Nowadays digital replicas of artefacts belonging to the Cultural Heritage (CH) are one of the most promising innovations for museums exhibitions, since they foster new forms of interaction with collections, at different scales. However, practical digitization is still a complex task dedicated to specialized operators. Due to these premises, this paper introduces a novel approach to support non-experts working in museums with robust, easy-to-use workflows based on low-cost widespread devices, aimed at the study, classification, preservation, communication and restoration of CH artefacts. The proposed methodology introduces an automated combination of acquisition, based on mobile equipment and visualization, based on Real-Time Rendering. After the description of devices used along the workflow, the paper focuses on image pre-processing and geometry processing techniques adopted to generate accurate 3D models from photographs. Assessment criteria for the developed process evaluation are illustrated. Tests of the methodology on some effective museum case studies are presented and discussed.

Keywords: BIM, laser scanning, AEC digital tools, Autodesk Revit, GreenSpider plugin Since their introduction, modeling tools aimed to architectural design evolved in today’s "digital multi-purpose drawing boards" based on enhanced parametric elements able to originate whole buildings within virtual environments. Semantic splitting and elements topology are features that allow objects to be "intelligent" (i.e. self-aware of what kind of element they are and with whom they can interact), representing this way basics of Building Information Modeling (BIM), a coordinated, consistent and always up to date workflow improved in order to reach higher quality, reliability and cost reductions all over the design process. Even if BIM was originally intended for new architectures, its attitude to store semantic inter-related information can be successfully applied to existing buildings as well, especially if they deserve particular care such as Cultural Heritage sites. BIM engines can easily manage simple parametric geometries, collapsing them to standard primitives connected through hierarchical relationships: however, when components are generated by existing morphologies, for example acquiring point clouds by digital photogrammetry or laser scanning equipment, complex abstractions have to be introduced while remodeling elements by hand, since automatic feature extraction in available software is still not effective. In order to introduce a methodology destined to process point cloud data in a BIM environment with high accuracy, this paper describes some experiences on monumental sites documentation, generated through a plug-in written for Autodesk Revit and codenamed GreenSpider after its capability to layout points in space as if they were nodes of an ideal cobweb.

This paper focuses on the definition of a method supported by digital processes for a sustainable and user-orientated re-design of the existing building stock. Based on the analysis of the methodological and procedural aspects of the computational approach to architectural design in relation to different performance conditions, the research addresses the adoption of Building Information Modeling (BIM), intended as a powerful method for coordinating the complexity of the multiple, interdisciplinary and conflicting aspects involved in the rehabilitation of buildings. In addition to the advantages in terms of control and management, the BIM process has proven its effectiveness in tackling the issue of sustainability, allowing all actors involved in the research to share information and pro-actively control various outcomes of a building’s performance, such as energy and environmental quality. To show the opportunities and limitations of the digital management in information-based processes, the activities carried out in the framework of the European Horizon 2020 project “Pro-GET-onE—Proactive synergy of inteGrated Efficient Technologies on buildings’ Envelopes” are reported. The research, based on a case study method, which is applied to a student residence in Athens, demonstrates that BIM possesses great potentialities for developing effective and efficient construction and renovation processes toward buildings with high quality standards.

The digital reconstruction of the recently discovered Tuscanic temple of Uni in Marzabotto gave the chance to test the application of the Building Information Modeling (BIM) process to the combined fields of Archaeology and Engineering. In addition to the traditional historic and archaeological analysis, a new methodology in Experimental Archaeology is proposed; it proved to be original and innovative in the examination of the buried building, taking advantage of technologies focused on the architectural reliability validated by inferred digital models. The peculiar aspect of the research involves the elements at the beginning of the process, which consist of foundations or negative archaeological evidences only, supported by the clues and the rules that can be found in the historic and scientific literature. To better define this distinctive working process, the expression ArchaeoBIM was proposed, which highlights the common BIM matrix used for the data management through one or more analytical models, applied to the peculiar aspects of the Archaeological discipline.

Since 2019 the authors of this article were involved in the digital acquisition and storytelling of artifacts belonging to museum collections. This work showcases on purpose various related case studies to illustrate key issues in the field. They are the Orcinus Citoniensis paleontological finding (representative of a complex geometry to be acquired), the Annunciation by Beato Angelico (representative of materials with articulate behaviors to light such as the gold foil and tempera), and the Giovanni Battista Amici’s Microscope (representative of non-cooperative specular materials). Since they refer to such different contests, they are a valid test field to bring into the discussion methods and techniques for: — the digitization and interactive representation of multicomponent finds; — a reliable visualization of pictorial works with complex optical behaviors; — a cost-effective, rapid digitization of extensive collections with non-cooperating materials. The article outlines a pipeline from accurate digitization to 3D modeling, texturing, and optimization, culminating in the production of interactive experiences. The aim is the introduction of our experience in authoring high-resolution digital surrogates for scholars and museum visitors, to be explored in museums and cultural institutions through conventional devices or digital interactive kiosks. It emphasizes logistical challenges in photogrammetry for acquiring artifacts, including 3D or 2D objects, paleontological finds, and optically non-cooperating items, with a focus on accurate color acquisition and rendering. The developed pipeline enhances the user experience of 3D digital replicas via visualization apps designed for exhibitions and permanent collections.

In the field of the Cultural Heritage (CH), image-based 2D and 3D digital acquisition is today the most common technique used to create digital replicas of existing artifacts. This is carried out for many reasons, such as the following: research, analysis, preservation, conservation, communication, and valorization. These activities usually require complementary specialized equipment, tailored to specific purposes in order to achieve the desired results. This equipment is not easy-to-find on the market, it is not always affordable for museums operators; it is sometimes expensive, and it usually needs tricky customizations. However, the development in recent years of more generalized, versatile, and affordable instruments and technologies has led to new approaches, leveraging a new generation of low-cost, adaptable equipment. This paper presents custom-made equipment following this new path, designed to provide optimized results through calibrated tools alongside the software to make it work. The essay focuses specifically on the self-production of instruments for the digital reproduction of ancient drawings, manuscripts, paintings, and other museum artifacts and their transformative impact on digitization techniques. The outcomes of self and custom-built equipment specifically produced for the contexts described in this paper highlight their potential to foster interdisciplinary collaboration, facilitate scholarly research, enhance conservation efforts, and promote cultural exchange. The final goal is to propose inexpensive equipment that is easy to use (even by not specifically trained operators) and that provides remarkable quality.