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Redesigning the ichonographiae carved in the marble table kept at the Archaeological Museum of the Umbrian capital, has a double meaning: (1) to collect what has been examined by experts of Roman topography on a cartographic practice already recurrent at the death of Augustus, (2) observe with a renewed spirit a document of fundamental interest for the history of survey and architectural drawing. There are in fact three horizontal sections meticulously quoted in Roman “feet”: the ground floor of a funerary monument with an outdoor triclino (scale 1:84), the plan of a vegetable garden serving the rustic villa (scale 1: 140) inhabited on the upper level by the caretaker (1: 230).Proceeding from the mathematical analysis to the planimetric vectorization of the monumental complex, the contribution illustrates the reasons and the path that informed the 3D reconstruction. In compliance with a digital practice shared by the scientific communities; the unprecedented interpretation represented an opportunity to explore its potential uses in terms of a renewed communication paradigm.The objective in progress is aimed at raising a frame of meanings around the memory of Imperial civilization, to guide strategies that do not fail to fall on the policies of protection and enhancement of the property studied. The immersive use of models and adequate spaces for collaboration, which have become collectors of information, thanks and by virtue of dedicated servers, lead to the generalization of issues, which, by affecting a wider audience of users, encourage socio-economic programs as well as cultural technicians.DOI: https://doi.org/10.20365/disegnarecon.27.2021.2

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).

2006/2007 L’idea di questo lavoro nasce dalla volontà di applicare la tecnologia GIS al campo dell’archeologia, da qualche anno a questa parte sempre più propensa ad usare strumenti informatici. Ormai la ricerca archeologica non è più solo studio erudito e piacere della conoscenza, essa si scontra spesso con la realtà delle nostre città dove, se si effettua uno scavo, non è raro imbattersi in strutture antiche importanti tanto da necessitare di una documentazione corretta e il più completa possibile, da realizzare però senza penalizzare o compromettere le funzioni quotidiane della città stessa e senza far aumentare i costi di realizzazione e gestione degli scavi. Non è facile conciliare le necessità della tutela esercitata dagli organi periferici del Ministero per i Beni e le Attività Culturali, cioè le Soprintendenze, i cui compiti consistono nel tutelare e conservare i resti archeologici, con quelle delle istituzioni pubbliche che devono amministrare e gestire la vita cittadina, ritenute spesso e per molti versi in contrapposizione. Per questa ragione si è voluto proporre uno progetto di lavoro che potesse far fronte ad entrambe le necessità, che potesse essere uno strumento al contempo di analisi, e di archiviazione e gestione dei dati relativi alle evidenze archeologiche, utile anche e soprattutto per individuare le aree a maggior rischio archeologico in modo tale da permettere una sinergia tra tutti gli Enti preposti alla gestione delle aree urbane e del territorio in senso lato. La creazione della carta archeologica della città in GIS, utilizzando il software ArcGIS, ha avuto come area di interesse il centro storico della città di Cividale del Friuli ed ha usato come base di lavoro la carta archeologica della città, redatta nel dicembre del 2003 per la tesi di laurea in archeologia classica presso l’Università La Sapienza di Roma e integrata con i dati degli scavi effettuati nel lasso di tempo intercorso tra il 2002 ed il 2007. L’impostazione del GIS ha ripercorso la metodologia di studio seguita per la tesi, secondo un posizionamento delle evidenze in base a riferimenti topografici e puntuali, a seconda del tipo di informazioni scaturite dalla ricerca bibliografica. Questo procedimento è stato ulteriormente completato ed affinato con il posizionamento di precisione di alcune aree archeologiche sulla Carta Tecnica Regionale Numerica in scala 1:5000 mediante l’utilizzo di rilievi strumentali con stazione totale che hanno sfruttato una rete topografica realizzata dalla Soprintendenza ai Beni Archeologici del Friuli Venezia Giulia e che usa una serie di vertici topografici, materializzati con chiodi, distribuiti su gran parte del tessuto urbano, le coordinate dei quali sono state restituite mediante strumentazione GPS. Passaggio successivo al posizionamento dei resti archeologici è stato quello della ricostruzione ipotetica dell’urbanistica della città antica, con la graficizzazione dell’antico tessuto viario della città romana sulla base dei dati archeologici e cartografici d’archivio. Per completare l’analisi dello sviluppo urbano della città in epoca immediatamente successiva a quella romana (V – X sec d.C.) sono stati inseriti all’interno dello stesso sistema cartografico di archivio anche tutti i dati archeologici pertinenti a questo arco cronologico. L’analisi dello sviluppo urbano relativa ad un arco cronologico così ampio ha permesso di puntualizzare e determinare i cambiamenti del tessuto cittadino avvenuti tra la tarda antichità e il primo medioevo, cambiamenti che si possono apprezzare attraverso le interrogazioni del database e della cartografia applicata e visibili a tutt’oggi nel moderno impianto urbano. Alla carta archeologica in GIS è stato collegato un database contenente tutte le informazioni necessarie per la conoscenza e lo studio dei resti archeologici. L’idea iniziale era di creare un geodatabase in ArcCatalog in quanto sembrava lo strumento migliore essendo direttamente collegato alle entità geografiche rappresentate. Un primo problema è incorso nel momento dell’impostazione del geodatabase in quanto esso richiede per ogni Feature Class una sola entità, punto, linea o poligono. Per uno scavo archeologico questo è limitante poiché si possono trovare tutte e tre le rappresentazioni e quindi si dovrebbero creare tre Feature Class invece che una. Inoltre uno scavo archeologico può presentare una larga varietà di informazioni (mosaici, muri, tombe, frammenti ceramici) che possono riferirsi a periodi storici e a fasi del reperto archeologico diversi. L’articolazione dei dati ha fatto prevalere l’idea che sarebbe stato più agevole creare un database in Access che permette la contemporaneità di più informazioni relative ad una stessa tabella. Un secondo problema legato al database è la possibilità di implementare le informazioni e di interrogare i dati: si deve tenere in mente che la carta archeologica sarà uno strumento di valore divulgativo e che quindi dovrà essere usata da non addetti ai lavori; il database creato in Access possiede tutti i requisiti necessari, sia per l’organizzazione che per l’implementazione dei dati. In secondo luogo è stato impostato un lavoro relativo alla creazione di un modello tridimensionale del terreno della città di Cividale del Friuli con la rappresentazione dell’attuale morfologia del territorio su cui insiste l’area urbana della città, con l’intento di ricostruire dove possibile e sempre in 3 dimensioni, sulla base delle quote dei piani antichi individuati durante le indagini archeologiche (piani pavimentali, livelli stradali, quote di calpestio), la morfologia antica riferita a specifici periodi cronologici. In questo modo, con la creazione della carta di rischio archeologico, si possono fornire indicazioni non solo sul posizionamento dei siti all’interno della città, ma anche a quale quota sono stati trovati e a quale quota si potrebbero trovare eventuali nuove scoperte. A questo punto è sorto un problema relativo al miglior software da utilizzare per le ricostruzioni, se ArcGis o Cad in quanto lo spazio in cui ci si muove è ridotto essendo il centro cittadino molto piccolo. Alla fine, dopo molte prove, la soluzione migliore, che permette un maggiore visibilità delle variazioni altimetriche tra piano di calpestio attuale e ipotetico piano antico, è stata la creazione di un reticolo di sezioni che coprisse l’intera superficie della città in cui sono localizzati elementi archeologici quotati. Sono state create infine alcune carte di rischio sulla base dei posizionamenti e delle quote dei resti archeologici per individuare le aree propriamente archeologiche, quelle in cui la concentrazione di resti antichi è maggiore, le aree a loro prossime, che presentano un rischio elevato e, via via che ci si discosta dalle aree archeologiche, le aree con vari gradi di rischio, fino a quello basso. La carta di rischio e di tutela è uno strumento fondamentale per l’Amministrazione pubblica, che può disporre di elementi fondamentali per il posizionamento, in pianta ed in altimetria, dei resti archeologici e può quindi organizzare facilmente i lavori dei piani regolatori, e per la collaborazione tra il Comune e la Soprintendenza per tutelare i resti archeologici senza nuocere ala vita cittadina di tutti i giorni. Come ulteriore sviluppo del lavoro cartografico e di archivio è stato creato un sito multimediale dedicato al Museo Archeologico Nazionale ospitato nei locali del Palazzo dei Provveditori in piazza Duomo a Cividale del Friuli all’interno del quale sono esposti numerosi oggetti di diversa natura rinvenuti nella zona del centro storico della città e nel territorio limitrofo. Il sito è stato progettato con la finalità di fornire al visitatore del Museo una guida multimediale sugli oggetti esposti e, attraverso questa, la possibilità di collegare gli stessi al luogo di rinvenimento fornendo contestualmente delle informazioni topografiche ed archeologiche oltre che storico – artistiche proprie della descrizione dell’oggetto esposto. Questo progetto di ricerca ha avuto come obiettivo la creazione di un GIS dedicato a Cividale del Friuli ed al suo territorio, alla sua storia e al suo patrimonio storico – artistico ed archeologico; il GIS così creato rappresenta uno strumento utile non solo per la ricerca, l’archiviazione e lo studio dei dati archeologici in senso lato, ma è anche un importante mezzo attraverso il quale poter conoscere in tempo reale e puntuale la sovrapposizione tra la città moderna e “le città” antiche e progettarne la loro convivenza; è proprio grazie ai programmi informatici e alla loro interazione che la carta archeologica ed il database ad essa collegato possono diventare strumenti utili per l’archiviazione, lo studio, l’analisi dei dati in tempo reale e la progettazione. XX Ciclo

The article proposes a reflection on the architectural contents of the iconographies carved on a marble slab called slab of Perugia of the second half of the first century, kept in the archaeological museum of the Umbrian capital. The measurements expressed in fractions of anthropometric units in force at the time certify the legal nature of the document. The authors, moving from the graphic interpretation of the find to the design control of the three-dimensional reconstruction, take the opportunity to reflect on the opportunity to share VR and AR collaborative platforms, useful for promoting scientific knowledge in relation with the current civil commitment and to the economic development.

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.

The recursive action of the survey has made it possible to advance the most intimate understanding of the construction methods of the artistic ceramics factory, built between 1954 and 1955 in Vietri sul Mare. The article presents and discusses the results of photogrammetry carried out using the SfM technique. The various fractures in the main front of the south façade, some of them at the height of the operator, led to the graphic description of the clay amphorae used to build the infill wall instead of perforated bricks. The process followed used two reality-based methods to transform the meshes into topologically modifiable models: 1) abstraction and extraction of the meshes converted into polyhedra 2) free-form geometries. The paper illustrates the process followed to obtain 3D configurations suitable to be processed for finite element analysis (FEA). The results will be used to help make the models derived from different other techniques such as laser scanning, informative.

Conservation of Cultural Heritage is a key topic and structural changes and damages can affect the structural behaviour of Cultural Heritage artefacts and buildings. Considering that the application of technologies can help in preserving, conserving and restoring ancient structures, it is mandatory to find the best pipeline to produce the correct analysis that can be provided with the use of Finite Element Analysis, a well-known technique used in modelling stress behaviour of objects and structures. The necessary workflow invests and involves design experts enabled to mathematically master the potential of models that pass from interpretation to design control. Following the principles of good experimental practice, 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. Conversely, when applied to 3D models of Cultural Heritage, often 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 work is to present a method based on retopology, hence on quadrangular element instead of triangles. Such process aims at generating the most accurate 3D representation of a real artefact from highly accurate 3D models derived from image-based and range—based techniques, maintaining the accuracy of the high—resolution polygonal models in the solid ones to be created for FEA. A proper pipeline can help to carry out the necessary interventions and perform virtual restoration prior to the physical one.

Cultural heritage’s structural changes and damages can influence the mechanical behaviour of artefacts and buildings. The use of finite element methods (FEM) for mechanical analysis is largely used in modelling stress behaviour. The workflow involves the use of CAD 3D models and the use of non-uniform rational B-spline (NURBS) surfaces. For cultural heritage objects, altered by the time elapsed since their creation, the representation created with the CAD model may introduce an extreme level of approximation, leading to wrong simulation results. The focus of this work is to present an alternative method intending to generate the most accurate 3D representation of a real artefact from highly accurate 3D reality-based models, simplifying the original models to make them suitable for finite element analysis (FEA) software. The approach proposed, and tested on three different case studies, was based on the intelligent use of retopology procedures to create a simplified model to be converted to a mathematical one made by NURBS surfaces, which is also suitable for being processed by volumetric meshes typically embedded in standard FEM packages. This allowed us to obtain FEA results that were closer to the actual mechanical behaviour of the analysed heritage asset.

In the presence of architecturally significant ruins, restoring and disseminating the idea of a testimony that has survived the destructive work of time is a cultural and social necessity that the use of advanced methods and tools allows to communicate in a timely and comprehensive manner. The integration of 3D surveying techniques and digital information production and management processes (graphic and alphanumeric, i.e., geometric information) makes it possible to put in place multifaceted and effective strategies. The article aims at describing the process of data acquisition (using applied photogrammetry) of the remains of a medieval cloister located on the outskirts of ancient Oppido Mamertina (RC, Italy). The use of the acquired point cloud, cleaned and optimised, made it possible to extract suitable orthophotos from which to derive the matrix profiles of the vaulted roof system. The information organisation of the model, which can be queried on time despite the generic level of detail, leads us to meditate on the change taking place in the field of documentation for urban environmental design and maintenance.

[EN] The paper presents Axis Strutture, patented by the authors, awarded with V:alere funds (VAnvitelli pER la ricErca 2020) for the establishment of an innovative start-up, now academic spin-off. It is based on the assemble of iron and wood with 'pins' (in Latin 'axis') threaded to ensure an economic profit in line with the Sustainable Development Goals, reviewing ancient technologies in the light of advanced research. The focus is on the structural connections of a construction system that clamps the steel frame elements with the wooden infill, allowing to assemble modular, prefabricated and flexible components customized on the design phase’s request. It provides effective emergency shelters assembled or dismantled as quickly as tents but more stable, healthier and comfortable. With a single star key, the steel uprights can be attested with wooden and similar tampons avoiding nails and screws which allows the total reuse of the components. The patented connections implement a new construction method promoting the self-construction of garden houses, leisure environments, bungalows, garages and quality housing modules, since they are resilient, resistant and with a controllable impact on the environment. The case study provides an opportunity to verify actions aimed at the implementation of Design for Adaptability strategies promoting virtuous life cycles that involves the entire community in sustainable models from an economic, environmental and social point of view., The case study develops the application potential of an idea patented by the authors awarded with the V: alere funds (VAnvitelli pER la ricErca 2020) for the establishment of an innovative start-up, now an academic spin-of

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.

Through a non-contact survey methodology, based on image-based techniques, the authors digitally ‘build’ a three-dimensional hypothesis of a monumental complex carved on a first-century AC marble tombstone. Guided by the mathematical rationality recognised in the artefact, the paper illustrates the reasons for the reconstructive choices and then proposes a reflection on the architectural contents. The ultimate goal focuses on the potential use of the digital product, which, thanks to and by virtue of the use of dedicated platforms, promotes strategies that include identity values by superimposing technical, social, and economic aspects. The setting up of collaborative spaces programmed with different strategies can effectively support the cognitive experience by verifying the possibility of “remedying” contents that, in our case, direct the study, dissemination, and protection of cultural heritage according to the most recent UNESCO recommendations.

New technologies can help in documenting, preserving and disseminating cultural contexts. Although photogrammetry is a well-known technology for preserving cultural heritage, its combined use with 3D printing is worthwhile to simultaneously provide a digital twin for conservation and restoration purposes and for disclosure of Cultural Heritage. The possibility that 3D printing gives in the field of Cultural Heritage is wide and goes from the creation of small models for bookshops to scaled models for helping blind people to visualize sculptures or artistic artifacts through touch. They can also be valuable resources for all museum visitors allowing them to experience the monument or artefact. This paper presents the pipeline followed for the survey and the creation of high- and low-resolution models of the Tomb of Giulio II in Rome, providing on one hand the Superintendence with a 3D model useful for study and virtual restoration, and on the other blind people with an accurate 3D printed model for enjoying and understanding the monument. Each step of the process is explained highlighting the critical passages starting from the difficulties during the 3D survey to the creation of an accurate 3D reality-based model to the production of a valuable 3D printed model

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.

Si ordinano le fonti per mostrare il potenziale dei modelli grafici che passano dall’interpretazione al controllo progettuale. L’articolo affonda le sue radici in una ricerca svolta dagli autori all’interno del gruppo “Archeotecnica” (www.archeotecnica.com), tutt’ora ancora in itinere. Tra i fini, l’opportunità d’identificare i canoni di una corretta “archeologia sperimentale”. La trattazione focalizza l’interesse sulla ricostruzione esecutiva di una lancia-sassi “palintona” i cui caratteri segnarono un’evoluzione importante per le prestazioni delle macchine da lancio (telecinetiche ellenistiche). Per motivate ragioni, si ritiene che armi simili siano state utilizzate nell’89 a.C. durante l’assalto di Silla all’antica città di Pompei. Le impronte balistiche rilevate sulla tratta settentrionale delle mura della città, sepolta nel 79 d.C. e dissepolta poco più di un secolo fa, permettono oggi la verifica del loro potenziale distruttivo. Il dimensionamento della reale lancia-sassi (balista), basato sul rilievo del “modiolo” (che sostiene e torce le matasse nervine spinto fin quasi al loro snervamento) unitamente al calcolo della gittata dei proietti, persegue la conoscenza necessaria alla realizzazione di prototipi certificati indirizzati ad allestimenti museali in-on-off situ.

The paper discusses the methodology followed to survey the Tomb of Julius II (Rome, 1545) and create high- and low-resolution 3D models to provide on the one hand, the Superintendency with a useful support for the study and virtual restoration of the surveyed work, and on the other hand, blind people with a digital twins, printed more and less accurately to be suitable for the use and differentiated understanding of the monument. Each step of the photogrammetric process employed is recalled discussing the quality of the 3D digital assets functional for the purposes mentioned above. The automated processes of next-generation photogrammetry are in fact aimed at obtaining polygonal 3D models mapped with real colour textures to derive metrically, topologically, and chromatically precise and accurate representations. The technique and method now established in the tradition of the scientific disciplinary sector of survey and representation, provide an opportunity to outline shared and interoperable investigation paths. These prove useful for stimulating inclusive projects and directing the evolution of the discipline in relation to communication and socio-cultural learning processes.

The PERVIVAL project aims at developing an interactive system with the preliminary function of explaining a complex museum collection in a simple and immediate way and allowing the visitor to better understand the museum collection he is about to see. In particular, the interactive system aims at enhancing the understanding of the collections of funeral furnishings of Egyptians, which are characterized by a multiplicity of objects of rich symbolism and connected to each other through complex funeral rituals. The idea is to explain the religious creed of ancient Egyptians through the objects placed in the tomb, having in this way a double benefit: enlightening the rituals and placing the objects back in their primary function. In this way, the knowledge of the visitor is not only enlarged through the description of something that is described on papyruses or inscriptions (hence, not comprehensible) but also the proper function of every single object will be explained through the connection among them, as a function of amulets or goods necessary to travel through the World of the Dead. The connection between the different objects allows a much greater understanding of the exposed collection that would be perceived in this way not as a set of single isolated pieces, but as a harmonious set of complementary elements between they represent a specific historical-cultural context.

Conservation of Cultural Heritage is a key issue and structural changes and damages can inuence 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 workow 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. The use of Finite Elements Analysis (FEA) for ancient structures and artefacts has recently shown great potentialities. 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. 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 work 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 meshes typically embedded in standard FEM packages. The strong simplication 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 simplied model, creating in the meantime a topology that is more favourable for the automatic NURBS conversion. This allows to obtain FEA results that are closer to the actual mechanical behaviour of the analysed heritage asset.

The use of 3D modelling, computer-aided design (CAD), augmented reality (AR) and virtual reality (VR) for the acquisition and virtual reconstruction of Cultural Heritage is of great importance in the analysis, study, documentation and dissemination of the past. Reverse engineering (RE) and computer graphics (CG) are also relevant aids for the visualisation and preservation of Cultural Heritage. The integrated use of AR and VR technologies helps to accomplish the full potential of 3D models obtained with reality-based techniques and CAD data, and it aims at interactively communicating the significance of the heritage to non-experts. AR and VR are valid tools for interacting with 3D models and help make culture more accessible to the wider public. Their flexibility can help museum curators to adapt cultural proposals and information about artefacts based on different types of visitor’s categories. These technologies allow visitors to travel through space and time, have fun and get educated on complicated topics. VR/AR technologies are also extremely useful for recreating a lost or hidden environment, leading to a better comprehension of the site or allowing people to discover important sites that are not visible, both for security and conservation reasons.

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).

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