The most peculiar characteristic of a cultural heritage is represented by its uniqueness. To ensure that an object is preserved against environmental deterioration, vandal attacks, and accidents, modern Cultural Heritage documentation involves 3D scanning technologies. In the case of fragmented artefacts, the digitization process represents an essential prerequisite for facilitating an accurate 3D reconstruction. The aim of this research paper is to present a framework that enables an accurate digital reconstruction of fragmented or damaged artefacts using ornament stencils obtained from 3D scan data. The proposed framework has been applied for the richly adorned ornaments of the fragmented Dacian embossed disk from Piatra Roșie. The case study makes use of the 3D dataset acquired, using a structured light scanner to extract vector displacement maps, which are then applied to the 3D computer-aided design (CAD) model. The output of the framework includes a proposed digital reconstruction of the aurochs fragmented Dacian embossed disk, as well as the ornaments’ stencils database. The proposed framework addresses problems that are associated with 3D reconstruction processes, such as self-intersections, non-manifold geometry, 3D model topology, and file format interoperability. Finally, the resulting 3D reconstruction has been integrated within virtual reality (VR), augmented reality (AR), and mixed reality (MR) applications, as well as computer-aided manufacturing (CAM) based on additive manufacturing to facilitate the dissemination of the results.

The wooden churches from Transylvania, Romania, are a unique and representative cultural heritage asset for rural communities, both in terms of architecture and the style of painting that defines them as monuments of national heritage. These churches are in danger of degradation because rural communities are beginning to abandon them for various motives (e.g., they are too small, are expensive to maintain, or are being replaced by modern churches, built of stone and modern materials). The reason behind their accelerated degradation is that they are covered with shingles that need to be periodically changed and repaired to prevent water from reaching the inner painting layer, a process that is, in many cases, ignored. Imperial gates are the symbol of these churches and separate the nave from the narthex. They are made entirely out of wood and were sculpted and painted manually by skilled craftsmen and still represent the central element of these churches, in terms of art and aesthetics. The digital preservation of these heritage assets is an interdisciplinary undertaking, which begins with the physico-chemical analysis of the pigments in the painting layer, continues with three-dimensional (3D) digitization of the monument and of the objects of interest (such as the imperial gates), and finishes with a digital restoration of these monuments and artefacts. This paper presents a working methodology, successfully applied in digitizing and digitally restoring imperial gates from wooden churches in Transylvania, namely from the wooden church of Voivodeni, Sălaj County, Romania (Transylvania region). X-ray fluorescence and FTIR spectroscopy were used to determine the pigments in the painting layer of these artefacts, and after they were identified, they were synthesized in laboratory conditions. The resulting color was digitized and used for digitally restoring the artefact(s) to its (their) pristine condition. To popularize these cultural heritage assets, the authors make use of virtual reality to mediate the interaction between the general public and heritage objects in their current state of preservation, in a digital environment. Moreover, to showcase how these heritage objects were degraded over time, a digitally restored version of the artefact in pristine condition is presented alongside a version in its current state (as is, digitized, but not yet digitally restored).

Precise digital documentation of cultural heritage assets is essential for its preservation and protection. This documentation increases the efficiency of scientific studies that are being carried out during the restoration and renovation process. Precise digital documen-tation makes use of different laser scanners technologies. 3D scanning devices usually provide a large amount of point clouds, which require long post-processing times and large storage space. This paper presents a methodology to obtain simplified 3D models designed to remove redundant points and maintain only representative points, preserving the 3D model as-pect and allowing the 3D models to be implemented in different augmented reality appli-cation on mobile devices. The 3D mesh optimization methods that have been analyzed and compared are dedi-cated 3D mesh optimization software (CATIA and Geomagic Studio), open source tools such (Meshlab) and a numerical computing environment (MATLAB). The methodology proposes a split step that can be applied to both assemblies and re-constructed objects. In this step the 3D scan is divided into components (for assemblies) or original parts/restored parts (for restored cultural heritage assets). The efficiency and robustness are demonstrated using different 3D scanned Dacian ar-tifacts.

The integration of virtual reality (VR) technologies in museums and cultural heritage has expanded rapidly, driven by demand for immersive visitor experiences. Yet comprehensive studies on their long-term sustainability and operational challenges remain scarce. This mixed-methods study combines scientometric analysis of 1635 Web of Science publications (1997–2025) using VOSviewer 1.6.20 with longitudinal evidence from three VR installations deployed by the authors in Romanian museums representing understudied Central/Eastern European contexts. Analysis maps global trends, collaborations, and regional gaps, while practical evaluation addresses durability, usability, maintenance, technological obsolescence, multi-user management, and headset hygiene. Findings reveal VR’s engagement and preservation potential but highlight constraints limiting long-term viability. Strategic planning, adaptive design, and maintenance frameworks emerge as critical for sustainability. Limitations include WoS exclusivity and regional focus, while findings offer actionable insights for diverse institutional contexts.

The process of documenting cultural heritage digitally has emerged with the recent technological developments. One of the direct consequences of using digital devices to promote cultural heritage is to educate the endusers and to exceed their initial expectations regarding their interaction and engagement with cultural heritage assets. Creativity is encour-aged and stimulated by technology; as a result, cultural heritage domain must use technologies and tools from various domains such as engineering (3D scanning), gaming industry (VR headsets), digital marketing (interactive screens) to create interactive exhibitions. These tools can be paired with classical cultural heritage exhibition methods to attract, engage and support end-users more efficiently and effectively by creating unprecedented interactive. For this endeavor more than 560 artifacts have been digitized, the monuments and the fortress have been digitally reconstructed and integrated in digital applications that were combined with classical museum exhibition methods. By doing so, the paper also brings contributions concerning the methodologies used for deploying state of the art scanning and digitizing technologies. The main motivation was to bring classic exhibition techniques to modern times and to attract the young audiences to museums, thus identifying how they can be more engaged, involved and educated within the mixed museum spaces.