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Digital Innovations in Architectural Heritage Conservation:

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Digital Innovations in
Architectural Heritage
Conservation:
Emerging Research and
Opportunities
Stefano Brusaporci
University of L’Aquila, Italy
A volume in the Advances in

Media, Entertainment, and
the Arts (AMEA) Book Series
Published in the United States of America by
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Library of Congress Cataloging-in-Publication Data
Names: Brusaporci, Stefano, author.

Title: Digital innovations in architectural heritage conservation : emerging
research and opportunities / by Stefano Brusaporci.
Description: Hershey : Engineering Science Reference, 2017. | Includes
bibliographical references.
Identifiers: LCCN 2017002391| ISBN 9781522524342 (hardcover) | ISBN
9781522524359 (ebook)
Subjects: LCSH: Historic buildings--Conservation and restoration--Data
processing--Technological innovations. | Historic preservation--Data
processing--Technological innovations. | Cultural
property--Protection--Data processing--Technological innovations. |
Architecture and technology.
Classification: LCC NA105 .B77 2017 | DDC 720/.47--dc23 LC record available at https://lccn.loc.
gov/2017002391
This book is published in the IGI Global book series Advances in Media, Entertainment, and the
Arts (AMEA) (ISSN: 2475-6814; eISSN: 2475-6830)
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All work contributed to this book is new, previously-unpublished material. The views expressed in
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Advances in Media,
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(AMEA) Book Series
ISSN:2475-6814
EISSN:2475-6830
Editor-in-Chief: Giuseppe Amoruso, Politecnico di Milano, Italy

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Titles in this Series
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Media Law, Ethics, and Policy in the Digtal Age

Nhamo A. Mhiripiri (Midlands State University, Zimbabwe & St. Augustine University,
Tanzania) and Tendai Chari (University of Venda, South Africa)
Information Science Reference • ©2017 • 330pp • H/C (ISBN: 9781522520955) • US $195.00
Handbook of Research on the Facilitation of Civic Engagement through Commuity Art

Leigh Nanney Hersey (U. of Louisiana Monroe, USA) and Bryna Bobick (U. of Memphis, USA)
Convergence of Contemporary Art, Visual Culture, and Global Civic Engagement

Ryan Shin (University of Arizona, USA)
Cultural Influences on Architecture

Gülşah Koç (Yıldız Technical University, Turkey) Marie-Therese Claes (Louvain School of
Management, Belgium) and Bryan Christiansen (PryMarke, LLC, USA)
Design Innovations for Contemporary Interiors and Civic Art

Luciano Crespi (Politecnico di Milano, Scuola del Design, Italy)
Applying the Actor-Network Theory in Media Studies

Markus Spöhrer (University of Konstanz, Germany) and Beate Ochsner (University of
Konstanz, Germany)
Projective Processes and Neuroscience in Art and Design

Rachel Zuanon (Anhembi Morumbi University, Brazil)
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Table of Contents
Foreword .............................................................................................................. vi
; ;
Preface ................................................................................................................viii
; ;
Chapter 1 ;
Dr. Who’s Police Box: The Multiple Dimensions of Conservation ....................... 1 ; ;
Chapter 2 ;
Between Cuvier and Darwin: Issues in a Changing Heritage .............................. 31; ;
Chapter 3 ;
“Warp Drive, Mr. Sulu”: The New Relationship With Digital Heritage ............. 50 ; ;
Chapter 4 ;
Καλλιόπη or On Interpretation, Presentation, and Participation: Models in

Architectural Heritage Conservation ................................................................... 76
; ;
Conclusion ........................................................................................................ 119

; ;
Glossary ............................................................................................................ 124

; ;
Related Readings .............................................................................................. 133

; ;
About the Author ............................................................................................. 150

; ;
Index .................................................................................................................. 151

; ;
vi
Foreword
This book is a timely contribution to the emerging opportunities presented

to us at the height of our development of digital technologies for conserva-
tion. Well defined and specific, the chapters delve into a multiplicity of of-
ficial sources, presenting viewpoints oriented to the conservation of archi-
tectural heritage at the crossroads of culture and technology in the present
day.
In the 21st century, the connectedness of our society has seen an exchange
of cultures across the globe. As J. J. Arnett described in The Psychology of
Globalization, most people today have a bicultural identity that combines
their local identity with an identity linked to a global culture. Whilst this phe-
nomenon is not necessarily an issue, quite often, the media portrayal of the
global culture is an enhanced, glorified version of it. As such, the allurements
of the physically distant yet accessible global culture is especially attractive
to vulnerable younger generations in their local settings. This tendency to-
wards a global culture can be a concern when the cultural traditions are being
overshadowed, even though the shallow and materiality of the global culture
is a stark contrast to the deeper, more profound local intangible heritage un-
der threat. Whilst the notion that intangible cultural heritage faces a greater
challenge of conservation as compared to tangible heritage may be true, the
conservation of architectural heritage is no less easy, for architectural heritage
encompasses, and is intertwined with the intangibility of memory, history,
processes, transformation, spirituality, and use of the object and not merely
the materiality of it. As Prof. Stefano Brusaporci pointed out in this book,
that any project of conservation is rooted on knowledge and understanding of
historical and aesthetic value, in particular, architectural heritage is defined
through “continuous processes of modification and transformation over
time”. Monuments and sites do not stand by themselves, they are intrinsi-
cally rooted in the culture which defines their physicality. The greater threat
is increasing population growth in urban areas where the concentration of
architectural heritage is. The urban population of the world was at 3.9 billion
vii
in 2014 at 54%, growing from a mere 746 million in 1950 and is projected to
reach 64% by 2050. Managing conservation of heritage will incontrovertibly
become the most important activity in the heritage community in inexorable
population growth and economic development. Perhaps the equally impres-
sive exponential growth of digital technology can be a safeguard for heritage
conservation, guided by the reflection on concepts of “conservation” and the
opportunities given us in the relationship between virtual heritage, digital
heritage, participative approaches and the connected nature of social media
presented in this volume.
Many challenges in heritage conservation lies ahead. Yet, I believe that
the agora of multidisciplinary members of the heritage community and their
fervency for preserving and conserving heritage will collectively resolve and
surpass the issues which are before us. I hope that you will reflect upon the
concepts and emerging opportunities presented in this book in your scholarly
investigation and practical conservation work as much as I did.
Eugene Ch’ng
University of Nottingham, China
Eugene Ch’ng is the Director of the NVIDIA Joint-Lab on Mixed Reality, based at the University of
Nottingham’s China campus in the international city of Ningbo with an ancient past of 7,000 years,
also one of the original stops on the maritime Silk Road in the 5th century. Dr Ch’ng has authored
many scholarly articles in his pioneering digital heritage research, notably Springer’s Cultural Com-
puting Series’ Visual Heritage in the Digital Age. Other articles which he has authored are From
Product to Process: New Directions in Digital Heritage, The Mirror Between Two Worlds: 3D Surface
Computing Interaction for Digital Objects and Environments, Stigmergy in Comparative Settlement
Choice and Palaeoenvironment Simulation, Crowd Behavior Mining with Virtual Environments,
and MIT Press PRESENCE’s Special Issue on Virtual Heritage: Cultural Agents, Environments and
Objects among others. He is involved in, and has won numerous research grants as PI and Co-PI
such as The Leverhulme Trust’s ‘Cuneiform Virtual Reconstruction’ project, ERC Advanced Grant’s
‘Lost Frontiers’, AHRC’s ‘Curious Travellers’, Zhejiang China’s provincial ‘VR Maritime Silk Road’
and Etc. Dr Ch’ng is an Associate Editor for MIT Press’ PRESENCE. He was awarded the Ningbo
Municipal Individual 3315 talent in 2015.
viii
Preface
INTRODUCTION
The book deals with “conservation” and with the opportunities offered by
digital technologies: Conservation is a general concept involving the strategies
for heritage safeguarding and enhancement, and digital tools and applica-
tions – such as database, virtual reality, augmented reality, digital museums,
social networks, etc. – can define useful participative processes for heritage
conservation. In particular, the book focuses on architectural heritage.
Any project of conservation roots on knowledge and understanding of
historical and aesthetic values.
The architectural field presents important differences compared to other
ones: Architectural heritage shapes from a relationship between “built” and
“void”, masses and details, as synthesis of materials, constructive systems,
aesthetic characteristics, and spaces able to accommodate human activities.
Moreover, continuous processes of modification and transformation over time
defines it. The role of the cultural, historical and built context is inescapable.
Documents are composed by a vast and heterogeneous quantity of histori-
cal and recent data, often scattered in different archives, such as drawings,
writings, paintings, photos, previous studies and surveys, etc. related to the
building, to the designer, to the builders, to the yard, etc.
Digital technologies for surveying, modeling and representation have
produced important methodological changes. In particular, laser scanning,
photogrammetry, advanced software for modeling and data analysis, and
computer-based visualization have moved the process of historical and critical
knowledge toward the use of complex 3D models. They favor the collection,
analysis, computing, and communication of the huge quantity of data and
information. It is important to go beyond the conceptual and operative di-
chotomy between 3-D model and database model, toward integrated models,
at the same time made by spatial objects and referenced information.
ix
From complex models rises new methodological issues: The heuristic

role of digital modeling; The relation between interpretative models and
reality, virtual reality, and augmented reality; “Transparency” as scientific
practice and a way to interrelate and conserve physical and digital heritage;
Interdisciplinary as critical reflection and opportunity; New participative
applications as chance to enhance heritage, and the related reflection on the
concepts of interpretation, of “memory”, of “history”, of authoritative and
participative aspects.
Key matter of the book is the opportunities offered by digital technologies
for conservation and, consequently, for knowledge, interpretation, presenta-
tion, participation, sustainability, management. With specific attention to
architectural heritage.
Consequently, the main topics of the book are not limited to historic build-
ings, but they start from general issues to develop a reflection that come to
architectural heritage. Therefore key words are:
• Cultural Heritage, Tangible Heritage, Intangible Heritage, Built

Heritage, Urban Heritage, Landscape, Memory, Integrity, Authenticity.
• Conservation, Interpretation, Presentation, Sustainability, Participation,
Interdisciplinarity, Management.
• Digital Heritage, Virtual Heritage, Digitalization, 3-D Modeling,
Computer Based Visualization, Social Media.
• Architectural Heritage, Architectural History, Documentation,
Surveying, Representation, Virtual Reality, Augmented Reality, BIM,
Transparency, Paradata, Communication, Gaming, Edutainment,
e-Tourism.
WHERE TOPICS FIT IN THE WORD TODAY
The ICT growth, the decreasing cost and the ease of use of digital tools have
made the most advanced technologies available to a larger number of scholars
and to common people, thus favoring their practice and experimentation.
From the very beginning of the Seventies, the archeology has immedi-
ately looked carefully to the possibilities offered by computer modeling. In
addition, Digital Humanities has focused on digital heritage. In the “built
heritage” field, computer based visualization has become a line where visual
computing is an effective methodology for scientific research. Hence, it has
resulted in the need to define appropriate procedural protocols.
x
In 1999, on UNESCO’s “World Heritage Magazine”, Stone defined Virtual

Heritage as: “the utilization of technology for interpretation, conservation
and preservation of Natural, Cultural and World Heritage” (Stone 1999).
Later, many pages have been written about the concept of “Digital Heritage”,
especially from the publication of the “Charter on the Preservation of the
Digital Heritage” by UNESCO in 2003. Here “Digital Heritage” is defined
as: “cultural, educational, scientific and administrative resources, as well as
technical, medical and other kinds of information created digitally, or con-
verted into digital form from existing analogue resources including different
kinds of products such as texts, databases, images, audio, graphics, software
and web pages.”
It is evident how digital technologies – intended both as tools and as meth-
odologies – are a common shared substrate across disciplines. A deep reflection
on digital heritage concept is essential. In 2009, The London Charter aimed
“to establish principles for the use of computer based visualization methods
and outcomes in the research and communication of cultural heritage” (p. 4).
Today a new and unveiled relationship between physical heritage and
digital heritage is growing, where “digitality” currently accompanies “real-
ity” and enhance it; but also the opposite: The real artifact improves digital
heritage, according to a virtuous circle. Because advanced technologies make
the physical and digital heritage two sides of the same interrelated subject.
This book presents to the international community a critical reflection on
the characteristics that architectural heritage has taken today and consequently
on the related aspects and strategies for its conservation. The writing devel-
ops the discussion according to subsequent steps, moving from the general
to the particular, keeping an eye on tangible heritage and, in particular, on
architectural heritage. The book starts from the concept of conservation, then
it describes the evolution of the idea of heritage; consequently, the role and
matters posed by digital tools are studies. In conclusion, it analyzes all these
topics in the architectural field.
TARGET AUDIENCE
The book aims to present an advanced reflection and a specific point of

view: The one oriented to the conservation of architectural heritage, with its
indissoluble match between digital and physical heritage, favored by new
advanced technologies.
The book defines the state of the art and the results achieved in key areas.
The argument is multifaceted and multidisciplinary. In fact, even if tradition-
xi
ally the disciplines related to historical architecture are well defined, however
digital technologies open up numerous issues and methodological aspects.
This does not mean that the book addresses only to scholars of architec-
ture; it has a broader cultural and social interest, first because the topics are
interdisciplinary. The book highlights how cultural heritage conservation
rises from interdisciplinary processes concerning all the people involved in
the conservation, from different scientific fields. According to this point of
view, the book would be a source for different kind of researchers, also favor-
ing the definition of a shared background and a common thesaurus. Finally
yet importantly, the presented issues have an economic importance (tourism,
e-tourism, social networks and apps economy, etc.).
Therefore, the potential impact of the book could be of considerable
importance, evoking the interest of all those that are involved in the study,
management, design and preservation of historical buildings, in educational
or business activities related to architectural heritage.
References are on heritage conservation, heritage studies, digital culture,
new trends in philosophy, information technologies, social media, architectural
and urban definition and conservation, architectural surveying, modeling,
and computer based visualization.
The book first presents the main issues related to cultural heritage, and
then it focuses on architectural heritage. Therefore, the book should be inter-
esting for several kind of scholars, but in particular to everybody interested
in historic buildings and urban heritage conservation. According to the in-
terdisciplinarity characteristics of heritage studies and of digital studies, the
target audience could be wide and heterogeneous:
• Scholars of architecture, history, urbanism, humanities, museum stud-

ies, etc.
• Scholars of conservation, preservation, restoration, sustainability,
management, etc.
• Scholars of digital culture, social media, communication, etc.
• Scholars of ICT, 3D modeling, computer graphics, etc.
• Professionals interested in heritage conservation, preservation, presen-
tation, interpretation, tourism, e-tourism, management, etc.
• Software houses;
• Government bureaus;
• Amateurs of technology;
• Common people that everyday lives the architectural heritage.
xii
ORGANIZATION OF THE BOOK
The book moves from a reflection on the concepts of “conservation” and on

the ever evolving idea of “heritage”. Then it points out the importance of
built heritage as reference for the study of tangible and intangible heritage.
It analyses the ineludible relationship between digital heritage from physical
content and the related real heritage. From hence, it underlines the relation-
ship that participative approaches, social media, digital models, and virtual
visualization establish between all the people involved in heritage conserva-
tion. In particular, digital heritage does not threaten the essence of physical
heritage but it accompanies it, without its substitution. From the “marriage”
of physical heritage and related digital heritage derives advanced opportuni-
ties for heritage conservation.
• The first chapter describes what is “conservation” and it highlights

the main matters: Documentation and knowledge, interpretation and
presentation, interdisciplinarity, sustainability, participation, manage-
ment, and politics. At the same time, it focuses on questions posed by
digital culture and the growing of digital tools.
• The second chapter deals with the concept of “cultural heritage”,
describing how it has developed from the twentieth century, and the
actual advanced ideas and matters in its definition, pointing out that
heritage is a cultural changing concept, and on the related conceptual
consequences. Finally yet importantly, it analyses the relationship be-
tween tangible and intangible heritage.
• The third chapter focuses on the role of digitality and on how digital
technologies can be useful instruments for heritage conservation. In
particular, it deals with built heritage and issues related to digital heri-
tage born from physical contents. The ubiquity of digital tools defines
a new relationship with built heritage, favoring its conservation.
• The fourth chapter is specifically dedicated to architectural heritage.
Here the main topics of the book are presented and analyzed with par-
ticular attention to historical buildings, urban heritage, and historicized
landscape. This chapter defines what is architectural heritage and the
differences with other kind of heritage, and the methodological dis-
similarities with other cultural fields. Then, the characteristics of digi-
tal medium for architectural heritage are presented, and in conclusion
the main strategies offered by digital models and tools are underlined.
xiii
The book highlights how conservation is a participative open-ended cul-

tural process, and how digital technologies well fit with conservation issues
and how they favor advanced procedures for heritage safeguarding.
REFERENCES
Stone, R. J. (1999, November). Virtual heritage. UNESCO World Heritage

Magazine, 18-20.
The London Charter. (2009). Retrieved November 15, 2016 from http://www.
londoncharter.org/
UNESCO. (2003). Charter on the Preservation of the Digital Heritage.
Retrieved November 15, 2016, from http://portal.unesco.org/en/ev.php-
URL_ID=17721&URL_DO=DO_TOPIC&URL_SECTION=201.html
124
Glossary
3-D Modeling: Realization of a model in the virtual 3-D space, made by digital
solids and/or surfaces, able to simulate the characteristics of an object. The 3D
model can be based or include photographic images, often taken from reality. The
final effect of simulation can derive from both 3-D shapes and texture mapping.
The 3-D model can be realized from physical objects (according to a “reverse mod-
eling” process) or directly assembling 3-D digital forms. 3-D modeling includes
the modeling of the scene, lights, cameras, textures, using both 2-D (for example
background images or the so called “impostor billboards”) and 3D elements. The
characteristics of the 3-D are related to the ones of the object and to the aims of the
representation. A model could present a photorealistic image or both iconic and
symbolic representations.
Architectural Artifact: This definition, referred to an architectural heritage, is

used to highlight how a historic building can be seen as a product of human activity.
This becomes even more important for an historic building, realized with artisan
technologies and stratified during of its life. Therefore, its aesthetical and material
consistency takes on a specific testimonial value of the cultures and transformations
that have generated and modified it over time.
Architectural Heritage: The UNESCO 1972 World Heritage Convention,

indicates as cultural heritage monuments, group of buildings and sites, outstand-
ing universal value from the point of view of history, art or science. In the modern
theory by Brandi, the qualities of a cultural heritage are the historical and the
aesthetic values. An historical building is a complex system of spaces, volumes,
materials, surfaces, constructive aspects, actual and past functions and configura-
tions, degradation, etc. The whole is the result of a continuous historical process
of modification and transformation. An architectural heritage can be interpreted as
an “artifact”, where its elements are witnesses of the cultures, actors, and of events
occurred during the life of the building. In the study of architectural heritage is
fundamental the archival analysis.
125
Architectural Survey: Process of understanding of building’s characteristics and

their appropriate graphical and visual documentation, through the analysis, selection,
synthesis and representation of the architectural characteristics. Traditionally, the
surveying is characterized by the succession of the following steps: a preliminary
study and acquisition of documents; the surveying design; the measurement; the
restitution with models for the interpretation and presentation of architectural heri-
tage. Only the measurement phase is “objective”, while the others are “subjective”
because influenced by the skills, culture and experience of the surveyor. Advanced
digital tools, such as laser-scanners and digital photogrammetry, partially inverted
the process, anticipating the measurement phase.
Augmented Reality: Superimposition of digital information on observer’s

perceptions of reality. In VR external perceptions are limited as much as possible,
in AR they are fundamental, because the computer generated images roots on the
vision of the real world.
Authenticity: “Authenticity” is the quality of being genuine and original. While

‘Identity’ is the quest for the determination of the original existing features and ma-
terials of a historic heritage. According to the Operational Guidelines (UNESCO,
2015) “authenticity does not limit consideration to original form and structure but
includes all subsequent modifications and additions, over the course of time, which
in themselves possess Artistic or historical values”. “Integrity” and “Authenticity”
are criteria for the assessment of outstanding universal value. On ‘Authenticity’, the
Art.82 says: “Depending on the type of cultural heritage, and its cultural context,
properties may be understood to meet the conditions of authenticity if their cultural
values (as recognized in the nomination criteria proposed) are truthfully and cred-
ibly expressed through a variety of attributes including: form and design; materials
and substance; use and function; traditions, techniques and management systems;
location and setting; language, and other forms of intangible heritage; spirit and
feeling; other internal and external factors”.
BIM: Building Information Modeling is a process about the whole life-cycle of

a building, from project, to construction, maintenance, management and dismantle-
ment. BIM is based on the realization of the 3-D models, where the digital elements
are constructive objects (walls, floors, windows, etc.) uploaded from predefined
parametrized libraries. The objects relate to a database with the design information
that allow structural, energetic, economic, timing, computing. BIM involves the
architectural, civil engineering, and plant aspects, and it favors the interoperability
between professionals that work on the same model. BIM rises for new building
design, but its application to historic architectures (the so called HBIM) presents
126
numerous matters, because it is difficult to reconcile the unique character of his-

torical architecture made with artisan procedures, with parametric 3D objects from
standardized libraries and typed databases.
Conservation: The Nara Document on Authenticity (UNESCO, 1994) defines

conservation as “all operations designed to understand a property, know its history
and meaning, ensure its material safeguard, and, if required, its restoration and en-
hancement”. Therefore, the concept of Conservation is more general and possibly
comprehensive of Restoration. In the art.9, it is underlined that “Conservation of
cultural heritage in all its forms and historical periods is rooted in the values at-
tributed to the heritage. Our ability to understand these values depends, in part, on
the degree to which information sources about these values may be understood as
credible or truthful”. Follows that a critical and wise knowledge is a fundamental
prerequisite. The Australia ICOMOS Charter for Places of Cultural Significance
(aka The Burra Charter, 2013) presents the following definitions: “1.4 Conservation
means all the processes of looking after a place so as to retain its cultural signifi-
cance. 1.5 Maintenance means the continuous protective care of a place, and its
setting. Maintenance is to be distinguished from repair, which involves restoration
or reconstruction. 1.6 Preservation means maintaining a place in its existing state
and retarding deterioration. 1.7 Restoration means returning a place to a known
earlier state by removing accretions or by reassembling existing elements without
the introduction of new material. 1.8 Reconstruction means returning a place to a
known earlier state and is distinguished from restoration by the introduction of new
material. 1.9 Adaptation means changing a place to suit the existing use or a proposed
use. 1.10 Use means the functions of a place, including the activities and traditional
and customary practices that may occur at the place or are dependent on the place”.
Cultural Heritage: UNESCO defines “Cultural Heritage” as “the legacy of

physical artifacts and intangible attributes of a group or society that are inherited
from past generations, maintained in the present and bestowed for the benefit of
future generations”.
Database Modeling: Modeling of a structured archive of data. The articulation

is according to a pre-defined logical organization, related to the information char-
acteristics and aims. This segmentation made by semantic units is very important
for database management and correlation to other systems such as 3-D models.
Digital Archive: It is a virtual space in which data, services and users are
articulated in order to the preservation, use and sharing of information. Digital
archives for the architecture collect written / graphics documents, usually dispersed
127
in different collections, according to a strategy as of conservation – for the fragility

of the original documents – as of smart access. In particular, digital archives favor
historical research and comparative analysis. 3D models can be used working along-
side traditional metadata, as an aid to historical-critical analysis of the works – both
realized as only planned – and assisting the study of the authors and of architectures
in relation to the historical context.
Digital Heritage: The Charter on the Preservation of the Digital Heritage pub-
lished by UNESCO in 2003 indicates the “Digital Heritage” as “Common Heritage”,
made by: “cultural, educational, scientific and administrative resources, as well as
technical, medical and other kinds of information created digitally, or converted
into digital form from existing analogue resources. It includes different kinds of
products such as texts, databases, images, audio, graphies, software and web pages”.
Digital Model of Architecture: Complex Model made by the synthesis of geo-

referenced architectural 3-D elements and correlated databases. It is made by two kinds
of digital models: the 3-D Model able to simulate the architectural characteristics
of a building (geometries, spaces, materials, historical and aesthetical values, etc.);
the Database Model collecting documents, studies, and analysis on the historical
building. It is an Informative Model that allows the interpretation, presentation and
computation of architectural information.
Edutainment: The term derives from the two words “Education” and “Entertain-
ment”. It aims to put together learning and amusement. This idea can be extended
to the fields dedicated to knowledge acquisition. In particular, thanks to ICT, the
purpose is heritage presentation in a smart and amusing way.
E-Tourism: It involves all the processes of digitalization and e-commerce in the

industry of travel, tourism, hospitality, organization, etc. If we think to it as virtual
tour technologies, it can be traced back to cultural tourism – although in a virtual
way – and to learning and/or recreation purposes. The International Cultural Tour-
ism: Charter Managing Tourism at Places of Heritage Significance (ICOMOS,
1999) underlines the relationship between heritage and tourism and how cultural
tourism – and therefore e-Tourism – can enhance heritage conservation: It is a dy-
namic interrelation that involves sustainability and social politics.
Gaming: It is based on the strategies deriving from digital ludic methodologies

(such as score collection, virtual goods acquisition, level progression) to enhance
the participation to marketing processes. The user involved in gaming is more in-
128
terested, awake, and attentive. Consequently gaming could be a useful approach for
message transmission and, therefore, for heritage interpretation and presentation.
Graphical Analysis for Architectural Heritage: starting from the Fifties, the
use of drawing has been coded for the graphical analysis: Referring to the struc-
turalism lesson, drawing is regarded as a meta-language, i.e. a graphical language
able to analyze another language: The architecture’s one. Similarly, complex 3D
models, thanks to their characteristics of interaction, browsing, and querying are
useful instruments to study and represent structural, figurative and functional aspects
of architectural heritage.
Intangible Heritage: according to UNESCO Convention for the Safeguarding

of Intangible Cultural Heritage (2003), it “means the practices, representations,
expressions, knowledge, skills”. For example: oral traditions and expressions, includ-
ing language as a vehicle of the intangible cultural heritage; performing arts; social
practices, rituals and festive events; knowledge and practices concerning nature and
the universe; traditional craftsmanship
Integrity: The Art.88 of the Operational Guidelines (UNESCO, 2015) defines:

“Integrity is a measure of the wholeness and intactness of the natural and/or cul-
tural heritage and its attributes. Examining the conditions of integrity, therefore
requires assessing the extent to which the property: a) includes all elements neces-
sary to express its Outstanding Universal Value; b) is of adequate size to ensure the
complete representation of the features and processes which convey the property’s
significance; c) suffers from adverse effects of development and/or neglect. This
should be presented in a statement of integrity”.
Interpretation: The ICOMOS Charter for the Interpretation and Presentation

of Cultural Heritage Sites (2008) says that interpretation: “refers to the full range of
potential activities intended to heighten public awareness and enhance understanding
of cultural heritage site. These can include print and electronic publications, public
lectures, on-site and directly related off-site installations, educational programmes,
community activities, and ongoing research, training, and evaluation of the inter-
pretation process itself”.
Interpretative Architectural Model: It is a mediator between intellect and tan-

gible reality, and it takes the form of a digital replica of the observable phenomenal
reality. It’s an interpretable document, but also a genuine critical-historical text.
3-D models allow the expression through the complex and non-linear language of
129
the virtual dimension. Presupposition of this methodology for historical analysis,

it is a careful architectural surveying, a wise modeling project and a critical use of
the digital model.
Landscape: The Landscape Convention (Council of Europe, 2000) defines

Landscape as “an area, as perceived by people, whose character is the result of the
action and interaction of natural and/or human factors”.
Management (of Heritage): The UNESCO Resource Manual Managing Cul-

tural World Heritage (2013) defines management as a system, made by a “series
of processes which together deliver a set of results, some of which feed back into
the system to create an upward spiral of continuous improvement of the system, its
actions and its achievements” (p.25). These systems are local and regional, related
to culture and tradition. The Manual underlines that management is based on Plan-
ning, Implementation, and Monitoring, and the main outcomes are: The promotion
of cultural diversity; The protection of natural environment (particular ecosystems in
and around sites); The protection of tangible assets within properties (communities,
cultures and knowledge); The providing of vitality to communities; The allowing
of compatible land uses and economic activities (p.23). Fundamental is the role of
stakeholders, their consensus and their understanding of values.
Mixed Reality: In 1994 Milgram and Kishino coined the expression “Mixed
Reality” (MR) to describe the “virtual continuum” between only-real and com-
pletely virtual environment perception. Analyzing the interfaces for visualization,
they identifies six classes of hybrid states. Their aim is to define a taxonomy to
distinguish between different technological requirements.
Paradata: It can be generically referred to the process by which the survey data
are collected. In particular, paradata is a kind of metadata focused on the use of
data, and moreover it describes the transformation of data during their “inter-use”
in participatory systems. According to the definition presented by The London
Charter (2009) – focused on its use in 3D computer based visualizations – paradata
is: “Information about human processes of understanding and interpretation of data
objects. Examples of paradata include descriptions stored within a structured dataset
of how evidence was used to interpret an artefact, or a comment on methodological
premises within a research publication. It is closely related, but somewhat different
in emphasis, to “contextual metadata”, which tend to communicate interpretations of
an artefact or collection, rather than the process through which one or more artefacts
were processed or interpreted”.
130
Participatory Culture: It is “a culture with relatively low barriers to artistic

expression and civic engagement, strong support for creating and sharing creations,
and some type of informal mentorship whereby experienced participants pass
along knowledge to novices. In a participatory culture, members also believe their
contributions matter and feel some degree of social connection with one another”.
In particular, the following skills underlies the participative culture: Affiliation,
Expression, Collaborative problem solving, Circulation. New skills follow: Play,
Performance, Simulation, Appropriation, Multitasking, Distributed cognition, Col-
lective intelligence, Judgment, Transmedia navigation, Networking, Negotiation.
(Jenkins, 2009)
Place: The Burra Charter (ICOMOS, 2013) says: “Place means a geographically
defined area. It may include elements, objects, spaces and views. Place may have
tangible and intangible dimensions”.
Presentation: The ICOMOS Charter for the Interpretation and Presentation of

Cultural Heritage Sites (2008) defines explains that presentation: “more specifically
denotes the carefully planned communication of interpretive content through the ar-
rangement of interpretive information, physical access, and interpretive infrastructure
at a cultural heritage site. It can be conveyed through a variety of technical means,
including, yet not requiring, such elements as informational panels, museum-type
displays, formalized walking tours, lectures and guided tours, and multimedia ap-
plications and websites”.
Semantization: Logical division of digital model’s components according to

their meaning. In architectural heritage models, the semantization can be realized
“a-posteriori” (reverse modeling processes) or “a-priori” (for example Constructive
Solid Geometry processes).
Sustainability: It aims to match the needs of the present with the future ones,
without compromising the ability of future generations to meet their needs. Sustain-
ability in conservation means strategies and actions finalized to conserve heritage
according to a sustainable development. Usually, it aims to relate conservation to
politics of development, i.e. to economy.
Tangible Heritage: UNESCO says that it “includes buildings and historic places,
monuments, artifacts, etc., which are considered worthy of preservation for the
future. These include objects significant to the archaeology, architecture, science
or technology of a specific culture. Objects are important to the study of human
history because they provide a concrete basis for ideas, and can validate them. Their
131
preservation demonstrates recognition of the necessity of the past and of the things
that tell its story. Preserved objects also validate memories; and the actuality of the
object, as opposed to a reproduction or surrogate, draws people in and gives them
a literal way of touching the past. This unfortunately poses a danger as places and
things are damaged by the hands of tourists, the light required to display them, and
other risks of making an object known and available”.
Transparency: In computer-based visualization, it consists in the statement

of sources and of the degree of reliability of the virtual re-constructions. From a
methodological point of view, it makes the digital model testable by other profes-
sionals. In the built heritage field, the concept has been developed in archaeology
where 3D models are realized to reconstruct ancient configurations. In The London
Charter’s Glossary (2009), there is a definition of “Intellectual transparency”: It is
“The provision of information, presented in any medium or format, to allow users to
understand the nature and scope of “knowledge claim” made by a computer-based
visualization outcome”.
Urban Heritage: It roots on a “relational” value that moves from the character-
istics of the buildings that compose it. According to the European Union Research
Report n°16 titled “SUIT Sustainable development of Urban historical areas
through an active Integration within Towns” (2004): “Urban heritage comprises
three main categories: (a) Monumental heritage of exceptional cultural value; (b)
Non-exceptional heritage elements but present in a coherent way with a relative
abundance; (c) New urban elements to be considered (for instance): The urban built
form; The open space: streets, public open spaces; Urban infrastructures: material
networks and equipments” (p.11). The ICOMOS Charter for the Conservation of
Historic Towns and Urban Areas (Washington, 1987) puts together tangible and
intangible aspects: “Qualities to be preserved include the historic character of the
town or urban area and all those material and spiritual elements that express this
character, especially: a) Urban patterns as defined by lots and streets; b) Relationships
between buildings and green and open spaces; c) The formal appearance, interior
and exterior, of buildings as defined by scale, size, style, construction, materials,
colour and decoration; d) The relationship between the town or urban area and its
surrounding setting, both natural and man-made; and e) The various functions that
the town or urban area has acquired over time. Any threat to these qualities would
compromise the authenticity of the historic town or urban area”.
Virtual Heritage: In 1999, on UNESCO’s “World Heritage Magazine”, Stone

defined Virtual Heritage as: “the utilization of technology for interpretation, con-
servation and preservation of Natural, Cultural and World Heritage”.
132
Virtual Museum of Architecture: A digital museum for architectural heritage

could be a virtual journey through buildings, places, and people. An architectural
museums cannot deal only with buildings, but also with documents of the edifices
and designers. Therefore, an architectural museum configurs as a system for the
correlation of information, that is it should present a historical narrative and a pres-
ent day documentary. The storytelling of a museum of architecture (or of places)
should favor the navigation through building’s internal and external spaces, and
the link of the building with other architectures (of the same designer, of the same
age, with similar stylistic characteristics, attributable to the same historical culture,
etc.), and with documents (writings, drawings, maquettes, etc.). also distributed in
different archives.
Virtual Museum: In the current communication society, the traditional au-

thoritative role of museums and of curators is changing, according to new ways of
communication: Their language presents new evocative, narrative, and experiential
dimension. They are systems for multiple and complex storytelling, aiming to the
participative interpretation, presentation of heritage. Therefore, they are new ways
for “heritage-making”. Consequently, museums are taking a virtual dimension,
both in collections presentation and in people and places interconnection. No more
only warehouses of objects and data, but informative systems able to present and
interrelate documents, archival data, and information, thus favoring the study, com-
parison and presentation of distant, fragile or hard to consult works. Their learning
role is ever important.
Virtual Reality: it bases on a total-body immersion in a computer-generated

environment. Perceptions derives from digital information and, although the syn-
thetic environment often follows laws different from real word ones, the user has a
psychological involvement and lives it like a real experience.
Visual Computing: Technique of analysis based on the visual representation

of large amount of data. Those data can derive from various kinds or phenomena,
also from non-visual ones. Visual computing consists in the representation of
three-dimensional digital environments, where there is a complex interaction of an
elevated number of agents simulating different kinds of data and information. The
images provide information and through images, the user can observe, interact with,
compute and control data and information, and create new knowledge.
133
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150
About the Author
Stefano Brusaporci is Associate Professor of Architectural Representation

and Survey at the University of L’Aquila (Italy) – Department of Civil,
Construction-Architectural and Environmental Engineering. He is Ph.D. in
“Conservation, Planning and Preservation of Settlements and Territorial
Contexts of Elevated Environmental and Landscape Value”. His research
fields are: surveying and historical-critical analysis of architecture and his-
torical urban contexts; surveying and documentation of architectural heritage,
also with integrated information systems; 3-D modeling and computer-based
visualization for architectural and urban interpretation and presentation.
151
Index
“meta-medium” logic 51 Cultural Heritage 1-4, 6-12, 19, 25, 27-34,

3D model 61, 77, 101 36-37, 41, 43-45, 47-51, 55, 59, 65,
3-D Modeling 55, 77-78, 80 69-71, 73, 78, 93, 97-98, 104, 107, 115
cultural significance 2-4, 6, 9, 13, 25, 28,
A 40, 48, 100
aesthetic values 50, 77, 82, 86 D

ancient 17, 68-69, 77, 81, 94, 100-101
Architectural Heritage 7, 18, 22, 26, 57-59, Digital Heritage 1, 15, 17, 20-22, 29-30,
69, 72, 76-79, 81-83, 87-92, 94, 96-97, 35, 49-52, 55-57, 59, 64, 68, 70-72,
100-102, 105, 108, 112-114 74, 93, 96, 114, 117
Architectural History 76, 83, 85, 95 Digital Libraries Initiative 51
Authenticity 2-3, 7, 9-10, 16, 25, 30-31, 37, Digital technologies 1, 17, 27, 42, 69, 71,
41, 44-46, 49, 60, 74, 94, 103, 107, 118 77-78, 94-95, 109
Digitalization 106
B Documentation 3, 5, 16, 18-19, 51, 67-68,
76, 83, 91, 93-94, 96-97, 111, 114-115
baroque church 77
BIM 87-92, 99, 102, 113, 115, 117 H
Built Heritage 6, 16, 18, 22, 43, 50-52, 54-
56, 59-60, 70, 91, 95, 117 Heritage Diversity 37, 44
heuristic process 77
C human knowledge 51
Charter 2-4, 6-7, 9, 13, 16-17, 27-31, 34-35, I

40, 48-49, 51, 55-57, 66-68, 72-74,
93-95, 103-104, 107, 115, 118 ICT 1-2, 14, 21, 23-24, 41, 51-52, 62, 71,
Communication 6-8, 10, 18-20, 22-24, 32, 105-106, 117
35, 51-54, 62-63, 66-67, 70, 77-79, Intangible Heritage 31-32, 34, 36-37, 39,
88, 93-94, 97, 103-105, 108, 110, 112 41, 43, 45, 47, 70, 83, 108
computer-based visualisation 17, 67-68, Integrity 31, 44-46, 67, 93
93-94 Interdisciplinarity 14, 92-94
Conservation 1-7, 10-14, 19-21, 24-28, 30, Interpretation 2, 4, 7-11, 13, 16-21, 24, 28,
33-36, 44, 48, 50, 53, 60, 62, 70, 73, 35, 37, 39-40, 42-43, 50, 52, 54, 57,
76, 85, 91, 94, 97, 103-109, 115 59, 62, 65, 67-69, 73, 76-78, 80-81,
Cultural Diversity 20, 37, 44 101, 104-105, 107-110, 115
152
L S
landscape 24, 31-32, 34-35, 38-41, 47-49, Scholars 11, 14-15, 18-19, 21-22, 43, 47,
100 51-52, 62, 69, 71, 77, 81, 91-95, 97,
105, 109
M Survey 5, 28, 53, 59, 71, 79, 90, 98, 100,
102-103, 111, 114, 116
Management 1-4, 6-7, 12-14, 19-20, 25-28, Sustainability 1-2, 9, 11-12, 14, 20, 26, 52,
30, 45, 51, 56, 77, 86-88, 91, 97-98, 67, 93, 107
103, 113
medieval castle 77 T
Memory 7, 31-32, 39, 41-42, 44-46, 49,
104, 107-108 Tangible Heritage 31-32, 34, 39, 47, 83
three-dimensional space 78
O Transparency 6, 15-19, 22, 26-29, 50, 54,
57-58, 66-70, 72, 94, 98, 101-102,
Operational Guidelines 25, 30, 34, 38, 44, 110, 112
49, 70, 74 twenty-first century 32
Outstanding Universal Value 32, 34, 45
U
P
Urban Heritage 7, 76, 85-86
Paradata 17-18, 23, 27-29, 66-68, 71-74,
97-99, 103, 111, 116, 118 V
Participation 1-2, 4, 10-14, 20, 26, 35, 50,
65-66, 70, 76, 94, 106 Virtual Heritage 17, 27-29, 50, 56, 62, 72,
Place 3, 9, 13-14, 31-33, 35, 39-40, 43, 46, 74, 78
51, 54, 105-106 virtual reality 2, 23-24, 54, 62, 66, 72, 78, 106
political legitimacy 32 Visualization 16-19, 21-23, 26-29, 50-52,
Presentation 1-2, 4, 7-11, 19-21, 24, 28, 54-57, 59-63, 67-68, 72, 75, 77-79, 83,
50, 54-55, 62, 65, 76-77, 80, 97-98, 93-95, 97, 101, 108, 110-112
104-107, 109, 115
W
R
web pages 51, 56
Reconstruction 3-4, 9, 17-18, 28, 52, 68, 73, World Heritage 2, 19, 25-26, 30, 32-34,
80, 82, 84-86, 100-103, 110-111, 117 38-39, 41, 44, 47, 49-50, 70, 74
renaissance palace 77 World Heritage Convention 25, 30, 33-34,
restoration 1-5, 7, 9, 25, 28-29, 48, 66, 73, 38, 44, 49, 70, 74
86, 91, 100, 103, 115-116
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Digital Innovations in Architectural Heritage Conservation:

Book · March 2017

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A volume in the Advances in

Names: Brusaporci, Stefano, author.

British Cataloguing in Publication Data

Editor-in-Chief: Giuseppe Amoruso, Politecnico di Milano, Italy

Media Law, Ethics, and Policy in the Digtal Age

Handbook of Research on the Facilitation of Civic Engagement through Commuity Art

Convergence of Contemporary Art, Visual Culture, and Global Civic Engagement

Cultural Influences on Architecture

Design Innovations for Contemporary Interiors and Civic Art

Applying the Actor-Network Theory in Media Studies

Projective Processes and Neuroscience in Art and Design

For an enitre list of titles in this series, please visit:

701 East Chocolate Avenue, Hershey, PA 17033, USA

Dr. Who’s Police Box: The Multiple Dimensions of Conservation ....................... 1 ; ;

Between Cuvier and Darwin: Issues in a Changing Heritage .............................. 31; ;

Καλλιόπη or On Interpretation, Presentation, and Participation: Models in

Conclusion ........................................................................................................ 119

Glossary ............................................................................................................ 124

Related Readings .............................................................................................. 133

About the Author ............................................................................................. 150

Index .................................................................................................................. 151

This book is a timely contribution to the emerging opportunities presented

From complex models rises new methodological issues: The heuristic

• Cultural Heritage, Tangible Heritage, Intangible Heritage, Built

WHERE TOPICS FIT IN THE WORD TODAY

In 1999, on UNESCO’s “World Heritage Magazine”, Stone defined Virtual

The book aims to present an advanced reflection and a specific point of

• Scholars of architecture, history, urbanism, humanities, museum stud-

ORGANIZATION OF THE BOOK

The book moves from a reflection on the concepts of “conservation” and on

• The first chapter describes what is “conservation” and it highlights

The book highlights how conservation is a participative open-ended cul-

Stone, R. J. (1999, November). Virtual heritage. UNESCO World Heritage

Architectural Artifact: This definition, referred to an architectural heritage, is

Architectural Heritage: The UNESCO 1972 World Heritage Convention,

Architectural Survey: Process of understanding of building’s characteristics and

Augmented Reality: Superimposition of digital information on observer’s

Authenticity: “Authenticity” is the quality of being genuine and original. While

BIM: Building Information Modeling is a process about the whole life-cycle of

numerous matters, because it is difficult to reconcile the unique character of his-

Conservation: The Nara Document on Authenticity (UNESCO, 1994) defines

Cultural Heritage: UNESCO defines “Cultural Heritage” as “the legacy of

Database Modeling: Modeling of a structured archive of data. The articulation

in different collections, according to a strategy as of conservation – for the fragility

Digital Model of Architecture: Complex Model made by the synthesis of geo-

E-Tourism: It involves all the processes of digitalization and e-commerce in the

Gaming: It is based on the strategies deriving from digital ludic methodologies

Intangible Heritage: according to UNESCO Convention for the Safeguarding

Integrity: The Art.88 of the Operational Guidelines (UNESCO, 2015) defines:

Interpretation: The ICOMOS Charter for the Interpretation and Presentation

Interpretative Architectural Model: It is a mediator between intellect and tan-

the virtual dimension. Presupposition of this methodology for historical analysis,

Landscape: The Landscape Convention (Council of Europe, 2000) defines

Management (of Heritage): The UNESCO Resource Manual Managing Cul-

Participatory Culture: It is “a culture with relatively low barriers to artistic

Presentation: The ICOMOS Charter for the Interpretation and Presentation of

Semantization: Logical division of digital model’s components according to

Transparency: In computer-based visualization, it consists in the statement

Virtual Heritage: In 1999, on UNESCO’s “World Heritage Magazine”, Stone

Virtual Museum of Architecture: A digital museum for architectural heritage