digital heritage. progress in cultural heritage
TRANSCRIPT
Marinos Ioannides · Eleanor FinkRaffaella Brumana · Petros PatiasAnastasios Doulamis · João MartinsManolis Wallace (Eds.)
123
LNCS
111
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7th International Conference, EuroMed 2018 Nicosia, Cyprus, October 29 – November 3, 2018 Proceedings, Part I
Digital HeritageProgress in Cultural Heritage:Documentation, Preservation,and Protection
Lecture Notes in Computer Science 11196
Commenced Publication in 1973Founding and Former Series Editors:Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen
Editorial Board
David HutchisonLancaster University, Lancaster, UK
Takeo KanadeCarnegie Mellon University, Pittsburgh, PA, USA
Josef KittlerUniversity of Surrey, Guildford, UK
Jon M. KleinbergCornell University, Ithaca, NY, USA
Friedemann MatternETH Zurich, Zurich, Switzerland
John C. MitchellStanford University, Stanford, CA, USA
Moni NaorWeizmann Institute of Science, Rehovot, Israel
C. Pandu RanganIndian Institute of Technology Madras, Chennai, India
Bernhard SteffenTU Dortmund University, Dortmund, Germany
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Doug TygarUniversity of California, Berkeley, CA, USA
Gerhard WeikumMax Planck Institute for Informatics, Saarbrücken, Germany
More information about this series at http://www.springer.com/series/7409
Marinos Ioannides • Eleanor FinkRaffaella Brumana • Petros PatiasAnastasios Doulamis • João MartinsManolis Wallace (Eds.)
Digital HeritageProgress in Cultural Heritage:Documentation, Preservation,and Protection
7th International Conference, EuroMed 2018Nicosia, Cyprus, October 29 – November 3, 2018Proceedings, Part I
123
EditorsMarinos IoannidesCyprus University of TechnologyLimassol, Cyprus
Eleanor FinkAmerican Art Collaborative Linked OpenData InitiativeArlington, VA, USA
Raffaella BrumanaPolitecnico di MilanoMilan, Italy
Petros PatiasThe Aristotle UniversityThessaloniki, Greece
Anastasios DoulamisNational Technical University of AthensAthens, Greece
João MartinsCTS-UNINOVACaparica, Portugal
Manolis WallaceUniversity of the PeloponneseTripoli, Greece
ISSN 0302-9743 ISSN 1611-3349 (electronic)Lecture Notes in Computer ScienceISBN 978-3-030-01761-3 ISBN 978-3-030-01762-0 (eBook)https://doi.org/10.1007/978-3-030-01762-0
Library of Congress Control Number: 2018956722
LNCS Sublibrary: SL3 – Information Systems and Applications, incl. Internet/Web, and HCI
© Springer Nature Switzerland AG 2018This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of thematerial is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation,broadcasting, reproduction on microfilms or in any other physical way, and transmission or informationstorage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology nowknown or hereafter developed.The use of general descriptive names, registered names, trademarks, service marks, etc. in this publicationdoes not imply, even in the absence of a specific statement, that such names are exempt from the relevantprotective laws and regulations and therefore free for general use.The publisher, the authors and the editors are safe to assume that the advice and information in this book arebelieved to be true and accurate at the date of publication. Neither the publisher nor the authors or the editorsgive a warranty, express or implied, with respect to the material contained herein or for any errors oromissions that may have been made. The publisher remains neutral with regard to jurisdictional claims inpublished maps and institutional affiliations.
Cover illustration: Wall painting (end of 15th century) of the Last Judgement from the north wall of theChurch of the Monastery of Christos Antifonitis, Kalograia after it had been forcefully removed, followingthe 1974 Turkish invasion and occupation. With permission of the Ministry of Transport, Communicationsand Works, Department of Antiquities, Lefkosia, Cyprus.
This Springer imprint is published by the registered company Springer Nature Switzerland AGThe registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgments and Disclaimer
The EuroMed 2018 Conference was partly supported by the Republic of Cyprus, by theCyprus University of Technology, by the Cyprus Tourism Organization, by CIPA(http://cipa.icomos.org/), ICOMOS Cyprus, the aforementioned EU projects, theDARIAH-EU ERIC and DARIAH-CY, the H2020 INCEPTION, and H2020-ViMMprojects.
However, the content of this publication reflects the authors’ views only, and theEuropean Commission, the Republic of Cyprus, CIPA, ICOMOS, ICOMOS-Cyprus,Getty, Cyprus University of Technology, and the EU projects H2020 MarieSkłodowska Curie RISE Fellowship project TERPSICHORE, the H2020 MarieSkłodowska Curie ITN CHANGES, the H2020 R&I Reflective 7 – INCEPTION, theH2020 COOP 8 CSA Virtual Multimodal Museum, the H2020 Reflective 6 CrossCult,the H2020 REACH, the Research Infrastructure DARIAH-EU ERIC andDARIAH-CY, the COST Action Innovation in Intelligent Management of HeritageBuildings (i2MHB), the H2020 Teaming Excelsior, H2020 Teaming Medstach, H2020Twinning Athena, the UNESCO Chair on Digital Cultural Heritage at CyprusUniversity of Technology, and the EU H2020 ERA Chair Mnemosyne are not liable forany use that may be made of the information contained herein.
Organization
Conference Chairs
Marinos IoannidesEleanor FinkRaffaella BrumanaPetros PatiasAnastasios DoulamisJoão MartinsManolis Wallace
Local Organizing Committee
Vasilis AthanasiouRobert DaviesSimos GeorgiouTheodoros GkanetsosGeorge HadjidemetriouMaria Katiri
Charalambos LeventisElias NobilakisChrisanthos PissaridesChristiana PolycarpouKonstantinos SkriapasKyriakos Themistokleous
International Scientific Committee
Fabrizio Banfi, ItalyLuigi Barazzetti, ItalyGeorge Bebis, USAMarco Bertini, ItalyMatthaios Bimpas, GreeceFrank Boochs, GermanyGumersindo Bueno, SpainLorenzo Cantini, ItalyGeorge Caridakis, GreeceYing-Mei Cheng, TaiwanJiri Chmelik, Czech RepublicPaola Condoleo, ItalyJorbi Conzalez, SpainStefano Della Torre, ItalyIason Diakoumakos, GreeceNikolaos Doulamis, GreeceCharalambos Georgiadis, GreeceGeorge Giannoulis, Spain
Angelo Giuseppe Landi, ItalyAndrina Granić, CroatiaAlberto Grimoldi, ItalySang-sun Jo, South KoreaDimitrios Kaimaris, GreeceNikos Karanikolas, GreeceNorman Kerle, The NetherlandsDimitrios Kosmopoulos, GreeceChiao-Ling Kuo, TaiwanFotis Liarokapis, Czech RepublicGeorge Livanos, GreeceFederica Maietti, ItalyKonstantinos Makantasis, CyprusMaria Merchan, SpainPilar Merchan, SpainLuisa Migliori, ItalyDaniela Oreni, ItalyPedro Pereira, Portugal
Vassilis Poulopoulos, GreeceMattia Previtali, ItalyEftychios Protopapadakis, GreeceTasos Stamnas, GreeceTania Stathaki, UKMaria Tassopoulou, GreeceAlice Tavares, PortugalPeter Tian-Yuan Shih, TaiwanStelios Tsafarakis, Greece
Vasilios Tsioukas, GreeceGrazia Tucci, ItalyCostas Vassilakis, GreeceSebastian Von Mannen, GermanyAthanasios Voulodimos, GreeceAlex Ya-Ning Yen, TaiwanMichalis Zervakis, GreeceMarco Zuppiroli, Italy
XII Organization
Contents – Part I
3D Digitalisation, Reconstruction, Modelling and HBIM
Visualization of the Past-to-Recent Changes in Cultural HeritageBased on 3D Digitization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Naoki Mori, Tokihisa Higo, Kaoru Suemori, Hiroshi Suita,and Yoshihiro Yasumuro
Treatise of Digital Reconstruction and Restauration of Lace Porcelain . . . . . . 15Lien Acke, Kristel De Vis, Tim De Kock, Erik Indekeu,Johan Van Goethem, Seth Van Akeleyen, Mathieu Cornelis,Jouke Verlinden, and Stijn Verwulgen
HBIM Feeding Open Access Vault Inventory Through GeoDB HUB . . . . . . 27Raffaella Brumana, Paola Condoleo, Alberto Grimoldi,Angelo Giuseppe Landi, Dario Attico, Anna Turrina, Fabrizio Banfi,and Mattia Previtali
SCAN to HBIM-Post Earthquake Preservation: Informative Modelas Sentinel at the Crossroads of Present, Past, and Future. . . . . . . . . . . . . . . 39
Raffaella Brumana, Stefano Della Torre, Daniela Oreni,Lorenzo Cantini, Mattia Previtali, Luigi Barazzetti, and Fabrizio Banfi
Towards the Definition of Workflows for Automation inHBIM Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Mattia Previtali and Fabrizio Banfi
Direct Numerical Analysis of Historical Structures Representedby Point Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
László Kudela, Umut Almac, Stefan Kollmannsberger, and Ernst Rank
Innovative Technologies in Digital Cultural Heritage
The Use of CT Scans and 3D Modeling as a Powerful Tool to Assist FossilVertebrate Taxonomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
George Theodorou, Yiannis Bassiakos, Evangelos Tsakalos,Evyenia Yiannouli, and Petros Maniatis
i-Wall: A Low-Cost Interactive Wall for Enhancing Visitor Experienceand Promoting Industrial Heritage in Museums . . . . . . . . . . . . . . . . . . . . . . 90
Christina Gkiti, Eirini Varia, Chrysi Zikoudi, Athina Kirmanidou,Io Kyriakati, Spyros Vosinakis, Damianos Gavalas, Modestos Stavrakis,and Panayiotis Koutsabasis
Historical Buildings Affected by Failures. The Case of the Basilicadi Collemaggio in L’Aquila . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Lorenzo Cantini
UGESCO - A Hybrid Platform for Geo-Temporal Enrichment of DigitalPhoto Collections Based on Computational and CrowdsourcedMetadata Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Steven Verstockt, Samnang Nop, Florian Vandecasteele, Tim Baert,Nico Van de Weghe, Hans Paulussen, Ettore Rizza, and Mathieu Roeges
Using Biographical Texts as Linked Data for Prosopographical Researchand Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Minna Tamper, Petri Leskinen, Kasper Apajalahti, and Eero Hyvönen
Maintaining a Linked Data Cloud and Data Service for SecondWorld War History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Mikko Koho, Esko Ikkala, Erkki Heino, and Eero Hyvönen
Design of an Interactive Experience Journey in a Renovated IndustrialHeritage Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Maria Gaitanou, Elli Charissi, Iosifina Margari,Manolis Papamakarios, Spyros Vosinakis, Panayiotis Koutsabasis,Damianos Gavalas, and Modestos Stavrakis
Simulation of an Archaeological Disaster: Reassembling a FragmentedAmphora Using the Thickness Profile Method . . . . . . . . . . . . . . . . . . . . . . 162
Michail I. Stamatopoulos and Christos-Nikolaos Anagnostopoulos
The Orion Pottery Repository – A Publicly Available 3D Objects’Benchmark Database with Texture Information . . . . . . . . . . . . . . . . . . . . . . 174
Andreas Stergioulas, George Ioannakis, Anestis Koutsoudis,and Christodoulos Chamzas
Automatic Identification of Relations in Quebec Heritage Data . . . . . . . . . . . 188François Ferry, Amal Zouaq, and Michel Gagnon
Understanding Historical Cityscapes from Aerial Imagery ThroughMachine Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Evangelos Maltezos, Eftychios Protopapadakis, Nikolaos Doulamis,Anastasios Doulamis, and Charalabos Ioannidis
Origin Determination of Mediterranean Marbles by LaserInduced Fluorescence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Valeria Spizzichino, Laura Bertani, and Luisa Caneve
Personalized Heritage Museum Guide for Married Immigrant Women . . . . . . 224Hyeweon Kim and Jeongmin Yu
XIV Contents – Part I
Personality Analysis of Social Media Influencers as a Toolfor Cultural Institutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Vassilis Poulopoulos, Costas Vassilakis, Angela Antoniou,George Lepouras, and Manolis Wallace
Study of Effectiveness of Treatment by Nanolime of the Altered CalcareniteStones of the Archeological Site of Volubilis Site (Morocco) . . . . . . . . . . . . 248
Dalal Badreddine, Kévin Beck, Xavier Brunetaud, Ali Chaaba,and Muzahim Al-Mukhtar
3D Digitization, Reconstruction, Modelling and HBIM
Research and Communication of Urban History in 4D Using HistoricalPhotographs – A Status Report of the Research Group UrbanHistory4D . . . . 261
Ferdinand Maiwald, Kristina Barthel, Jonas Bruschke,Kristina Friedrichs, Cindy Kröber, Sander Münster,and Florian Niebling
3-D Survey and Structural Modelling: The Case of the San GiovanniBaptistery in Florence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Grazia Tucci, Alessandro Conti, and Lidia Fiorini
3D Documentation and Visualization of the Forum Romanum:The DHARMA Forum Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Krupali Krusche
The Reconstruction of Urartu Buildings of Altıntepe in VirtualEnvironment: The Temple Altıntepe Virtualization Example . . . . . . . . . . . . . 301
Serap Kuşu
A New Enhancement Filtering Approach for the Automatic VectorConversion of the UAV Photogrammetry Output . . . . . . . . . . . . . . . . . . . . 312
Maria Alicandro, Donatella Dominici, and Paolo Massimo Buscema
The Spatial Form of Traditional Taiwanese Townhouses: A Case Studyof Dihua Street in Taipei City. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Tung-Ming Lee
A Digital Workflow for Built Heritage: From SCAN-to-BIM Processto the VR-Tour of the Basilica of Sant’Ambrogio in Milan . . . . . . . . . . . . . 334
Banfi Fabrizio, Stanga Chiara, and Raffaella Brumana
BIM Modelling of Ancient Buildings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344Andrea Scianna, Giuseppe Fulvio Gaglio, and Marcello La Guardia
Contents – Part I XV
Accessing and Understanding Cultural Heritage Through Users ExperienceWithin the INCEPTION Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Federica Maietti, Emanuele Piaia, Giuseppe Mincolelli,Roberto Di Giulio, Silvia Imbesi, Michele Marchi,Gian Andrea Giacobone, and Silvia Brunoro
Digital Interpretation and Presentation for Monuments Builtby ARCHES - Take Kinmen Area Heritage as an Example . . . . . . . . . . . . . 366
Wun-Bin Yang, Jihn-Fa Jan, Tsung-Juang Wang, Yi-Chou Lu,Chiao-Ling Kuo, and Ya-Ning Yen
HBIM in Cultural Heritage Conservation: Component Libraryfor Woodwork in Historic Buildings in Taiwan. . . . . . . . . . . . . . . . . . . . . . 376
Y. M. Cheng, C. C. Mou, Y. C. Lu, and Y. N. Yen
Panoramic Image Application for Cultural Heritage . . . . . . . . . . . . . . . . . . . 386Maarten Bassier, Tijs Deloof, Stan Vincke, and Maarten Vergauwen
Cultural Heritage Digitization and Copyright Issues. . . . . . . . . . . . . . . . . . . 396Athina Chroni
The First Attend for a Holistic HBIM Documentation of UNESCO WHLMonument: The Case Study of Asinou Church in Cyprus . . . . . . . . . . . . . . 408
Kyriacos Themistocleous, Marinos Ioannides, Simos Georgiou,and Vasilis Athanasiou
Digital Cultural Heritage – Smart Technologies
Smart Tourism Routes Based on Real Time Dataand Evolutionary Algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Mário Amorim, Adriana Mar, Fernando Monteiro, Stella Sylaiou,Pedro Pereira, and João Martins
Art Nouveau Danube Digital Repository . . . . . . . . . . . . . . . . . . . . . . . . . . 427Franc J. Zakrajšek and Vlasta Vodeb
A Consortium Blockchain System for Verifying Digital Contentson Traditional Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Eun-jin Kim and Jeongmin Yu
eDIRICA: Digitizing Cultural Heritage for Learning, Creativity,and Inclusiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Olufemi Samson Adetunji, Clement Essien,and Oluwatosin Samuel Owolabi
XVI Contents – Part I
THREADS: A Digital Storytelling Multi-stage Installationon Industrial Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Eriana Panopoulou, Konstantinos Kouros, Aikaterini Pasopoulou,Giorgos Arsenikos, Spyros Vosinakis, Panayiotis Koutsabasis,Modestos Stavrakis, and Damianos Gavalas
Documentation Strategy for Intangible Cultural Heritage (ICH)in Cultural Heritage Institutions: Mak Yong Performing Art Collection . . . . . 470
Mazlina Pati Khan, Andika Abdul Aziz, and Khairul Azhar Mat Daud
The New Era of Museums and Exhibitions
Metadata Standards for Virtual Museums . . . . . . . . . . . . . . . . . . . . . . . . . . 483Stella Sylaiou, Elena Lagoudi, and João Martins
Coroplastic Studies Through 3D Technology: The Case of TerracottaFigurines from Plakomenos, Greece. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Dimitra Sarri and Effie F. Athanassopoulos
Tell the Story of Ancient Thracians Through Serious Game . . . . . . . . . . . . . 509Desislava Paneva-Marinova, Malvina Rousseva, Maria Dimova,and Lilia Pavlova
New Cross/Augmented Reality Experiences for the Virtual Museumsof the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Geronikolakis Efstratios, Tsioumas Michael, Bertrand Stephanie,Loupas Athanasios, Zikas Paul, and Papagiannakis George
3D Models and Virtual Tours for a Museum Exhibition of VietnameseCultural Heritage Exhibits and Sites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Thomas P. Kersten
An Augmented Reality Mobile App for Museums: Virtual Restorationof a Plate of Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Andrea F. Abate, Silvio Barra, Giuseppe Galeotafiore, Carmen Díaz,Elvira Aura, Miguel Sánchez, Xavier Mas, and Eduardo Vendrell
Touring the Forum Adiectum of Augusta Emerita in a virtualreality experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Emiliano Pérez, María José Merchán, María Dolores Moreno,Pilar Merchán, and Santiago Salamanca
A Semantically-Enriched Digital Portal for the Digital Preservationof Cultural Heritage with Community Participation . . . . . . . . . . . . . . . . . . . 560
Cokorda Pramartha, Joseph G. Davis, and Kevin K. Y. Kuan
Contents – Part I XVII
Towards a Mobile Crowdsourcing System for Collective MemoryManagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Konstantinos Koukoulis, Dimitrios Koukopoulos,and George Koubaroulis
Digital Cultural Heritage Infrastructure
PHOTOCONSORTIUM: Opening up the Riches of Europe’sPhotographic Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Valentina Bachi, Antonella Fresa, Sofie Taes, and Fred Truyen
Digital 3D Reconstruction Projects and Activities in theGerman-Speaking Countries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
S. Münster, P. Kuroczyński, and H. Messemer
Towards a Global Infrastructure for Digital Cultural Heritage . . . . . . . . . . . . 607Nadezhda Povroznik
The Role of Heritage Data Science in Digital Heritage. . . . . . . . . . . . . . . . . 616Alejandra Albuerne, Josep Grau-Bove, and Matija Strlic
Interdisciplinarity of Cultural Heritage Conservation Making and Makers:Through Diversity Towards Compatibility of Approaches. . . . . . . . . . . . . . . 623
Anna Lobovikov-Katz, João Martins, Marinos Ioannides, Dalik Sojref,and Christian Degrigny
Capitalize on the Experience of the ATHENA Project for Cultural Heritagefor the Eratosthenes Centre of Excellence for the Benefitof the East Med Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Diofantos G. Hadjimitsis, Kyriacos Themistocleous,Evagoras Evagorou, Silas Michaelides, Andreas Christofe,Argyro Nisantzi, Kyriacos Neocleous, Christiana Papoutsa,Christodoulos Mettas, Marios Tzouvaras, Eleni Loulli, Georgia Kouta,Chris Danezis, Rosa Lasaponara, Nicola Masini, Daniele Cerra,Gunter Schreier, and George Papadavid
On the Pathway to Success: Becoming a Leading Earth Observation CentreThrough the EXCELSIOR Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Diofantos G. Hadjimitsis, Georgia Kouta, Kyriacos Themistocleous,Silas Michaelides, Kyriacos Neocleous, Rodanthi-Elisavet Mamouri,Argyro Nisantzi, Christiana Papoutsa, Marios Tzouvaras,Christodoulos Mettas, Andreas Christofe, Evagoras Evagorou,Gunter Schreier, Egbert Schwarz, Haris Kontoes, Ioannis Papoutsis,Albert Ansmann, and Giorgos Komodromos
XVIII Contents – Part I
The Role of Information and Communication Technologies for EnhancingAccess to Cultural Content (The Example of Bulgaria) . . . . . . . . . . . . . . . . 654
Mariela Modeva
Non Destructive Techniques in Cultural Heritage Conservation
Contribution of e-Documentation to Technical Rescue Works andConservation of the Mural Painting of the Dome of Blessed Ladislaus’Chapel in St. Anne’s Church in Warsaw . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Katarzyna Górecka, Ryszard Malarski, Piotr Pawłowski,and Marek Skłodowski
On the Integration of Digital 2D and 3D Survey Models for the GeometricalConfiguration and the Damage Assessment of a Medieval Buildingin Venice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Antonella Manzo
A Methodology for the Inspection and Monitoring of the Roof Tilesand Concrete Components of the Sydney Opera House . . . . . . . . . . . . . . . . 689
Gianluca Ranzi, Osvaldo Vallati, and Ian Cashen
Non-invasive Investigation and Documentation in the Bieliński Palacein Otwock Wielki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
A. Kaliszewska, R. Bieńkowski, J. Markiewicz, S. Łapiński, M. Pilarska,and A. Feliks
Digital Preservation and Record of War Fortifications - A Case Studyof Qiong-Lin Defense Tunnel in Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Wun-Bin Yang, Yu-Chieh Lin, Chin-Fang Cheng, and Ya-Ning Yen
Digitizing the Building Site for Restoration Projects: From ALMTechnologies to Innovative Material Scenarios . . . . . . . . . . . . . . . . . . . . . . 718
Marco Medici and Sara Codarin
E-Humanities
Chronologicon Hibernicum: A Probabilistic Chronological Frameworkfor Dating Early Irish Language Developments and Literature . . . . . . . . . . . 731
Fangzhe Qiu, David Stifter, Bernhard Bauer, Elliott Lash, and Tianbo Ji
Ancient Asian Character Recognition for Literature Preservationand Understanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Lin Meng, C. V. Aravinda, K. R. Uday Kumar Reddy, Tomonori Izumi,and Katsuhiro Yamazaki
Preservation and Management of Greek Dialectal Data . . . . . . . . . . . . . . . . 752Eleni Galiotou, Nikitas Karanikolas, and Angela Ralli
Contents – Part I XIX
Unlocking Potential Knowledge Hidden in Rubbing: Multi-style CharacterRecognition Using Deep Learning and Spatiotemporal RubbingDatabase Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Lin Meng, Masahiro Kishi, Kana Nogami, Michiko Nabeya,and Katsuhiro Yamazaki
Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
XX Contents – Part I
Accessing and Understanding CulturalHeritage Through Users Experience Within
the INCEPTION Project
Federica Maietti(&) , Emanuele Piaia , Giuseppe Mincolelli ,Roberto Di Giulio , Silvia Imbesi , Michele Marchi ,
Gian Andrea Giacobone , and Silvia Brunoro
Department of Architecture, University of Ferrara, Via Ghiara 36,44121 Ferrara, Italy
{mttfrc,piamnl,mncgpp,dgr,mbsslv,mrcmhl,gcbgnd,
brnslv}@unife.it
Abstract. The interdisciplinary EU funded project INCEPTION – InclusiveCultural Heritage in Europe through 3D semantic modelling, coordinated bythe Department of Architecture of the University of Ferrara, is focused onbringing together innovative 3D modelling and ICT applications and profes-sionals involved in different fields of Cultural Heritage. The aim is to increaseknowledge, enhancement and dissemination through 3D digital models in orderto promote the inclusiveness and accessibility of European assets. In thisdirection, a Stakeholder Panel with different skills in the field of Cultural Her-itage has been involved leading the research toward effective strategies toincrease use and reuse of digital models. These strategies are aimed at maxi-mizing the impact of using digital data for cultural heritage applicationsinvolving a wide range of non-expert and expert users, starting from specificrequirements for processing, managing, delivering cultural heritage informationto a broad audience. A co-design workshop has been organized involvingStakeholders in order to investigate on their requirements and expectations, toobtain information that could be useful for the User Centered process of defi-nition of INCEPTION’s main outcomes and functionalities.
Keywords: Digital cultural heritage � User centered design � Accessibility
1 Introduction
The INCEPTION project, “Inclusive Cultural Heritage in Europe through 3D SemanticModelling”, started in June 2015 and lasting four years, aims at developing advanced3D modelling for accessing and understanding European cultural assets. One of themain challenges of the project is to close the gap between effective user experiences ofCultural Heritage via digital tools and representations, and the enrichment of the sci-entific knowledge.
The project is developed through a strong synergy among the Consortium Partnersand the Stakeholder Panel, an assembly of European institutions, already involvedduring the project preparation phase with the aim of directing research toward those
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strategies needed by “end users” and institutions to increase knowledge, enhancementand dissemination through digital models.
During the project development, several activities and meetings have been arrangedin order to strengthen the Stakeholders’ role within INCEPTION and to learn fromStakeholders about their needs and expectations [10]. The interest of Stakeholders for3D modelling and learning about cultural heritage assets’ significances via digitalmedia guided the project progress and strongly influenced the type, content andapplicability of final products.
In order to apply a User Centered Design methodology to the project of theINCEPTION’s User Experience (UX), the last Stakeholders meeting was organized inJune 2018, and it has been conceived as an interactive workshop. The main aim was tofocus effectively on two topics: new tools for modelling Cultural Heritage, and how tomake Heritage more accessible and understandable by different kind of users.
1.1 INCEPTION Project Overview
As part of 3D integrated survey applied to Cultural Heritage, digital documentation isgradually emerging as effective support of many different information in addition to theshape, morphology and dimensional data. The contribution of INCEPTION inincreasing knowledge is based on the improvement and optimization of data collectionprocesses and the development of semantically enriched 3D models, accessible bydifferent Cultural Heritage experts, users and different disciplines through an open-standard Semantic Web platform [1].
Among several related projects dealing with Heritage 3D modelling, INCEPTIONis relevant and differentiates from these projects because it is focused on heritage“spaces” (complex architectures and sites), on semantic enrichment - creating 3Dmodels for multiple purposes, needs and level of knowledge of the end-users – and onthe collection of all information in a unique Platform [2].
The overall project workflow starts from requirements (what kind of data, infor-mation and visualization issues can be collected and managed by a 3D model accordingto specific users and needs), the integrated data capturing and holistic heritage docu-mentation, the semantic enrichment via 3D modelling in H-BIM environment, and themodels deployment and valorization through the INCEPTION platform. Model formatsaccessible by the platform to the users are openBIM formats, and textured models(Collada files). 3D models are based on open standards in the BIM, GIS, Semantic Weband point cloud area (including IFC - ifcOWL, gbXML, CityGML, E57, etc.) [3].
According to the overall INCEPTION workflow, the H-BIM modelling procedurestarts with documenting user needs, including experts and non-experts.
The identification of the Cultural Heritage buildings semantic ontology and datastructure for information catalogue allows the integration of semantic attributes to 3Ddigital geometric models for management of heritage information within the INCEP-TION platform. So the main innovations under INCEPTION will be delivered throughan open standard platform to collect, implement and share digital models. Platforminterface and functionalities will allow users to download and upload models, work withH-BIM models with different level of details, enrich contents and information linked togeometric models in an interoperable way and explore a wide range of data and contents.
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1.2 Stakeholders Involvement Toward a Broad Accessibility of 3D DigitalModels
The INCEPTION project established a broad Stakeholder Panel with participants ofdifferent countries, disciplines and potential professional users, involved in severalstages of the project, starting from the analysis of needs and requirements. A part of theStakeholder Panel has been involved more closely providing Demonstration Cases,supporting the consortium in data collection for data modelling and on-site or off-sitedemonstration activities [9].
The INCEPTION platform is already structured through a general architecture, anda first prototype has already been elaborated based on the macro-needs analysis carriedout in the first phase involving users and Stakeholders and developed through thedefinition of invariants and technological and system constraints [4].
According to Human Cantered Design’s principles, an iterative process has beenapplied to the first prototype in order to evaluate and implement it together with usersand Stakeholders for new versions’ development.
The objective is not only to gain opinions on the current state of development of theINCEPTION platform by users, but also and above all to participate with them in theexperimentation and re-elaboration of the opportunities offered by the platform asdefined through the first analyses [5].
The aim of this activity, which takes the name of Co-Design, is to understand if thefirst prototype allows the understanding of the instrument, if this understanding allowsa greater awareness on the needs focused during the first analysis, and if this awarenesshelps to reconsider the structure of the current prototype, improving it.
The purpose is not only to analyse the requests of users and Stakeholders, but alsoto work together to the design of a new set-up of the platform, so that it responds toneeds that have not yet been identified, and it’s easy to navigate and interesting for eachtype user, common visitors or specialized technicians.
2 Co-design Workshop
2.1 Definition of Co-design Experiences
Co-design is a well-established approach to creative practice, particularly within thepublic sector. Co-design is often used as an “umbrella” term for participatory, co-creation and open design processes [8].
The co-design approach enables a wide range of people to make a creative con-tribution in the formulation and solution of a problem. A key tenet of co-design is thatusers, as “experts” of their own experience, become central to the design process.
A wide range of tools and techniques are available to support the co-design process.Potential solutions can be tested through prototyping and scenario generation tech-niques. Two techniques are usually applied:
• Storytelling/Storyboards is a tool that helps visualizing the experience that the userwill experience through the design of key passages for a type of story usage [7].
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• The Experience Map is a visual map that graphically describes the experiencesthrough the different steps and touchpoints. The compilation of the map isexploding on different floors all the steps that the user does, so that they have aunified view from the top of the experience.
2.2 The INCEPTION Co-design Workshop
Six Stakeholders participated in the Co-Design workshop, from different countries(Italy, Belgium, Slovenia, Greece, Spain and Germany) and from different Heritagefields. Members from institutions such as the Geodetic Institute of Slovenia, theGeneral Hellenic Archives-Historical Archives of Epirus, the Institute of CulturalHeritage of Spain, the firm Energy Efficient Architecture Renovation Conservation, theItalian Association of Local and Institutional Museums, the Institute for Diagnosticsand Conservation of Monuments in Saxony, represented several skills and expertise.
The aim of the Co-Design workshop was to create an informal experience (Fig. 1)to exchange considerations regarding INCEPTION functionalities within the platform,providing a specific service able to fulfil different needs of different user categories. Togather information about users’ needs, the collaborative work session with INCEP-TION Stakeholders allowed pointing out what kind of tools and facilities they wouldneed to achieve requirements and opportunities.
During the first step, Stakeholders were asked to be not so closed to reality, in orderto outline an overall picture of user needs through an inclusive and dynamic parallelsession. In this first phase, the Co-Design session involved all Stakeholders around aworktable. Thanks to the presence of a moderator, every participant became familiarwith the activity of brainstorming, namely a creative technique based on associations ofideas. Every single member was stimulated to freely share his/her own suggestions and
Fig. 1. In order to gather personal information from the Stakeholders in a confidential way andestablish a mutual knowledge, a sort of game was developed in which each participant indicatedin a card its own data and interests, using an imaginary identity.
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opinions about the topics of INCEPTION’s platform, in term of functionalities, graphicinterface, etc. Every single idea was transcribed by the design team on many post-itsand sorted on a specific whiteboard. Only at the end of brainstorming activity, theperformed work was discussed and analysed, making a qualitative and quantitativeselection and organization of the developed ideas.
It was chosen to consider three main significant user categories: tourists and spe-cialized users (academic and researchers), governments and decision makers, andtechnicians and professionals. The criteria for defining users were based on the concept
Table 1. Summary of the results gathered during the Co-design workshop.
Contents User experience Interface
Tourist andspecializedusers
Hyperlinks to externalplatforms
Storytellers torelate the real siteand the virtualmodel
Accessibility andinclusion even topeople with specialneeds or disabilities
Update the models withrelated data andinformation
Possibility to printvirtual models into3D physicalmodels
Intuitive andhierarchical interface
Examine the model indifferent historic periods
Knowledge aboutbuilding byshowing historicalevents
Information availableeven on smartphoneand by AR
Governmentsand decisionmakers
Information about eventsand exhibitions and infoabout the physical place
Bridge the gapbetween real andvirtual experiences
Do not waste time tofind data duringresearches
Download models forrelated activities
Make usersupdated on lastmodifications oftheir visitedmodels
Provide users the % ofbrowsed elements of avisited model
Reliable data forscientific researches
Provide augmentedreality during avisit
Give users few andclear information
Techniciansandprofessionals
Split the elements of abuilding in order tovisualize different historicphases
Keep in memoryinformationalready visitedReal-time worksharing
Private area for notaccessible models andfilter research bar
Store data of previousinterventions anddocuments available evenon mobile devices
Download 3Dmodels withdifferent scales ofdetails
Timeline ofinterventions and lastupdating
Interoperability amongseveral external databases
See missing partsof the buildings
Comprehension ofdifferent parts thatcompose the building
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of inclusion and on the maximum possible spread of 3D models for different usesapplied to the knowledge and conservation of Cultural Heritage.
Thoughts, comments and ideas resulting from the brainstorming among partnersand Stakeholders were collected in three categories:
• contents,• user experience and• interface,
where “contents” are data and information relevant according to the opinion of theStakeholders; “user experience” are opportunities in browsing 3D digital models andinteracting with specific information; and “interface” are all the possible platformfunctionalities (Table 1 and Fig. 2).
3 INCEPTION Platform Interface and Accessibility
Within Co-Design session, a journey map was defined. INCEPTION platform has ahigh number of functions and different modalities of interaction, so the card-sortingmethodology was applied to represent schematically the complex architecture of theweb platform in a user centered approach, facilitating shared representations of workthrough a tactile and visible experience of the possible interaction tools. Thanks toStakeholders different skills, different feedbacks from wide-ranging experiences, abil-ities and needs were collected. Different contents of the INCEPTION platform werehierarchized and it was analyzed what interaction modalities were more usable for finalusers, in order to reach an intuitive and accessible navigation.
Fig. 2. View of the co-design workshop.
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The workshop tried to define tools able to improve user experiences for a firstinteraction with the INCEPTION platform. To do this, many “cards” were processedand printed, representing through icons and drawings every single operation that theuser can perform inside the system. To make the process more practical and accessible,tools were divided into 4 macro groups:
• Cards for the functions related to the BIM model (zoom, clipping planes, changeshades, walkthrough, pan, rotate, filter elements, etc.);
• Cards for the functions related to video (play 360°, rotate 360°, rotate, downloadand upload, etc.);
• Cards for the functions related to the use of images (full screen, zoom, etc.);• Cards for the functions related to data loading and uploading (download, upload,
open metadata).
Then some white cards were printed for each macro group, in order to be able toimplement the hypothesized tools based on the specific needs of the Stakeholdersinvolved and increase the available functions. The aim was to create a visual graphicmap allowing users to understand and move the tools at their disposal, to imagine apossible conceptual map of tools for knowledge/modification/implementation of theplatform [6] (Fig. 3).
During this phase, an experience map was elaborated with the aim of understandingthe most appropriate and suitable tools for platform navigation and exploration bydifferent users, and to point out possible weaknesses, trying to find accessible andinclusive solutions. Thanks to this methodology, it was also possible to analyze theinformation flows between activities, making the navigation experience more efficient.The tools considered more relevant are related to basic actions to be performed on themodel, such as visualize and download videos and images, select elements of themodel, measure distances or surfaces or move within the model. “Missing” cards from
Fig. 3. View of some of the used cards.
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the first survey were not related to operational tools to be applied to the model, butrather to a better contents organization, information flows and navigation.
How to understand and interact with the information shown by the INCEPTIONplatform interface and how to make it easier to navigate is a relevant point outlined forbasic users. Navigation can be carried out by two different ways of interaction: throughthe 3D model or by customizing contents through research filters. At the first browsing,training instructions may be useful on how to use the platform, as well as a location barto find buildings to visit. To provide information, it is possible to either receive per-sonal data of users by filling in a short initial questionnaire or by data obtained fromprevious navigations or already present in the INCEPTION database (user profiling).An additional functionality suggested as relevant is the possibility to run virtual guides:it is useful to know how long the experience is before starting it or to provide both ashort and full version and a list of visited or favorite models.
For each building, a window showing available functions should be useful, alsobased on different devices (laptop, smartphone, tablet, etc.). Additional suggestions arerelated to different interfaces for any single typology of users, and the possibility toreceive news when models are updated (Fig. 4).
Regarding expert users, the discussion was focused mainly on the creation ofcontents: who can upload files to be approved by expert evaluators in order to deliveronly reliable models, through a moderator who approves the files and authorizes toproceed with the upload. The possibility to have some guidelines explaining how toupload the file with its specific characteristics is a point stressed several times.
Every user should be able to upload data, materials and information in relation toBIM models. The opportunity to relate many developers who work together on a single
Fig. 4. Proof of concept of a 3D model case of data access to the platform; on the left, possibleinteractions (BIM model, point cloud, images, documents, videos, etc.).
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file updatable in real time, without having multiple copies of the object, is an additionalrequirement.
At the end of the workshop, the participants were asked about their perceptions.The general feeling was that the Co-design represented an intensive work sessionwhere everyone was feeling free to express the own point of view, with the aim ofenriching the users’ and Stakeholders’ perspectives within the INCEPTION project.The organization of the Co-design Workshop was effectively focused on objectives setby the team, both for obtaining information needed for the application of the UserCentered Design process, and to strengthen the sense of being part of a group of peoplewith different backgrounds working for the same purpose.
4 Conclusions
User needs collected during the co-design workshop were grouped and classified insome subgroups more specifically related to the optimization of the platform. Ofcourse, the needs of every user category may interact and influence each other.Requirements have been discussed and pointed out to design different interfaces foreach user target. The visitor’s interface should be simple and intuitive, and provideimmersive experiences according to the user needs in an open access environment.
About technical users, the interface should provide a filter research area in order toavoid wasting time in searching needed information. Technical users need specific andtechnical tools to be used in their work, so the system should provide a better support inperforming their activities rather than focusing on virtual expositions. For decisionmakers, it is more interesting to provide scientific and reliable sources, involving at thesame time touristic users through the activities promoted by the public institution itself.The requirement to provide an easy-to-use platform for upload and download files hasbeen highlighted, as the availability of a private area in order to protect data to beshared with specific partners but not publicly. For the visitor/tourist it would be usefulto analyze a tool set that could improve knowledge and involvement of people byvirtual experiences. Virtual reality guides are positively considered, but it is crucialproviding experiences based on different historic periods and related contents. Througha different user experience map, expert users debated on the importance of policies fordata management, data reliability and guidelines for downloading and uploading files.
Based on these results, the platform interface and content management are beingupdated. The verification of this advanced prototype will be the focus of the nextStakeholders workshop, in November 2018.
Quantitative results on platform interface and accessibility will be delivered afterthe project conclusion, when the platform will be populated with several heritagemodels, as well as an estimation of usability of different platform functionalities.
Acknowledgments. The project is under development by a consortium led by the Departmentof Architecture of the University of Ferrara. Academic partners of the Consortium, in addition tothe Department of Architecture of the University of Ferrara, include the University of Ljubljana(Slovenia), the National Technical University of Athens (Greece), the Cyprus University ofTechnology (Cyprus), the University of Zagreb (Croatia), the research centers Consorzio Futuro
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in Ricerca (Italy) and Cartif (Spain). The clustering of small medium enterprises includes: DEMOConsultants BV (The Netherlands), 3L Architects (Germany), Nemoris (Italy), RDF (Bulgaria),13BIS Consulting (France), Z + F (Germany), Vision and Business Consultants (Greece).
This research project has received funding from the European Union’s H2020 FrameworkProgramme for research and innovation under Grant agreement no 665220.
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