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\begin{document}

\title{Information systems and Cultural Heritage. Methods to promote its
valorisation and fruition.~}



\author[1]{Cinzia}%
\affil[1]{Politecnico di Milano}%


\vspace{-1em}



  
  \date{March 13, 2025}


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\sloppy


Milestone 03 - Position Report

Supervisor: Cristiana Achille

Tutor: Daniele Fanzini

\textbf{A\emph{BSTRACT}}

Nowadays, the digital technology increasingly influences how we
perceive, understand and use Cultural Heritage. The range of
technologies to capture and represent the cultural heritage made huge
advances, varying in terms of costs, scales, purposes and outputs. In
fact, they become more democratised in terms of both economic and
practical accessibility of equipment and techniques, and access to
information and models through the use of internet portals.

The adoption of information modelling that embedded architectural,
structural, plumbing, and more data, becomes mainstream in a lot of
professional fields, encouraged also by the spread of Building
Information Modelling. In this case, the structured models are used for
lifelong activities (planning, maintenance, monitoring) and they develop
into a professional tool made for experts. Within a consideration of
Cultural Heritage, however, it is necessary to not lose sight of the
need to capture and understand also the social aspects of the heritage.
It always owns an inner meaning, tradition, stories, and cultural
resonance which constitute the kind of information needed for its
fruition and valorisation. It is important to focus on the contents of
the model, which have to be sharable not only among specialist, but also
among ``common'' people. To make the information open, it is necessary
to overpass the BIM concept, and to think about the more generic and
customizable conception of the terms: the information systems can be an
efficient channel to capture the attention of visitors and to
communicate cultural subjects.

~Proposing my research, I mean to explore the methods to valorise the
Cultural Heritage, using the multi-layered information systems as an
incentive to the fruition and re-appropriation of buildings and
territories, suggesting new meaning and supporting innovation and
insights. This is a vision where multiple competences give their
expertise to valorise the Cultural Heritage. In fact, only the
interoperability between software, professionals, areas, and more can
generate a complete knowledge and can bring the buildings of the past
into the world of the future.

\par\null

\emph{Keywords: Cultural Heritage, information, multi-layered models,
methodology, fruition, valorisation, scenario}

\textbf{\emph{Background}}

Nowadays, speaking about Cultural Heritage and development, the question
is: why should we invest in cultural heritage during an economic and
political crisis? Lots of official international documents e.g. the
Council of Europe Treaty Series -- No. 199 (Convention on the Value of
Cultural Heritage for Society, Faro 2005), or the Horizon Work Program
2018-2020 (Horizon 2020, 2017), highlights the answer to this question:
through the culture it is possible to make innovation, to strengthen the
identity and unity, to improve the quality of life and to make the
development sustainable.

Moreover, the 2018 is the European Year of Cultural Heritage,
celebrating the diverse cultures across Europe at national, regional and
local level. In a Europe where some part of population takes the
distance from the unification (e.g. the Brexit, the exit of United
Kingdom from the European Union, Referendum on June 23rd, 2018), the aim
of the European Year of Cultural Heritage is to ``encourage more people
to discover and engage with Europe's cultural heritage, and to reinforce
a sense of belonging to a common European space
(\url{https://europa.eu/cultural-heritage/})''.

Considering this political/economic situation, it is clear the great
interest to engage with communities and ``the need to put people and
human values at the centre of an enlarged and cross-disciplinary concept
of Cultural Heritage ( Convention on the Value of Cultural Heritage for
Society, Faro 2005 )''. The matter now is how to make innovation through
cultural heritage, engage with population, and strengthen the sense of
belonging. For this reason, these are the topics of Horizon 2020 Work
Program.~

~In general, it is possible to say that there are many formulas to do
this, for example the following complementary methodologies:

1 -- The Cultural Heritage Management 3.0 (from protection to
pro-action) that aims to involve the citizens through collaborative
governance forms according to the European model of smart
specialisation.\selectlanguage{english}
\begin{figure}[h!]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/CH-MANAGEMENT-III/CH-MANAGEMENT-III}
\caption{{Features of Cultural Heritage Management 3.0 compared to the 1.0 and
2.0.
{\label{771432}}%
}}
\end{center}
\end{figure}

2 -- the European model of smart specialisation that includes a
dedicated point about visioning.

The visioning process derives from the criticism about the planification
that uses conventional tools based on zoning for ruling the territory in
an effective way. The alternative to this model for the development of
the territory is the production of vision. This process aims to see
towards the future to understand what to do in the present. For this
reason, the promoters of this approach deal with the construction of the
program in a practical way, producing knowledge through the planned
design and defining the values and the meanings to act through the
interaction with the different actors. The vision action produces
several scenarios, as an elaboration of a storytelling that continues
with the action plans. In conclusion, the visioning practices are a
collective effort to imagine a more attractive future.

A recent example that includes also the Cultural Heritage World is the
Joint Programming Initiatives (JPIs) Strategic Research Agenda on CH in
Europe. The main objective of JPI CH is to ``promote the safeguarding of
cultural heritage in its broader meaning including tangible, intangible
and digital assets''
(\href{http://www.jpi-culturalheritage.eu/about-us-2/}{www.jpi-culturalheritage.eu/}).
It promotes ``a~joint multidisciplinary approach to cultural heritage
sustainability which arises from research. It develops within a
multi-frame scenario called the Scientific Cultural Area -- as a part of
the European Research Area -- which includes science, engineering,
technology, art, literature, conservation and culture. ~Supporting
research activities and researcher training means reaffirming the
European cultural identity as worldwide ambassador of cultural heritage
excellence.''

One of the most famous example of visioning is the Atlanta vision 2020,
started 15 years ago, even if it does not regard directly cultural
heritage field, it definitely codified the visioning process in its
phases and tools because of the types of action and the workflow used,~~
(\href{http://consensus.fsu.edu/academic_directory/casestudies1999/LaColla_Atlanta2020.pdf}{http://consensus.fsu.edu/}).~

Other national experiences that used the scenaristic tools are: Mantova
Cultural Districts (Fanzini D. et al., 2014), Territorial marketing of
Oltrep\selectlanguage{ngerman}ò Mantovano (Casoni G. et al., 2008), and others.~

\textbf{\emph{Digital tools and Cultural Heritage}}

What is digital? According to the European Year of Culture 2018, it is
digital~the resources that were created in digital form (for example
digital art or animation) or that have been digitalised as a way to
preserve them (including text, images, video, records). The term is part
of Cultural Heritage definition
(\href{https://europa.eu/cultural-heritage/}{https://europa.eu/}):
``Cultural heritage has a universal value for us as individuals,
communities and societies. It is important to preserve and pass on to
future generations. You may think of heritage as being `from the past'
or static, but it actually evolves though our engagement with it. What
is more, our heritage has a big role to play in building the future of
Europe. It comes in many shapes and forms: tangible~-- for example
buildings, monuments, artefacts, clothing, artwork, books, machines,
historic towns, archaeological sites. Intangible~-- practices,
representations, expressions, knowledge, skills - and the associated
instruments, objects and cultural spaces - that people value. This
includes language and oral traditions, performing arts, social practices
and traditional craftsmanship. Natural~-- landscapes, flora and fauna.
And digital.''

I started my research considering the more ``technical'' field, aimed to
the professional as architects and engineers, who has to restitute an
ancient building with a BIM process. Analysing this methodology and
understanding its potentialities and issues in the Cultural Heritage
field, I understood that this methodology alone can't fit to the aim of
my research project. In fact, it is necessary to remember that the BIM
methodology is a technical process oriented to specialists. Most of the
issues that I already faced in modelling of Cultural Heritage with this
kind of software are ``practical'' and ``specific'' problems that are
more and more reduced every year, thanks to the technology progress.

On the other hand, my work also explores a ``socio-cultural'' field,
studying how to valorise the case study for the public, creating the
model not only for a ``specialist'' fruition. Probably, considering this
second part of the research, it is necessary to go beyond the BIM
concept, and focus on more flexible tools. In fact, to use the
information model also for fruition purposes, it is necessary to
integrate inside them also other type of information (intangible
heritage), which is something that BIM software are not made for doing.
The ad-hoc platforms for the visualisation of the Cultural Heritage are
the last trend to manage the model and sometimes also the information
related to an ancient object, building, or site. Some examples of this
movement are: an integrated database for Palladio's work (Apollonio et
al. 2010), ARIADNE (2013), SACHER (Smart Architecture for Cultural
Heritage in Emilia Romagna, 2014), and 3DHOP (2014), also used to create
the platform for the Fontana del Nettuno in Bologna (2016). Since
several years the researchers feel this problem. In fact, also my
working group at Politecnico di Milano, the 3D Survey Group2, developed
the BIM3DSG platform (Fassi et al. 2012; Achille et al. 2012; Fassi et
al. 2015; Rechichi et al. 2016; Fassi et al. 2016; Mandelli et al.
2017), an ad-hoc system that can be created time by time on the specific
needs of the case study. In this way, the platform becomes a tool for
the action of ``participatory design'', pointing to social enterprise
and generating an eco-system of services, actors and stakeholders. They
can produce new value sequences in the fields of production and
collaborative fruition of cultural services. In particular, the three
main typologies of fruition are:

\begin{itemize}
\tightlist
\item
  fruition aimed to the maintenance and restoration activities
\item
  fruition intended to the public, especially regarding the valorisation
  of the object from real to virtual, e.g. virtual museums, ad hoc
  platforms, and more
\item
  fruition targeted to a marketing strategy, taking advantage of the
  local heritage to create new products.
\end{itemize}

In all cases of these typologies, the target is a ``participated
fruition'', where all the people (independently on the culture, age, and
instruction) can understand what they are looking at. In fact, if they
can understand, they will lengthen the permanence time in a museum, city
or territory.

At this moment, it becomes mandatory the collaboration with other
disciplines and specialities: ``the integrated and suitable planning and
management of heritage should be based on the mediation amongst
institutions, businesses and universities, as well as the other
cross-sectional elements connecting these three main protagonists of the
valorisation project:

\begin{itemize}
\tightlist
\item
  conservation, both in terms of growth and diffusion of knowledge on
  heritage, its features and particularities and in terms of the
  promotion of new strategies and supply chains aimed at restoration and
  valorisation;
\item
  ~usage, as a lever of social and economic sustainability of
  conservation and precondition for the effective re-appropriation of
  cultural, environmental and landscape heritage;
\item
  development, through promoting creative activities and innovation
  process relying on heritage to create new values and new heritage
  (increase of cultural capital, development of cultural tourism,
  enhancement of real estate values, entrepreneurial development in the
  areas of conservation and craftmanship, etc.) (Mussinelli E., 2014).''
\end{itemize}

The languages used in the valorisation projects belongs to the new
technologies (virtual, digital, multi-media) and their products are
emotional experiences, creates to surprise the public in a vision of
``edutainment'' (education + entertainment) (REF). ~

The professionals of tomorrow have to be able to use the data and the 3D
models (tangible and intangible), to create products that don't merely
show these outputs, but that tell a story about them. In this term, the
right tool is digital storytelling, which is a narration using the
digital tools. It has a narrative structure, containing a range of
multiple elements (such as video, images, models, texts, maps, and
more). To testify the combination of a correct geometric survey and the
information for both maintenance and valorisation purposes, it is
necessary to show some practical examples of cross-media approach: the
emotional setting of ``Sarcofago degli Sposi Etruschi'' that unifies the
correct 3D model with an\textbf{} emotional experience of video mapping
\href{http://hpcforge.cineca.it/}{(https://hpcforge.cineca.it/)}, the
History Museum of Bologna, where in collaboration with some artists,
they created a video to tell the history of Bologna, using 3D models,
computer graphics, and storytelling
(\href{https://www.cineca.it/it/video/apa-alla-scoperta-di-bologna-i-primi-minuti-del-cartoon-3d}{https://www.cineca.it/}),
and the project Experience Etruria, an experience of territorial
marketing (\url{http://www.experiencetruria.it/}).

\textbf{\emph{~}}

\textbf{\emph{Innovative aspect of the research}}

My research project aims to create an intermediary role between the
field of digital technologies and the socio-cultural aspect bonded to
the intangible aspects of the heritage. In this sense, this professional
figure has to be able to plan a valorisation program of a selected case
study, having in mind all the multiple aspects of an enhancement
process, and being able to manage them.

In particular, the main features to consider are:

\selectlanguage{english}*~~~~~~~ Recording the tangible aspect of the case study, identifying
the most appropriate methodology and technology for surveying the case
study and modelling the data, according to the needs and purposes of the
work.

\selectlanguage{english}*~~~~~~~ Acquiring the intangible aspects of a building/site,
considering all the layers of information.

\selectlanguage{english}*~~~~~~~ Making a deep analysis of the data acquired (tangible and
intangible) and combine them to create strategies of interventions and
products.

\selectlanguage{english}*~~~~~~~ Community interactions with heritage, considering a heritage
community as ``people who value specific aspects of cultural heritage
which they wish, within the framework of public action, to sustain and
transmit to future generations (Convention on the Value of Cultural
Heritage for Society, Faro 2005).''

\selectlanguage{english}*~~~~~~~ Engagement and exploitation with stakeholders and local
communities.

\selectlanguage{english}*~~~~~~~ Instigation and evaluation of impact.

\selectlanguage{english}*~~~~~~~ Project management.

The innovation of my research work lays on the way that I use the data
at disposal (tangible or intangible) of a selected case study to create
valorisation and participatory fruition of Cultural Heritage. And the
added value is to conduct an interdisciplinary work, being aware of all
the multiple processes contained in each point of the bullet lists.

All the considerations made from the beginning of my PhD career until
know, find their first application in the H2020 proposal where I
actively participate, the CROISSANT PROJECT.

\textbf{\emph{H2020 Croissant Project}}

In November 2017, prof. Richard Laing from Robert Gordon University,
Abeerdeen, invites my supervisor prof. Cristiana Achille, my tutor prof.
Daniele Fanzini, and I to participate to a H2020 call. Our proposal,
coordinated by the RGU group, is inside the topic DT-TRANSFORMATIONS
-12-2018-2020: Curation of digital assets and advanced digitalisation.

The proposal includes other research groups from Greece, Denmark, Spain,
and UK, and also involves lots of organisation, local associations, and
public Bodies as partners.

The name ``CROISSANT'' refers to the multiple layers of information
contained in a Cultural Heritage building/site. The project has as its
focus the collection, modelling and presentation of those layers of
information, with an emphasis throughout on deep collaboration with
potential user groups. That collaboration extends into the design and
development of new digital tools, to ensure that methods and outcomes
best meet the needs and expectations of a wide audience. This extends,
also, across the use of state of the art mobile technology and
approaches, to ensure that accessibility of the project, its activities,
its findings and its outcomes, is optimised.

The Croissant project aims to apply digital technologies to enhance the
user experience of interaction with cultural heritage. Such enhancement
is a core concept of Digital Curation and refers to the full range of
user experience including aspects of enlightenment or illumination which
may emerge through the use of digital tools, whether in combination with
in-person interaction, or via a digital artefact. Croissant carries the
following objectives:

\begin{itemize}
\tightlist
\item
  Explore the effects of a range of digital technologies in practice,
  recording tangible and intangible heritage, thanks to the combined use
  of complex and highly accessible approaches.
\item
  Engage with communities to explore and model community interactions
  with heritage, with particular reference to the project living labs.
\item
  Establish a typology of methods appropriate for the capture for
  cultural heritage data, across scales (i.e. size of artefact and site)
  and purposes.
\item
  Explore the effects of methods of digital capture on perception of
  heritage, and the ability of participants to retain and understand
  information.
\item
  Develop and demonstrate an online platform to support the hosting and
  presentation of cultural heritage information.
\item
  Explore and demonstrate the capabilities of the online platform to
  record and suggest cultural heritage narratives, drawing on both
  tangible and intangible data sources.
\item
  Establish and demonstrate workflows to capture intangible aspects of
  cultural heritage, including experiential studies and perception.
\end{itemize}

The Croissant project aims to apply digital technologies to enhance the
user experience of interaction with cultural heritage. Such enhancement
is a core concept of Digital Curation and refers to the full range of
user experience including aspects of enlightenment or illumination which
may emerge through the use of digital tools, whether in combination with
in-person interaction, or via a digital artefact.

~\textbf{\emph{Tasks and objectives of POLIMI group in CROISSANT
PROJECT}}

The task of my supervisor, my tutor and me was to lead the work package
1, and to propose an Italian case study to become a ``living lab'' of
our activities. The title of our wp is ``new ideas for re-activation
applying technologies'', and our overall objective is to act in the
phase of recording data (tangible and intangible), using digital
technologies, and then to investigate models and frameworks of the
project that can activate urban and territorial re-generation process
based on the valorisation of cultural heritage. ``Re-activate'' means
promoting initiatives in a territory aimed at the creation of
opportunities considering all profiles: architecture, economy, social,
and functions. To do this, it is necessary to start a knowledge phase to
understand the needs of a district, where to collect all the tangible
and intangible aspects of a site and generate a range of strategies and
products for its valorisation, fruition, and re-activation.

Summarising, the overall objectives of WP1 are to:

\begin{itemize}
\tightlist
\item
  Combine technological approaches used to survey the tangible of the
  selected site. The methodologies chosen to collect the data
  (range-based and image based methods) have to be appropriated across
  the scales and the purposes of each case study.
\item
  Elaborate and produce digital products (reality-based 3D models)
  useful for different purposes (measure, geo-referencing the
  information, maintenance and conservation, multimedia products, online
  platforms, and others) and to share with an inspecting community,
  which can help to enrich the data collected with their local
  experiences.
\item
  Give some best practices about how to reach a good knowledge of a
  site/object and how to use the data acquired through the surveys to
  create a project of re-activation.
\end{itemize}

These objectives will be achieved through:

\begin{itemize}
\tightlist
\item
  The reconstruction of state of the art about the existing technologies
  and trends.
\item
  Analysing case studies to define new organisational formats based on
  participatory and long-period design.
\item
  The use of different survey technologies and methods, according to the
  purpose and the scale of the case study (from mobile and static laser
  scanners, to UAV and close-range photogrammetry).
\item
  Applying the new organisational forms to the living labs.
\item
  Constantly involving the local communities, to collect intangible
  data.
\item
  Creation of lifelong learning courses to valorise the processes and
  increase the competencies in the record of the tangible and
  intangible.
\item
  Creation of territorial datasets aimed to organise the knowledge
  complex necessary for documenting and monitoring the heritage.
\item
  Creation of relationships with international realities and strengthen
  the existing ones.
\end{itemize}

~ ~\selectlanguage{english}
\begin{figure}[h!]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/WP1/WP1}
\caption{{WP 1 (Lead: Polimi) structure.
{\label{225392}}%
}}
\end{center}
\end{figure}

\textbf{\emph{Bibliografia}}

3DHOP, \url{http://vcg.isti.cnr.it/3dhop/} (last access: September
2017).

\par\null

Achille, C., Fassi, F., \& Fregonese L. (2012). 4 Years history: from 2D
to BIM for CH -- The main spire on Milan Cathedral.~ Proceedings of VSMM
2012, doi: 10.1109/VSMM.2012.6365948

\par\null

Achille, C., Fassi, F., Mandelli, A., Moerlin, B., (2014). The yards of
the Milan cathedral: tradition and BIM. Proceedings of

the International Conference Preventive and Planned Conservation, ICT
per il miglioramento del processo conservativo,

Monza, Mantova, ISBN 978-88-404-0318-2.

\par\null

Apollonio, FI., Corsi, C., Gaiani, M., \& Baldassini, S. (2010). An
integrated 3D geodatabase for Palladio's work. In~ International Journal
of Architectural Computing (IJAC), Vol. 8, issue 2, Sept. 2010, pp.
111-133. Doi: 10.1260/1478-

0771.8.2.111.

\par\null

ARIADNE, \url{http://www.ariadne-infrastructure.eu/} (last access:
September 2017).

\par\null

Casoni, G., Fanzini, D., \& Trocchianesi, R. (2008). Progetti per lo
sviluppo del territorio. Marketing strategico dell'Oltrep\selectlanguage{ngerman}ò Mantovano.
Ed. Maggioli.

\par\null

Council of Europe Treaty Series n° 199 (2005), Convention on the Value
of Cultural Heritage for Society.

\par\null

Dore, C., \& Murphy, M. (2013). Semi-\selectlanguage{english}-automatic modelling of building
facades with shape grammars using historic building information
modelling. Proc. of the Int. Conf, on 3D ARCH 2013 - 3D Virtual
Reconstruction and Visualization of Complex Architectures, Trento. In:
Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., Vol. XL-5/W1, pp.
57-64.

\par\null

Dore, C., \& Murphy, M. (2012). Integration of Historic BIM (HBIM) and
3D GIS for Recording and Managing Cultural Heritage Sites. Proc. of the
18th Int. Conf. on Virtual Systems and Multimedia (VSMM), Milano, pp.
369--376.

\par\null

Eastman, C., Teichloz, P., Sacks., R., \& Liston, K. (2016). Il BIM.
Guida Completa al Building Information Modelling. Ed. Hoepli.

\par\null

Fai, S., Graham, K., Duckworth, T., Wood, \& N., Attar R. (2011)
Building Information Modeling and heritage documentation. Proc. of the
23rd Int. CIPA Symposium, Praga, pp. 43--48.

\par\null

Fanzini D., \& Casoni G. (2011). I luoghi dell'innovazione. Complessita
management progetto. Ed. Maggioli.

\par\null

Fanzini, D., Casoni, G., \& Bergamini, I. (2014). Valorizzazione dei
Beni Culturali \& Sviluppo Locale. Enhancement of cultural heritage and
local development. Ed. Maggioli.

\par\null

FONTATA DEL NETTUNO DATABASE, \url{http://nettuno.comune.bologna.it/}
(last access: September 2017).

\par\null

Fassi, F., Achille, C., Mandelli, A., Rechichi, F., \& Parri, S. (2015).
A new idea of BIM system for visualization, sharing and using huge
complex 3D models for facility management. In: The International
Archives of the Photogrammetry, Remote Sensing and Spatial Information
Sciences, Avila, Spain, Volume XL-5/W4, pp. 359-366,
doi:10.5194/isprsarchives-XL-5- W4-359-2015.

\par\null

Fassi F., \& Parri S. (2012). Complex architecture in 3D: from survey to
web. In: International Journal of Heritage in the Digital Era, Vol. 1,
pp. 379-398, Issn: 2047-4970, doi: 10.1260/2047-4970.1.3.379.

\par\null

Garagnani, S., \& Manferdini, A. M. (2013). Parametric accuracy:
building information modeling process applied to the cultural heritage
preservation. Proc. of the Int. Conf, on 3D ARCH 2013 - 3D Virtual
Reconstruction and Visualization of Complex Architectures, Trento, pp.
87-92.

\par\null

Mandelli, A., Achille, C., Tommasi, C., \& Fassi, F. (2017). Integration
of 3D models and diagnostic analyses through a conservation-oriented
information system. In: International Archives of the Photogrammetry,
Remote Sensing and Spatial

Information Sciences, Vol. XLII -2/W5, pp. 497-504. Doi:
10.5194/isprs-archives-XLII-2-W5-497-2017.

\par\null

SACHER -- Smart Architecture for Cultural Heritage in Emilia Romagna,
\url{http://www.sacherproject.com/} (last access: September 2017).

\par\null

Scianna, A., Gristina, S., \& Paliaga, S. (2014). Experimental BIM
Applications in Archaeology: A Work-Flow. Proc. Of the 5th Int. Conf. on
Digital Heritage. Progress in Cultural Heritage: Documentation,
Preservation, and Protection, pp. 490--

498.

\par\null

Spadolini, M. B. (2009). Design Scuola Territorio. Ed. Alinea.

\par\null

Venturini G.P. (2017), Re Act. Tools for urban reactivation, Deleyva
Editore, Brescia.

~

Venturini G.P., Riva R. (2017),~Innovative processes and management in
the social reactivation and environmental regenerative project. Techne,
Journal of Technology for Architecture and Environment, Firenze
University Press, Firenze.

~

Villari, B. (2012). Design per il territorio. Un approccio Community
centred. Ed. Franco Angeli.

\selectlanguage{english}
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