From ”Sapienza” to “Sapienza, State Archives in Rome”. A looping effect bringing back to the original source communication and culture by innovative and low cost 3D surveying, imaging systems and GIS applications

Applicazione di tecnologie mensorie integrate Low Cost,web GIS,applicazione di tecniche di Computational photography per la comunicazione e condivisione dei dati, sistemi di Cloud computing.Archiviazione Grandi DatiHigh Quality survey models, realized by multiple Low Cost methods and technologies, as a container to sharing Cultural and Archival Heritage, this is the aim guiding our research, here described in its primary applications. The SAPIENZA building, a XVI century masterpiece that represented the first unified headquarters of University in Rome, plays since year 1936, when the University moved to its newly edified campus, the role of the main venue for the State Archives. By the collaboration of a group of students of the Architecture Faculty, some integrated survey methods were applied on the monument with success. The beginning was the topographic survey, creating a reference on ground and along the monument for the upcoming applications, a GNNS RTK survey followed georeferencing points on the internal courtyard. Dense stereo matching photogrammetry is nowadays an accepted method for generating 3D survey models, accurate and scalable; it often substitutes 3D laser scanning for its low cost, so that it became our choice. Some 360°shots were planned for creating panoramic views of the double portico from the courtyard, plus additional single shots of some lateral spans and of pillars facing the court, as a single operation with a double finality: to create linked panotours with hotspots to web-linked databases, and 3D textured and georeferenced surface models, allowing to study the harmonic proportions of the classical architectural order. The use of free web Gis platforms, to load the work in Google Earth and the realization of low cost 3D prototypes of some representative parts, has been even performed

Digital technologies applied to the accessible management of museums. The first experiments carried out at the Museum of Oriental Art of Turin

[EN] The proposed research focuses on the museum context of the city of Turin (Italy), within an ongoing framework agreement between the Politecnico di Torino and the Museum of Oriental Art (MAO). It aims at the construction of a model for the management of the workflow that includes the digital survey, the 3D virtual modelling and the digital fabrication of the tactile models of the artworks and the exhibition spaces. The paper starts with an overview on the methods of conservation and dissemination of cultural and architectural heritage, on the accessibility of museums and on tactile perception and graphics. It presents the first outcomes of the designed workflow with a special focus on the digital fabrication experiments on the vaulted system of the atrium of Palazzo Mazzonis (MAO home). The founding idea is that tactile exploration of artifacts helps the visitor engagement, making the museum experience more educationally incisive and more inclusive, in a “Design for All” perspective.[ES] La investigación propuesta se centra en el contexto museístico de la ciudad de Turín (Italia), dentro de un acuerdo marco en curso entre el Politecnico di Torino y el Museo de Arte Oriental (MAO). Su objetivo es la construcción de un modelo para la gestión del flujo de trabajo que parte de la digitalización de las obras de arte y de los espacios y termina con la realización de modelos táctiles. El artículo comienza con una visión general sobre los métodos de conservación y difusión del patrimonio cultural y arquitectónico sobre la percepción y los gráficos táctiles. Presenta los primeros resultados del flujo de trabajo diseñado, centrándose especialmente en los experimentos de fabricación digital en el sistema abovedado del atrio del Palazzo Mazzonis (casa del MAO). La idea básica es que la exploración táctil de los artefactos ayuda a la participación del visitante, haciendo que la experiencia del museo sea más incisiva desde el punto de vista educativo y más inclusiva, en una perspectiva de “Diseño para todos”.This research is carried out within the framework of an agreement between the Museo d’Arte Orientale and the Politecnico di Torino. I would like to thank Dr Marco Guglielminotti Trivel, Director of the Museum, Dr Claudia Ramasso, museum curator and Mrs Patrizia Bosio, from the Technical and Security Office for having favored the current research. In addition, I would like to thank Dr Franco Lepore Disability Manager of the Municipality of Turin, and Arch. Rocco Rolli, founder of Tactile Vision Onlus, for their willingness to help me in the management of the model testing phase that will take place soon.Ronco, F. (2021). Digital technologies applied to the accessible management of museums. 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"Toccare l'arte e guardare con altri occhi. Una via digitale per la rinascita dei musei archeologici nell'epoca della riproducibilità dell'opera d'arte". In Luigini, Alessandro and Panciroli, Chiara eds. Ambienti digitali per l'educazione all'arte e al patrimonio. Milano: FrancoAngeli s.r.l., p. 97-113. ISBN 9788891773333. http://library.oapen.org/handle/20.500.12657/25364 [accessed on 2020/05/04].D'Agnano, F., Balletti, C., Guerra, F., Vernier, P.. 2015. "Tooteko: A case study of augmented reality for an accessible cultural heritage. Digitization, 3D printing and sensors for an audio-tactile experience". International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Vol. 5W4, p. 207-213. https://doi.org/10.5194/isprsarchives-XL-5-W4-207-2015De Rubertis, R. (ed.) 1996. "Il disegno oscuro". XY Dimensioni del Disegno, n. 26Díaz Gómez, F., Jiménez,Peiró J., Barreda Benavent, A., Asensi Recuenco, B., Hervás Juan, J. 2015. " Modelado 3D para la generación de patrimonio virtual. 3D modeling for the generation of virtual heritage". Virtual Archaeology Review, vol. 6, no 12, p. 29-37. ISSN 1989-9947. https://doi.org/10.4995/var.2015.4150Empler, T. 1996. Il "disegno in rilievo negli Istituti di Ricerca italiani e francesi". XY, Dimensioni del Disegno, n. 26, p. 5-7.Empler, T. 2013. "Universal Design: ruolo del Disegno e Rilievo". Disegnare. Idee Immagini, n. 46, p. 52-63. ISBN 978-88-492-1835-0.Empler, T., Fusinetti, A. 2019. "Rappresentazione visuo-tattile: comunicazione tattile per i disabili visivi". In Belardi, Paolo ed. UID per il disegno:2019. Riflessioni: l'arte del disegno/ il disegno dell'arte. Roma : Gangemi, p 1563-1572. ISBN 978-88-492-3762-7. https://www.torrossa.com/it/resources/an/4557553 [accessed on 2020/05/04].García Lucerga, M. A. 1993. El acceso de las personas deficientes visuales al mundo de los museos. Madrid: Organización Nacional de Ciegos Españoles, Sección de Cultura D.L. 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ISBN 84-87277-40-3. https://portal.once.es/bibliotecas/fondo-bibliografico-discapacidad-visual [accessed on 2020/05/04].Petrelli, D., Ciolfi, L., Van DiJk, D., Horneker, E., Not, E., Schmidt A. 2013. "Integrating material and digital: A new way for cultural heritage". Interactions: new visions of human-computer, n. 20, p. 58-63. https://doi.org/10.1145/2486227.2486239Photoworks: 3D Photo Printing Products. URL: https://www.3dphotoworks.com/product [accessed on 2020/05/04].Reichinger, A., Neumüller, M., Rist, F., Maierhofer, S., Purgathofer, W. 2012. "Computer-Aided Design of Tactile Models. Taxonomy and Case Studies". In Miesenberger, Klaus et al. eds. ICCHP 2012, Part II, LNCS 7383, p. 497-504. ISBN 978-3-642-31533-6. https://doi.org/10.1007/978-3-642-31534-3_73Reichinger, A., Fuhrmann, A., Maierhofer, S., Purgathofer, W. 2016. "Gesture-Based Interactive Audio Guide on Tactile Reliefs". 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Public libraries engaging communities through technology and innovation : Insights from the Library Living Lab

Public libraries have proven for centuries to be infrastructures both stable enough as reference centers for access to knowledge yet plastic enough to respond to the social changes of the communities they serve. In these present times of transformation, during which digitalization and the intensive use of technologies are modifying the way in which knowledge is produced, public libraries are facing new and disruptive challenges. The emergence of certain innovation ecosystems within libraries, which place the community at the center of cocreation and codesign processes between different agents, has transformed some public libraries into encountering spaces. The Library Living Lab, in the Miquel Batllori Public Library of Sant Cugat del Vallès (Barcelona, Spain), is an expression of this systemic change. The following paper is a case study based on that sociotechnical infrastructure and analyzes, through two singular examples, how digital technologies can be drivers of social transformation when citizen engagement is placed at the center of innovation processes. The case study also provides insights into how public libraries may become key agents in fostering and strengthening social cohesion through situated, collective, and technology-based innovation practice

From point cloud to digital fabrication: A tangible reconstruction of Ca' Venier dei Leoni, the Guggenheim Museum in Venice

The paper describes how new digital methodologies can be used within the field of Cultural Heritage, not only with the aim of documenting the actual state of an architecture but to review the past transformations it has undergone, conserving and representing these histories as well. The premise to conservation and enhancement of our Heritage is a deep study in terms of position, shape, colour, and also of the historical and artistic features. Survey methods have acquired data acquisition techniques in line with technological progress: today's electronic and IT technologies, that are the tools of modern Geomatics, allow the effective survey and representation of 3D objects, from architectural structures to sculptures or archaeological finds. Over the last few years, the methodologies of acquisition and integrated representation for 3D patrimony documentation have developed and consolidated considerably: the possibilities of the digital realm can augment the understanding and the valorisation of a monument. The specific case offered in the present paper, Ca' Venier dei Leoni, the palace where is the Guggenheim Museum in Venice, is a significant example. It suggests not only the theme of the "no longer existing", or better never built, but also the opportunity to formulate hypotheses regarding its implementation and the impact that the palace would have had in the Venetian contest

Truth, Beauty, Freedom, and Money: Technology-Based Art and the Dynamics of Sustainability

Proposes innovative new approaches and models for art and technology institutions, and provides details for an "Arts Lab," a unique hybrid art center and research lab

Rethinking Complexity: Vladimir Shukhov’s Steel Lattice Structures

This paper is a critical review on advantages and disadvantages of contemporary digital architecture, in retrospect to Vladimir Shukhov's design techniques, applied in the early 20th century. After investigating Shukhov's structural systems, this paper explores the relationship between performance and form, questioning the necessity of high-complexity structures. It will present unpublished archive material of his early work and stimulate a valuable discussion by comparing it with contemporary projects designed by renowned architects. The study on Shukhov focuses on his tessellation method of double-curved surfaces using simple standardized elements. The study of present digital approaches revolves around leading architects using computational tools (e.g. Foster and Partners, Buro Happold and Arup), who have materialized high complexity structures composed by irregular units. Our findings highlight advantages and disadvantages of contemporary computational approaches

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

Trendswatch 2013: Back to the Future

TrendsWatch 2013 highlights six trends that CFM's staff and advisors believe are highly significant to museums and their communities, based on our scanning and analysis over the past year. For each trend, we provide a brief summary, list examples of how the trend is playing out in the world, comment on the trend's significance to society and to museums specifically, and suggest ways that museums might respond. We also provide links to additional readings. TrendsWatch provides valuable background and context for your museum's planning and implementation