtual and Augmented Reality applications. A VR environment was defined to display in the first person the textured model. Finally, an AR smartphone app prototype was developed to show tourists the sanctuary’s historical transformation over time.

The aim of this communication is to present the advantages and disadvantages of a Scan-to-BIM process applied to a heritage building in order to obtain advanced technical drawings to be used in the analysis and illustration of the project. The whole process described includes: the survey planification and data acquisition with a Terrestrial Laser Scanner; the processing and cleaning of the point cloud; the 3D mathematical modelling; a proposal for semi-automatic modelling of organic elements; and the import of the final model into a BIM environment. Rhinoceros (McNeel) and Revit (Autodesk) are the main programs used. The crucial aspect of this workflow is found at the moment of importing the geometrical model into Revit, having to accommodate the criteria of this program in terms of tolerances, geometric structure of the solids, incompatibilities with NURBS libraries, etc. The result is a BIM model divided into families and subcategories where visual attributes can be assigned per element, parameterized and other visual information can be added (orthophotographs, wireframe analysis drawings, etc.). In other words, a 3D model from which highly configurable advanced representations (plans, vertical sections, perspectives, isometric exploded view, etc.) can be obtained and with which to generate analyses from the field of Architectural Graphic Expression.

The configuration of new survey approaches for digitizing tiny artefacts is gradually emerging in favour of the related results sharing in new modalities such as 3D printing and or Cultural Heritage open-access datasets. Unfortunately, due to the still high cost of the instrumentations and the time required for specialized operators training, both the digital documentation of small artefacts and the dissemination of 3D data are still a long way from becoming truly mainstream practices.Alternative solutions, often at low cost, could be considered, involving the use of passive sensors for image-based modelling processes, relying on a widespread technology that is now within everyone’s reach. Therefore, we intend to meet the demand for the three-dimensional representation of small objects with complex surfaces and sub-millimetre morphological characteristics by designing several custom accessories that optimize the photogrammetric workflow while maintaining very high metric rigour.In this current work, the authors will focus on researching the most suitable acquisition method and hardware setup to achieve a digital twin of a complex and detailed cuneiform tablet replica using the now widely available on the market digital portable microscopes, able to achieve high magnification. The results were compared with a reference dataset from an active sensor acquisition for the necessary procedure validations.

The concept of combining learning activities and Cultural Heritage is a highly effective approach, both in the pandemic era and no. Knowledge and awareness of a place cultural identity by the local community is itself a conservation action. Therefore, a training activity was tested at the “Liceo Leopardi” (Lecco) according to the guidelines of Italian work-school projects. It is an innovative didactic methodology that allows students to combine school training with practical experience in a public or private institution. Since 2015, it has been compulsory in Italy for all high school students. The didactic tool used to face innovative topics related to heritage digitisation and its remote access was the Virtual Tour of the Monumental Complex of Laorca. The VT is a very effective immersive tool and easy to use even for non-expert users. Through some frontal lessons and laboratory activities, the students learned the basic concepts about the acquisition techniques to realise multimedia data (artistic photography, light painting, panoramic photography, video, etc.) to enrich the Laorca complex VT frame. The didactic experimentation was very engaging for the students who created a cultural game for the younger middle school students. The game is structured like a path consisting of 10 phases, designed in two versions: one version played directly on-site and another available online within VT. The research presented aims at the CH digitisation for the involvement and participation of the local community in the territorial identity promotion. The didactic experiment involved students reinforcing the link with their territory.

The work aims to present and validate the workflow from the 3D survey to the visualization of cultural heritage objects using the innovative Euclideon Hologram Table©. Three case studies surveyed with three different systems and at three different scales have been selected: Santa Maria delle Grazie in Milan (terrestrial laser scanner for an architecturalscale), the village of Ghesc in the Ossola valley (UAV survey for an environmental scale) and the cuneiform clay tablet number 727 (structured light system for a detailscale). The whole process of transforming the 3D point/mesh model to hologram was verified, analysing the file formats, technical performance and specifications, file dimensions manageable, and details viewable. The first test shows great potentiality, becausethe hologram exploring is impressively fluid even when zooming to view a higher detail level, despite the high number of points/polygons. The power and performance of the point cloud 3D rendering engine result impressive. Nonetheless,different aspects need further research, from point cloud visualization quality to enhancing 3D model interaction.

This paper is part of a current of researches that deal with the survey of Cultural Heritage as the first tool of knowledge and dissemination of the memory and value of ancient architecture. The progress of survey techniques and the spread of new tools and measurements instruments obliges frequents update in our project; the survey also compares itself with progression over the time, especially when the context of interest is broad as in the case here described. Here the complex of Santa Maria delle Grazie has been surveyed starting from the Chiostro delle Rane and Old Sacristy, including the room of the Candle man, by Donato Bramante, the Chiostro del Priore, built through the years with the aid of Beltrami and Portaluppi, and the New Sacristy. The cathedral survey and the Last supper room together with The Chiostro dei Morti has not yet been included; this first part has been considered as a first cross section enough to present first problems, techniques and aims. In addition, the destination of the survey in progress has been evaluated on a broad spectrum: from comparison with other Bramante’s masterpieces to the map rendering of some of its decorated parts to the construction of simple meshes for the reconstruction of virtual environments. This is the reason why some part of the complex has been surveyed with more attention and high-detail while other with more simplicity and low-detail, not only to spare time.

This work starts from the request to have a physical high-resolution 3D model of the external, anthropoid coffin of the scribe Butehamon, held at the Museo Egizio, Turin. At the time of writing, a replica of the coffin, based on this survey work, functions as final and focal installation of the temporary exhibition Archeologia Invisibile of the Museo Egizio, Turin, running from March 2019 to January 2020. The replica acts as support for a micro-mapping installation meant to re-project a pattern of images onto the coffin’s surface, including the results of different radiometric and colourimetric analyses performed in the recent past by Museo Egizio and Musei Vaticani. This collaborative work encouraged a thorough discussion on the interaction between scientists and humanists engaged in the study of archaeological finds, on the needs and expectations of both sides, and on the technical problems relating to handling objects of different sizes.

In many Cultural Heritage cases study, where usually the shapes to be reproduced have complex and irregular geometries there is a growing demand to create and use very high-resolution polygonal models that represent the real objects with great accuracy and level of detail. In archaeological field, for example, it is fundamental to create a virtual reconstruction that is as close as possible to the reality, because the digging operations are often destructive and it is necessary to track and preserve for the future as much as possible. This requirement leads to three relevant problems: 1) the elaboration of high-poly and high-resolution models, 2) the management of these models, 3) their sharing and access. In this paper, both a scientific approach for realizing the accurate and detailed models and a system to manage, share and visualize these models on the web will be shown. Moreover, a multi-texture digital model elaboration is proposed for the correct definition of the geometrical and texture resolution in relation to the survey level of detail, the physical size of the object and the project requirement. In particular, a web-system that allows the sharing of very high-resolution models, with multi-textures support will be presented.

The techniques and methods to capture and represent in a three-dimensional digital space the shape of objects belonging to Cultural Heritage have become more widespread, regarding both the economic and practical accessibility of technologies and equipment. At the same time, systems and tools have developed to integrate different 3D survey techniques that allow to achievement a complete acquisition of the tangible assets, considering the purposes of the survey, the required accuracy and the representation scale.The product of an integrated (image-based and range-base acquisition) and multi-scale (architectural and landscape scale) digital survey is a metric 3D reconstruction, potentially suitable for a broader ‘use’ and ‘user’ and not only for visualisation and documentation. According to this vision, the 3D model becomes a container of information, which include different type of data depending on the users and the aim of the work. The final result of this process can be the valorisation of the Cultural Heritage and its environment, through the access from experts and non-experts users. The aim of the article is showing the entire pipeline for 3D measurement, survey data acquisition, modelling, and representation of tangible assets and the related layers of information, as “best practice” to improve the Cultural Heritage knowledge, fruition, and sharing.

The VAST (valorisation of history and landscape) project (http://vast.fbk.eu/) was part of the initiatives promoted by the Autonomous Province of Trento (Italy) for the commemoration of the 100th Anniversary of the First World War (WWI) outbreak. The project was primarily aimed to document and promote, through 3D digitization approaches and communication material, the memory of sites, theatre of the world conflict. The Italian Trento’s province had been under the Austro–Hungarian Empire until the end of the WWI, during which represented a crucial and bloody war front between the Austrian and Italian territories. The region was constellated of military fortresses, trenches and tunnels, most of them now ruined and at risk to slowly disappear. 3D surveying and modelling techniques have been exploited to produce 3D digital models of structures and objects, along with virtual tours, communication material and a WebGIS of the area. All the products are available on the web for valorisation, educational and communication purposes.

2014 is the hundredth anniversary of the outbreak of the First World War (WWI) – or Great War – in Europe and a number of initiatives have been planned to commemorate the tragic event. Until 1918, the Italian Trentino – Alto Adige region was under the Austro – Hungarian Empire and represented one of the most crucial and bloody war front between the Austrian and Italian territories. The region borders were constellated of military fortresses, theatre of battles between the two opposite troops. Unfortunately, most of these military buildings are now ruined and their architectures can be hardly appreciated. The paper presents the initial results of the VAST project (VAlorizzazione Storia e Territorio – Valorization of History and Landscape), that aims to digitally reconstruct the forts located on the plateaus of Luserna, Lavarone and Folgaria. An integrated methodology has been adopted to collect and employ all possible source of information in order to derive precise and photo-realistic 3D digital representations of WWI forts.

The paper presents the integration of different 3D recording techniques and instruments to survey the archaeological area of Paestum (Italy). Paestum was included in the UNESCO World Heritage list since 1998, and still preserves the ruins of Greek and Roman times. Photogrammetry and terrestrial laser scanning (TLS) acquisitions were integrated in order to exploit the advantages of the 3D surveying techniques and produce digital models, orthoimages, maps and other geometric representations useful for archaeological, architectural and cultural touristic purposes. The obtained 3D results are then compared to historical representations to show the high quality of such ancient manual drawings.

The main objective of this paper is to establish a procedural method for measuring and cataloguing antlers through the use of laser scanner and of a 3D reconstruction of complex modeling. The deer's antlers have been used as a test and subjected to capture and measurement. For this purpose multiple data sources techniques have been studied and compared, (also considering low-cost sensors) estimating the accuracy and its errors in order to demonstrate the validity of the process. A further development is the comparison of results with applications of digital photogrammetry, considering also cloud computing software. The study has began with an introduction to sensors, addressing the underlying characteristics of the technology available, the scope and the limits of these applications. We have focused particularly on the "structured light", as the acquisition will be completed through three-dimensional scanners: DAVID and the ARTEC MH. The first is a low-cost sensor, a basic webcam and a linear laser pointer, red coloured, that leads to acquisition of three-dimensional strips. The other one is a hand scanner; even in this case we will explain how to represent a 3D model, with a pipeline that provides data export from the "proprietary" to a "reverse engineering" software. Typically, these are the common steps to the two approaches that have been performed in WRAP format: point sampling, manual and global registration, repair normals, surface editing and texture projection. In fact, after a first and common data processing was done with the use of a software supplied with the equipment, the proto-models thus obtained were treated in Geomagic Studio, which was also chosen to allow the homogenization and standardization of data in order to make a more objective comparison. It is commonplace to observe that the editing of the digital mock-up obtained with the DAVID – which had not yet been upgraded to the 3.5 release at the time of this study - is substantially different. In the ARTEC digital mock-up for example, it shows the ability to select the individual frames, already polygonal and geo-referenced at the time of capture; however, it is not possible to make an automated texturization differently from the low-cost environment which allows to produce a good graphics’ definition. Once the final 3D models were obtained, we have proceeded to do a geometric and graphic comparison of the results. Therefore, in order to provide an accuracy requirement and an assessment for the 3D reconstruction we have taken into account the following benchmarks: cost, captured points, noise (local and global), shadows and holes, operability, degree of definition, quality and accuracy. Subsequently, these studies carried out in an empirical way on the virtual reconstructions, a 3D documentation was codified with a procedural method endorsing the use of terrestrial sensors for the documentation of antlers. The results thus pursued were compared with the standards set by the current provisions (see "Manual de medición" of Government of Andalusia-Spain); to date, in fact, the identification is based on data such as length, volume, colour, texture, openness, tips, structure, etc. Data, which is currently only appreciated with traditional instruments, such as tape measure, would be well represented by a process of virtual reconstruction and cataloguing.

Man has always had the need to live with his past, with its places and its artefacts. The reconstructions, the economical changes, the urbanization and its speculations have devastated whole cities, changed the faces of their historical centers, changed the relationship between the new and the old. Also the millenarian 'rest' of the archaeological findings, and therefore the respect towards those ancient civilizations, has been troubled. Our continent is rich in masterpieces that the modern man are not able to protect and pass on to the future, it is commonplace to observe that the modern ‘civilization’ has cemented and suffocated the ancient city of Pompeii, or even worse, failed to protected it. Walking in the archaeological area of Paestum it can be noticed how just sixty years ago, no one had the slightest concern of fencing the amphitheatre and the Roman forum, or entire houses and shops, to lay a carpet of tar or simple to build constructions completely inferior compared to those majestic Greek temples. The engineers and the architects should be held responsible for this as based on their scientific and humanistic sensibility; they should bring together the man with his surroundings in the complete respects of the historical heritage. The interest in ancient began to change nearly three decades ago since it was realized that the "Cultural Heritage" is a major tourist attraction and, if properly managed and used, it can be an economical cornerstone. Today, thanks to survey and the 3D graphics, which provide powerful new tools, we are witnessing a new and real need for the conservation, cataloguing and enhancement as a way to revive our archaeological sites. As part of a major laboratory project, artefacts from the Roman period (I and II century b.C.), found in the Spanish city of Mérida, declared World Heritage by UNESCO in 1993, were acquired with a 3D laser scanner VIVID 910, and then catalogued. Based on these brief comments we wanted to direct the work carried out under an Erasmus Placement Agreement with the Spanish company Gavle, towards the info-graphics detection and documentation of this archaeological heritage.