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Abstract Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina’s painting “Ecce Homo”: its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.

Abstract We present a novel approach to automatically recover, from a small set of partially overlapping spherical images, an indoor structure representation in terms of a 3D floor plan registered with a set of 3D environment maps. We introduce several improvements over previous approaches based on color and spatial reasoning exploiting Manhattan world priors. In particular, we introduce a new method for geometric context extraction based on a 3D facet representation, which combines color distribution analysis of individual images with sparse multi-view clues. We also introduce an efficient method to combine the facets from different viewpoints in a single consistent model, taking into the reliability of the facet information. The resulting capture and reconstruction pipeline automatically generates 3D multi-room environments in cases where most previous approaches fail, e.g., in the presence of hidden corners and large clutter, without the need for additional dense 3D data or tools. We demonstrate the effectiveness and performance of our approach on different real-world indoor scenes. Our test data is available to allow further studies and comparisons.

Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) assets. The research results produced in the last decade ignited an impressive evolution and consolidation of the technologies for acquiring high-quality digital three-dimensional (3D) models, encompassing both geometry and color. What remains still an open problem is how to deliver those data and related knowledge to our society. The web is nowadays the main channel for the dissemination of knowledge. Emerging commercial solutions for web-publishing of 3D data are consolidating and becoming a de-facto standard for many applications (e-commerce, industrial products, education, etc.). In this framework, CH is a very specific domain, requiring highly flexible solutions. Some recent experiences are presented, aimed at providing a support to the archival of archaeological 3D data, supporting web-based publishing of very high-resolution digitization results and finally enabling the documentation of complex restoration actions. All those examples have been recently implemented on the open-source 3D Heritage Online Presenter (3DHOP) platform, developed at CNR-ISTI.

Pottery is of fundamental importance for understanding archaeological contexts, facilitating the understanding of production, trade flows, and social interactions. Pottery characterisation and the classification of ceramics is still a manual process, reliant on analogue catalogues created by specialists, held in archives and libraries. The ArchAIDE project worked to streamline, optimise and economise the mundane aspects of these processes, using the latest automatic image recognition technology, while retaining key decision points necessary to create trusted results. Specifically, ArchAIDE worked to support classification and interpretation work (during both fieldwork and post-excavation analysis) with an innovative app for tablets and smartphones. This article summarises the work of this three-year project, funded by the European Union's Horizon 2020 Research and Innovation Programme under grant agreement N.693548, with a consortium of partners representing both the academic and industry-led ICT (Information and Communications Technology) domains, and the academic and development-led archaeology domains. The collaborative work of the archaeological and technical partners created a pipeline where potsherds are photographed, their characteristics compared against a trained neural network, and the results returned with suggested matches from a comparative collection with typical pottery types and characteristics. Once the correct type is identified, all relevant information for that type is linked to the new sherd and stored within a database that can be shared online. ArchAIDE integrated a variety of novel and best-practice approaches, both in the creation of the app, and the communication of the project to a range of stakeholders.

In questo lavoro presentiamo le caratteristiche di un innovativo sistema di documentazione, realizzato per il restauro della Fontana del Nettuno di Bologna, che usa un accurato modello tridimensionale per archiviare i dati raccolti in modo referenziato alla geometria 3D, per accedere agli stessi usando il modello 3D come indice spaziale ed infine realizzare mappature direttamente sulla superficie dell'opera.

Research e-infrastructures, digital archives and data services have become important pillars of scientific enterprise that in recent decades has become ever more collaborative, distributed and data-intensive. The archaeological research community has been an early adopter of digital tools for data acquisition, organisation, analysis and presentation of research results of individual projects. However, the provision of e-infrastructure and services for data sharing, discovery, access and re-use has lagged behind. This situation is being addressed by ARIADNE: the Advanced Research Infrastructure for Archaeological Dataset Networking in Europe. This EU-funded network has developed an e-infrastructure that enables data providers to register and provide access to their resources (datasets, collections) through the ARIADNE data portal, facilitating discovery, access and other services across the integrated resources. This article describes the current landscape of data repositories and services for archaeologists in Europe, and the issues that make interoperability between them difficult to realise. The results of the ARIADNE surveys on users' expectations and requirements are also presented. The main section of the article describes the architecture of the e-infrastructure, core services (data registration, discovery and access) and various other extant or experimental services. The on-going evaluation of the data integration and services is also discussed. Finally, the article summarises lessons learned, and outlines the prospects for the wider engagement of the archaeological research community in sharing data through ARIADNE.

Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) artefacts. The research results produced in the last decade have shown an impressive evolution and consolidation of the technologies for acquiring high-quality digital 3D models (3D scanning) and for rendering those models at interactive speed. Technology is now mature enough to push us to go beyond the plain visualization of those assets, devising new tools able to extend our insight and intervention capabilities and to revise the current consolidated procedures for CH research and management. The paper presents a few recent experiences where high-quality 3D models have been used in CH research, restoration and conservation. These examples constitutes a broad review of different uses of digital 3D assets in the CH domain.

The Visual Computing Lab of CNR-ISTI (an Institute of the Italian national Research Council) is active on several computer graphics topics, including 3D acquisition, sampled 3D data processing, geometry processing, efficient visualization, web- and mobile-based 3D data presentation, RTI images, 3D printing. The main application domains are nowadays the Cultural Heritage and Digital Humanities sectors. The Visual Computing Lab has a very solid international visibility, gained by means of an excellent scientific production and the work done by designing and maintaining open source resources. We are also serving the community by organizing scientific events, conferences, summer schools and contributing to the management of international journals. Awards have been assigned to several Visual Computing Lab members (P. Cignoni, R. Scopigno, M. Tarini). We have a solid experience with EC projects and collaborations with a number of CH institutions in Italy and abroad.

This paper discusses a case study on the use of augmented reality (AR) within the context of cultural heritage. We implemented an iOS app for markerless AR that will be exhibited at the MUST museum in Lecce, Italy. The app shows a rich 3D reconstruction of the Roman amphitheater, which is nowadays only partially visible. The use of state-of-the-art algorithms in computer graphics and computer vision allows the viewing and the exploration of the ancient theater in real-time.