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.

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.

The dissemination of reality-based models allows a more exhaustive knowledge of the object of study and enables a better access through real-time applications running on common devices connected to the web. In addition, difficult-to-appreciate works of art can become object of specifically designed serious educational games through the possibilities allowed by game engines. The definition of a pipeline that leads from a reliable acquisition of shape, color and BRDF features to a motivating and satisfying interactive experience is the focus of this paper. It will be analyzed, in an interdisciplinary perspective, and will undergo a series of steps aimed at preserving the features of the work of art without compromising its realistic and fluid visualization, as well as the characteristics at the base of the stylistic and artistic quality.

In-depth studies on the design of the domes of the Octagonal Hall of the Small Baths and the Vestibule of the Golden Court at Hadrian’s Villa in Tivoli have been conducted starting from 3D surveys carried out with active and passive sensors. Through the comparison of the ichnographia and orthographia of these emblematic examples of architectural experimentation, common elements and features have emerged which, thanks to the integrated use of new measurement technologies, have allowed us to hypothesise dimensioning systems of the vertical structures together with possible criteria for defining the intrados–extrados relationship. Hadrian’s architects’ use of precise grid-based designs to facilitate the achievement of target quantities (required areas and volumes) as well as modules aimed at defining alignments of horizontal and vertical structures emerge clearly, providing useful elements for an integrated reading of the individual buildings to support the archaeological investigation.

This paper presents an original methodology for planar development of a frescoed dome with an oval plan. Input data include a rigorous geometric survey, performed with a laser scanner, and a photogrammetry campaign, which associates a high-quality photographic texture to the 3D model. Therefore, the main topics include the development of geometry and, contextually, of the associated textures. In order to overcome the inability to directly develop the surface, an orthographic azimuthal projection is used. Starting from a prerequisite study of building methodology, the dome is divided into sectors and bands, each linked with the maximum acceptable deformations and the actual geometric discontinuities detectable by the analysis of Gaussian curvature. Upon definition of the development model, a custom automation script has been devised for geometry projection. This effectively generates a (u,v) map, associated to the model, which is used for model texturing and provides the planar development of the fresco.