This study evaluates the performance of three image-based 3D reconstruction methods—Structure-from-Motion with Multi-View Stereo (SfM-MVS), Neural Radiance Fields (NeRF), and Gaussian Splatting (GS)—for documenting Architectural Heritage (AH). Data acquisition was conducted using low-cost sensors: a drone to capture the stone portal of the external façade and a 360° camera to document the interior spaces. NeRF and GS significantly outperformed SfM-MVS in processing time, with NeRF excelling in reconstruction completeness. However, GS faced challenges with point number control, and NeRF reconstructions exhibited artifacts and noise, particularly on flat surfaces. Accuracy assessments, using TLS point clouds as a benchmark, revealed that SfM-MVS provided the highest geometric precision for the external façade, despite minor gaps in reconstruction. In contrast, NeRF and GS fell short of the accuracy required for precise geometric documentation, with NeRF exhibiting prominent artifacts in flat or poorly detailed regions. Interior reconstructions were further limited by the higher Ground Sampling Distance (GSD) caused by the technical constraints of the 360° camera and the increased capture distance for elevated areas. In conclusion, we can affirm that while NeRF and GS demonstrate strong potential for visualization due to their rendering quality and efficiency, SfM-MVS remains the most reliable method for achieving accurate geometric documentation of AH.

This paper presents a case study from the Archaeological and Via Flaminia Museum in Cagli (Italy), developed within the ERASMUS+ Next-Museum project, which explores inclusive approaches through the digital transformation of small museums and their connection to the surrounding territory. A key goal was to “return” bronze statuettes to the museum, symbolically compensating the community for their absence. The initiative integrates accessibility and multisensory storytelling following “Design for All” principles. Three installations were implemented: tactile replicas of the statuettes produced through 3D printing, a sensorized table for interactive storytelling, and a story map displayed on a touchscreen for exploring local archaeological heritage. The design prioritized inclusivity, particularly for visitors with visual impairments, while addressing practical constraints such as the need for a mobile and flexible setup within a limited budget. Verification and validation tests were conducted with visually impaired participants during the pre-opening phase, and the installations were later evaluated using the User Experience Questionnaire, complemented by qualitative feedback. These evaluations highlight the potential of phygital experiences to foster engagement with cultural heritage while addressing technological and design challenges.

The primary purpose of the survey for the restoration of Cultural Heritage is the interpretation of the state of building preservation. For this, the advantages of the remote sensing systems that generate dense point cloud (range-based or image-based) are not limited only to the acquired data. The paper shows that it is possible to extrapolate very useful information in diagnostics using spatial annotation, with the use of algorithms already implemented in open-source software. Generally, the drawing of degradation maps is the result of manual work, so dependent on the subjectivity of the operator. This paper describes a method of extraction and visualization of information, obtained by mathematical procedures, quantitative, repeatable and verifiable. The case study is a part of the east facade of the Eglise collégiale Saint-Maurice also called Notre Dame des Grâces, in Caromb, in southern France. The work was conducted on the matrix of information contained in the point cloud asci format. The first result is the extrapolation of new geometric descriptors. First, we create the digital maps with the calculated quantities. Subsequently, we have moved to semi-quantitative analyses that transform new data into useful information. We have written the algorithms for accurate selection, for the segmentation of point cloud, for automatic calculation of the real surface and the volume. Furthermore, we have created the graph of spatial distribution of the descriptors. This work shows that if we work during the data processing we can transform the point cloud into an enriched database: the use, the management and the data mining is easy, fast and effective for everyone involved in the restoration process.

Digital documentation and high-quality 3D representation are always more requested in many disciplines and areas due to the large amount of technologies and data available for fast, detailed and quick documentation. This work aims to investigate the area of medium and small sized artefacts and presents a fast and low cost acquisition system that guarantees the creation of 3D models with an high level of detail, making the digitalization of cultural heritage a simply and fast procedure. The 3D models of the artefacts are created with the photogrammetric technique Structure From Motion that makes it possible to obtain, in addition to three-dimensional models, high-definition images for a deepened study and understanding of the artefacts. For the survey of small objects (only few centimetres) it is used a macro lens and the focus stacking, a photographic technique that consists in capturing a stack of images at different focus planes for each camera pose so that is possible to obtain a final image with a higher depth of field. The acquisition with focus stacking technique has been finally validated with an acquisition with laser triangulation scanner Minolta that demonstrates the validity compatible with the allowable error in relation to the expected precision.

Small and medium-sized museums have been particularly impacted by the COVID-19 pandemic, as they often have limited resources and staff to manage the challenges posed by the pandemic. In order for them to survive during the pandemic but also embracing the extensive use of technology in our everyday lives, museums have to adapt to this new reality. The aim of the Museum-Next project is to provide small and medium-sized museums with a new generation of specialised EU professionals working in the Cultural Heritage sector, equipped with a recognised, cross-cutting and high-level digital skillset: the Digital Curators. In the digital age, museum digital curators play a critical role in preserving, organising, and presenting museum collections online. As part of the project, our research performed a desk analysis on the state of the art on museum digital transition strategies and museum digital curator training programs already implemented at EU scale in order to map good practices and tools already existing so as to highlight the current situation and the gaps that may appear in the topic.

Digit(al)isation of Cultural Heritage is a multidimensional process that helps in the rescue of European Cultural Identity, and the paradigm of Digital Cultural Heritage (DCH) is a valid instrument for social and cognitive inclusion of museum visitors. In light of disseminating and validating new paradigms for the enjoyment and exploitation of Cultural Heritage (CH) artifacts, this chapter shows main first results from CIVITAS (ChaIn for excellence of reflectiVe societies to exploit dIgital culTural heritAge and museumS). The project develops virtual/augmented environments, through the multisensorial interaction with virtual artworks, to satisfy needs and overcome limitations in a larger CH scenario, applying a bottom-up approach. The research presented show a robust and interdisciplinary approach applied to Ducal Pace at Urbino: key activities and faced challenges demonstrated to test cross-fertilization strategies, involving multilayered issues.