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.

In the recent years, mature technologies for producing high quality virtual 3D replicas of Cultural Heritage (CH) artefacts has grown thanks to the progress of Information Technologies (IT) tools. These methods are an efficient way to present digital models that can be used with several scopes: heritage managing, support to conservation, virtual restoration, reconstruction and colouring, art cataloguing and visual communication. The work presented is an emblematic case of study oriented to the preventive conservation through monitoring activities, using different acquisition methods and instruments. It was developed inside a project founded by Lombardy Region, Italy, called “Smart Culture”, which was aimed to realise a platform that gave the users the possibility to easily access to the CH artefacts, using as an example a very famous statue. The final product is a 3D reality-based model that contains a lot of information inside it, and that can be consulted through a common web browser. In the end, it was possible to define the general strategies oriented to the maintenance and the valorisation of CH artefacts, which, in this specific case, must consider the integration of different techniques and competencies, to obtain a complete, accurate and continuative monitoring of the statue.

Keywords: BIM, Interoperability, Cultural Heritage, Accuracy, Standardization, reality-based modelling, data sharing Nowadays, the adoption of BIM processes in the AEC (Architecture, Engineering and Construction) industry means to be oriented towards synergistic workflows, based on informative instruments capable of realizing the virtual model of the building. The target of this article is to speak about the interoperability matter, approaching the subject through a theoretical part and also a practice example, in order to show how these notions are applicable in real situations. In particular, the case study analysed belongs to the Cultural Heritage field, where it is possible to find some difficulties – both in the modelling and sharing phases – due to the complexity of shapes and elements. Focusing on the interoperability between different software, the questions are: What and how many kind of information can I share? Given that this process leads also to a standardization of the modelled parts, is there the possibility of an accuracy loss?

Information technology touches all the main activities that orbit Cultural Heritage, including management, communication, monitoring and conservation. In particular, advanced digital tools can help the process of preservation, fostering a participatory process connecting diverse experts with various skills and educational backgrounds, and empowering the maintenance activities. The practical example of this statement is its application to the Sacri Monti site. Thanks to its inclusion on the UNESCO World Heritage list, the needs of the site are highlighted in the Periodic Report, a tool useful for monitoring the existing condition of the site. The research presented here attempts to develop a solution for the conservation issue, using advanced technology as a tool for managing the safeguarding activities, creating a product that actively involves users and stakeholders, contributing to the valorisation process.

This paper focuses on the relationship between the reactivation of the built environment and social innovation. This theme is investigated through the triad: "project, technology and creativity", which at the operational level of research, leads to the paradigm of the active protection of patrimony. The research documents possible ways of using common goods to produce lasting socio-spatial effects, strengthening the ecosystem of creative and cultural businesses and contributing to qualitative improvement. The aim is to understand how it is possible to trigger a virtuous renewal process of both the content activities and the containing structures, combining the production of new culture and the regeneration of spaces. This process should be nourished by the continuous exchange between tangible and intangible culture, public and private interest and the crossover between old and new cultural production. Special attention is given to initiatives that support the renewal of vocations and the building of new strategies for various realities in crisis.