Accessing and Understanding Cultural Heritage Through Users Experience Within the INCEPTION Project

Marinos Ioannides · Eleanor Fink

Raffaella Brumana · Petros Patias

Anastasios Doulamis · João Martins

Manolis Wallace

(Eds.)

123

LNCS 11196

7th International Conference, EuroMed 2018

Nicosia, Cyprus, October 29 – November 3, 2018

Proceedings, Part I

Digital Heritage

Progress in Cultural Heritage:

Documentation, Preservation,

and Protection

Lecture Notes in Computer Science

11196

Commenced Publication in 1973 Founding and Former Series Editors:

Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen

Editorial Board

David Hutchison

Lancaster University, Lancaster, UK Takeo Kanade

Carnegie Mellon University, Pittsburgh, PA, USA Josef Kittler

University of Surrey, Guildford, UK Jon M. Kleinberg

Cornell University, Ithaca, NY, USA Friedemann Mattern

ETH Zurich, Zurich, Switzerland John C. Mitchell

Stanford University, Stanford, CA, USA Moni Naor

Weizmann Institute of Science, Rehovot, Israel C. Pandu Rangan

Indian Institute of Technology Madras, Chennai, India Bernhard Steffen

TU Dortmund University, Dortmund, Germany Demetri Terzopoulos

University of California, Los Angeles, CA, USA Doug Tygar

University of California, Berkeley, CA, USA Gerhard Weikum

Marinos Ioannides

Eleanor Fink

Raffaella Brumana

Petros Patias

Anastasios Doulamis

Jo

ão Martins

Manolis Wallace (Eds.)

Digital Heritage

Progress in Cultural Heritage:

Documentation, Preservation,

and Protection

7th International Conference, EuroMed 2018

Nicosia, Cyprus, October 29

– November 3, 2018

Proceedings, Part I

Editors

Marinos Ioannides

Cyprus University of Technology Limassol, Cyprus

Eleanor Fink

American Art Collaborative Linked Open Data Initiative

Arlington, VA, USA Raffaella Brumana Politecnico di Milano Milan, Italy

Petros Patias

The Aristotle University Thessaloniki, Greece

Anastasios Doulamis

National Technical University of Athens Athens, Greece

João Martins CTS-UNINOVA Caparica, Portugal Manolis Wallace

University of the Peloponnese Tripoli, Greece

ISSN 0302-9743 ISSN 1611-3349 (electronic) Lecture Notes in Computer Science

ISBN 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 2018

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Cover illustration: Wall painting (end of 15th century) of the Last Judgement from the north wall of the Church of the Monastery of Christos Antifonitis, Kalograia after it had been forcefully removed, following the 1974 Turkish invasion and occupation. With permission of the Ministry of Transport, Communications and Works, Department of Antiquities, Lefkosia, Cyprus.

This Springer imprint is published by the registered company Springer Nature Switzerland AG The 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 the Cyprus University of Technology, by the Cyprus Tourism Organization, by CIPA (http://cipa.icomos.org/), ICOMOS Cyprus, the aforementioned EU projects, the DARIAH-EU ERIC and DARIAH-CY, the H2020 INCEPTION, and H2020-ViMM projects.

However, the content of this publication reflects the authors’ views only, and the European Commission, the Republic of Cyprus, CIPA, ICOMOS, ICOMOS-Cyprus, Getty, Cyprus University of Technology, and the EU projects H2020 Marie Skłodowska Curie RISE Fellowship project TERPSICHORE, the H2020 Marie Skłodowska Curie ITN CHANGES, the H2020 R&I Reflective 7 – INCEPTION, the H2020 COOP 8 CSA Virtual Multimodal Museum, the H2020 Reflective 6 CrossCult, the H2020 REACH, the Research Infrastructure DARIAH-EU ERIC and DARIAH-CY, the COST Action Innovation in Intelligent Management of Heritage Buildings (i2MHB), the H2020 Teaming Excelsior, H2020 Teaming Medstach, H2020 Twinning Athena, the UNESCO Chair on Digital Cultural Heritage at Cyprus University of Technology, and the EU H2020 ERA Chair Mnemosyne are not liable for any use that may be made of the information contained herein.

Organization

Conference Chairs

Local Organizing Committee

Vasilis Athanasiou Robert Davies Simos Georgiou Theodoros Gkanetsos George Hadjidemetriou Maria Katiri Charalambos Leventis Elias Nobilakis Chrisanthos Pissarides Christiana Polycarpou Konstantinos Skriapas Kyriakos Themistokleous

International Scienti

fic Committee

Fabrizio Banfi, Italy Luigi Barazzetti, Italy George Bebis, USA Marco Bertini, Italy Matthaios Bimpas, Greece Frank Boochs, Germany Gumersindo Bueno, Spain Lorenzo Cantini, Italy George Caridakis, Greece Ying-Mei Cheng, Taiwan Jiri Chmelik, Czech Republic Paola Condoleo, Italy Jorbi Conzalez, Spain Stefano Della Torre, Italy Iason Diakoumakos, Greece Nikolaos Doulamis, Greece Charalambos Georgiadis, Greece George Giannoulis, Spain

Angelo Giuseppe Landi, Italy Andrina Granić, Croatia Alberto Grimoldi, Italy Sang-sun Jo, South Korea Dimitrios Kaimaris, Greece Nikos Karanikolas, Greece Norman Kerle, The Netherlands Dimitrios Kosmopoulos, Greece Chiao-Ling Kuo, Taiwan Fotis Liarokapis, Czech Republic George Livanos, Greece

Federica Maietti, Italy

Konstantinos Makantasis, Cyprus Maria Merchan, Spain

Pilar Merchan, Spain Luisa Migliori, Italy Daniela Oreni, Italy Pedro Pereira, Portugal

Vassilis Poulopoulos, Greece Mattia Previtali, Italy

Eftychios Protopapadakis, Greece Tasos Stamnas, Greece

Tania Stathaki, UK Maria Tassopoulou, Greece Alice Tavares, Portugal Peter Tian-Yuan Shih, Taiwan Stelios Tsafarakis, Greece

Vasilios Tsioukas, Greece Grazia Tucci, Italy Costas Vassilakis, Greece Sebastian Von Mannen, Germany Athanasios Voulodimos, Greece Alex Ya-Ning Yen, Taiwan Michalis Zervakis, Greece Marco Zuppiroli, Italy XII Organization

Contents

– Part I

3D Digitalisation, Reconstruction, Modelling and HBIM

Visualization of the Past-to-Recent Changes in Cultural Heritage

Based on 3D Digitization . . . 3 Naoki Mori, Tokihisa Higo, Kaoru Suemori, Hiroshi Suita,

and Yoshihiro Yasumuro

Treatise of Digital Reconstruction and Restauration of Lace Porcelain . . . 15 Lien 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 . . . 27 Raffaella Brumana, Paola Condoleo, Alberto Grimoldi,

Angelo Giuseppe Landi, Dario Attico, Anna Turrina, Fabrizio Banfi, and Mattia Previtali

SCAN to HBIM-Post Earthquake Preservation: Informative Model

as 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 in

HBIM Generation . . . 52 Mattia Previtali and Fabrizio Banfi

Direct Numerical Analysis of Historical Structures Represented

by 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 Fossil

Vertebrate Taxonomy . . . 79 George Theodorou, Yiannis Bassiakos, Evangelos Tsakalos,

Evyenia Yiannouli, and Petros Maniatis

i-Wall: A Low-Cost Interactive Wall for Enhancing Visitor Experience

and 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 Basilica

di Collemaggio in L’Aquila . . . 101 Lorenzo Cantini

UGESCO - A Hybrid Platform for Geo-Temporal Enrichment of Digital Photo Collections Based on Computational and Crowdsourced

Metadata 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 Research

and Applications . . . 125 Minna Tamper, Petri Leskinen, Kasper Apajalahti, and Eero Hyvönen

Maintaining a Linked Data Cloud and Data Service for Second

World War History . . . 138 Mikko Koho, Esko Ikkala, Erkki Heino, and Eero Hyvönen

Design of an Interactive Experience Journey in a Renovated Industrial

Heritage 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 Fragmented

Amphora 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 . . . 188 François Ferry, Amal Zouaq, and Michel Gagnon

Understanding Historical Cityscapes from Aerial Imagery Through

Machine Learning . . . 200 Evangelos Maltezos, Eftychios Protopapadakis, Nikolaos Doulamis,

Anastasios Doulamis, and Charalabos Ioannidis

Origin Determination of Mediterranean Marbles by Laser

Induced Fluorescence . . . 212 Valeria Spizzichino, Laura Bertani, and Luisa Caneve

Personalized Heritage Museum Guide for Married Immigrant Women . . . 224 Hyeweon Kim and Jeongmin Yu

Personality Analysis of Social Media Influencers as a Tool

for Cultural Institutions . . . 236 Vassilis Poulopoulos, Costas Vassilakis, Angela Antoniou,

George Lepouras, and Manolis Wallace

Study of Effectiveness of Treatment by Nanolime of the Altered Calcarenite

Stones 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 Historical

Photographs– 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 Giovanni

Baptistery 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 Virtual

Environment: The Temple Altıntepe Virtualization Example. . . 301 Serap Kuşu

A New Enhancement Filtering Approach for the Automatic Vector

Conversion of the UAV Photogrammetry Output . . . 312 Maria Alicandro, Donatella Dominici, and Paolo Massimo Buscema

The Spatial Form of Traditional Taiwanese Townhouses: A Case Study

of Dihua Street in Taipei City. . . 322 Tung-Ming Lee

A Digital Workflow for Built Heritage: From SCAN-to-BIM Process

to the VR-Tour of the Basilica of Sant’Ambrogio in Milan . . . 334 Banfi Fabrizio, Stanga Chiara, and Raffaella Brumana

BIM Modelling of Ancient Buildings . . . 344 Andrea Scianna, Giuseppe Fulvio Gaglio, and Marcello La Guardia

Accessing and Understanding Cultural Heritage Through Users Experience

Within 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 Built

by 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 Library

for 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 . . . 386 Maarten Bassier, Tijs Deloof, Stan Vincke, and Maarten Vergauwen

Cultural Heritage Digitization and Copyright Issues. . . 396 Athina Chroni

The First Attend for a Holistic HBIM Documentation of UNESCO WHL

Monument: 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 Data

and Evolutionary Algorithms . . . 417 Mário Amorim, Adriana Mar, Fernando Monteiro, Stella Sylaiou,

Pedro Pereira, and João Martins

Art Nouveau Danube Digital Repository . . . 427 Franc J. Zakrajšek and Vlasta Vodeb

A Consortium Blockchain System for Verifying Digital Contents

on 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 Installation

on 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 . . . 483 Stella Sylaiou, Elena Lagoudi, and João Martins

Coroplastic Studies Through 3D Technology: The Case of Terracotta

Figurines from Plakomenos, Greece. . . 498 Dimitra Sarri and Effie F. Athanassopoulos

Tell the Story of Ancient Thracians Through Serious Game . . . 509 Desislava Paneva-Marinova, Malvina Rousseva, Maria Dimova,

and Lilia Pavlova

New Cross/Augmented Reality Experiences for the Virtual Museums

of 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 Vietnamese

Cultural Heritage Exhibits and Sites . . . 528 Thomas P. Kersten

An Augmented Reality Mobile App for Museums: Virtual Restoration

of 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 virtual

reality experience . . . 548 Emiliano Pérez, María José Merchán, María Dolores Moreno,

Pilar Merchán, and Santiago Salamanca

A Semantically-Enriched Digital Portal for the Digital Preservation

of Cultural Heritage with Community Participation . . . 560 Cokorda Pramartha, Joseph G. Davis, and Kevin K. Y. Kuan

Towards a Mobile Crowdsourcing System for Collective Memory

Management. . . 572 Konstantinos Koukoulis, Dimitrios Koukopoulos,

and George Koubaroulis

Digital Cultural Heritage Infrastructure

PHOTOCONSORTIUM: Opening up the Riches of Europe’s

Photographic Heritage . . . 585 Valentina Bachi, Antonella Fresa, Sofie Taes, and Fred Truyen

Digital 3D Reconstruction Projects and Activities in the

German-Speaking Countries . . . 599 S. Münster, P. Kuroczyński, and H. Messemer

Towards a Global Infrastructure for Digital Cultural Heritage . . . 607 Nadezhda Povroznik

The Role of Heritage Data Science in Digital Heritage. . . 616 Alejandra 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 Heritage for the Eratosthenes Centre of Excellence for the Benefit

of 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 Centre

Through 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

The Role of Information and Communication Technologies for Enhancing

Access 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 and Conservation 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 Geometrical Configuration and the Damage Assessment of a Medieval Building

in Venice . . . 677 Antonella Manzo

A Methodology for the Inspection and Monitoring of the Roof Tiles

and Concrete Components of the Sydney Opera House . . . 689 Gianluca Ranzi, Osvaldo Vallati, and Ian Cashen

Non-invasive Investigation and Documentation in the Bieliński Palace

in 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 Study

of 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 ALM

Technologies to Innovative Material Scenarios . . . 718 Marco Medici and Sara Codarin

E-Humanities

Chronologicon Hibernicum: A Probabilistic Chronological Framework

for 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 Preservation

and Understanding . . . 741 Lin Meng, C. V. Aravinda, K. R. Uday Kumar Reddy, Tomonori Izumi,

and Katsuhiro Yamazaki

Preservation and Management of Greek Dialectal Data . . . 752 Eleni Galiotou, Nikitas Karanikolas, and Angela Ralli

Unlocking Potential Knowledge Hidden in Rubbing: Multi-style Character Recognition Using Deep Learning and Spatiotemporal Rubbing

Database Creation . . . 762 Lin Meng, Masahiro Kishi, Kana Nogami, Michiko Nabeya,

and Katsuhiro Yamazaki

Author Index . . . 773 XX Contents– Part I

3D Digitization, Reconstruction,

Modelling and HBIM

Accessing and Understanding Cultural

Heritage 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 – Inclusive Cultural Heritage in Europe through 3D semantic modelling, coordinated by the Department of Architecture of the University of Ferrara, is focused on bringing together innovative 3D modelling and ICT applications and profes-sionals involved in differentfields of Cultural Heritage. The aim is to increase knowledge, enhancement and dissemination through 3D digital models in order to promote the inclusiveness and accessibility of European assets. In this direction, a Stakeholder Panel with different skills in thefield of Cultural Her-itage has been involved leading the research toward effective strategies to increase use and reuse of digital models. These strategies are aimed at maxi-mizing the impact of using digital data for cultural heritage applications involving a wide range of non-expert and expert users, starting from specific requirements for processing, managing, delivering cultural heritage information to a broad audience. A co-design workshop has been organized involving Stakeholders in order to investigate on their requirements and expectations, to obtain information that could be useful for the User Centered process of de fi-nition of INCEPTION’s main outcomes and functionalities.

Keywords: Digital cultural heritage

1

Introduction

The INCEPTION project,“Inclusive Cultural Heritage in Europe through 3D Semantic Modelling”, started in June 2015 and lasting four years, aims at developing advanced 3D modelling for accessing and understanding European cultural assets. One of the main challenges of the project is to close the gap between effective user experiences of Cultural 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 Partners and the Stakeholder Panel, an assembly of European institutions, already involved during the project preparation phase with the aim of directing research toward those

strategies needed by“end users” and institutions to increase knowledge, enhancement and dissemination through digital models.

During the project development, several activities and meetings have been arranged in order to strengthen the Stakeholders’ role within INCEPTION and to learn from Stakeholders about their needs and expectations [10]. The interest of Stakeholders for 3D modelling and learning about cultural heritage assets’ significances via digital media guided the project progress and strongly influenced the type, content and applicability offinal products.

In order to apply a User Centered Design methodology to the project of the INCEPTION’s User Experience (UX), the last Stakeholders meeting was organized in June 2018, and it has been conceived as an interactive workshop. The main aim was to focus effectively on two topics: new tools for modelling Cultural Heritage, and how to make 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 is gradually emerging as effective support of many different information in addition to the shape, morphology and dimensional data. The contribution of INCEPTION in increasing knowledge is based on the improvement and optimization of data collection processes and the development of semantically enriched 3D models, accessible by different Cultural Heritage experts, users and different disciplines through an open-standard Semantic Web platform [1].

Among several related projects dealing with Heritage 3D modelling, INCEPTION is relevant and differentiates from these projects because it is focused on heritage “spaces” (complex architectures and sites), on semantic enrichment - creating 3D models for multiple purposes, needs and level of knowledge of the end-users– and on the 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 according to specific users and needs), the integrated data capturing and holistic heritage docu-mentation, the semantic enrichment via 3D modelling in H-BIM environment, and the models deployment and valorization through the INCEPTION platform. Model formats accessible by the platform to the users are openBIM formats, and textured models (Colladafiles). 3D models are based on open standards in the BIM, GIS, Semantic Web and point cloud area (including IFC - ifcOWL, gbXML, CityGML, E57, etc.) [3].

According to the overall INCEPTION workflow, the H-BIM modelling procedure starts with documenting user needs, including experts and non-experts.

The identification of the Cultural Heritage buildings semantic ontology and data structure for information catalogue allows the integration of semantic attributes to 3D digital geometric models for management of heritage information within the INCEP-TION platform. So the main innovations under INCEPINCEP-TION will be delivered through an open standard platform to collect, implement and share digital models. Platform interface and functionalities will allow users to download and upload models, work with H-BIM models with different level of details, enrich contents and information linked to geometric models in an interoperable way and explore a wide range of data and contents. Accessing and Understanding Cultural Heritage Through Users Experience 357

1.2 Stakeholders Involvement Toward a Broad Accessibility of 3D Digital Models

The INCEPTION project established a broad Stakeholder Panel with participants of different countries, disciplines and potential professional users, involved in several stages of the project, starting from the analysis of needs and requirements. A part of the Stakeholder Panel has been involved more closely providing Demonstration Cases, supporting the consortium in data collection for data modelling and on-site or off-site demonstration activities [9].

The INCEPTION platform is already structured through a general architecture, and afirst prototype has already been elaborated based on the macro-needs analysis carried out in the first phase involving users and Stakeholders and developed through the definition of invariants and technological and system constraints [4].

According to Human Cantered Design’s principles, an iterative process has been applied to thefirst prototype in order to evaluate and implement it together with users and Stakeholders for new versions’ development.

The objective is not only to gain opinions on the current state of development of the INCEPTION platform by users, but also and above all to participate with them in the experimentation and re-elaboration of the opportunities offered by the platform as defined through the first analyses [5].

The aim of this activity, which takes the name of Co-Design, is to understand if the first prototype allows the understanding of the instrument, if this understanding allows a greater awareness on the needs focused during thefirst analysis, and if this awareness helps to reconsider the structure of the current prototype, improving it.

The purpose is not only to analyse the requests of users and Stakeholders, but also to work together to the design of a new set-up of the platform, so that it responds to needs that have not yet been identified, and it’s easy to navigate and interesting for each type 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 the public 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 that users, 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 user will experience through the design of key passages for a type of story usage [7]. 358 F. Maietti et al.

• The Experience Map is a visual map that graphically describes the experiences through the different steps and touchpoints. The compilation of the map is exploding on different floors all the steps that the user does, so that they have a unified 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 Heritage fields. Members from institutions such as the Geodetic Institute of Slovenia, the General Hellenic Archives-Historical Archives of Epirus, the Institute of Cultural Heritage of Spain, thefirm Energy Efficient Architecture Renovation Conservation, the Italian Association of Local and Institutional Museums, the Institute for Diagnostics and 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. To gather information about users’ needs, the collaborative work session with INCEP-TION Stakeholders allowed pointing out what kind of tools and facilities they would need to achieve requirements and opportunities.

During thefirst step, Stakeholders were asked to be not so closed to reality, in order to outline an overall picture of user needs through an inclusive and dynamic parallel session. In thisfirst phase, the Co-Design session involved all Stakeholders around a worktable. Thanks to the presence of a moderator, every participant became familiar with the activity of brainstorming, namely a creative technique based on associations of ideas. 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 and establish a mutual knowledge, a sort of game was developed in which each participant indicated in a card its own data and interests, using an imaginary identity.

opinions about the topics of INCEPTION’s platform, in term of functionalities, graphic interface, etc. Every single idea was transcribed by the design team on many post-its and sorted on a specific whiteboard. Only at the end of brainstorming activity, the performed work was discussed and analysed, making a qualitative and quantitative selection 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, and technicians 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 and specialized users Hyperlinks to external platforms Storytellers to relate the real site and the virtual model

Accessibility and inclusion even to people with special needs or disabilities Update the models with

related data and information

Possibility to print virtual models into 3D physical models

Intuitive and hierarchical interface

Examine the model in different historic periods

Knowledge about building by showing historical events Information available even on smartphone and by AR Governments and decision makers

Information about events and exhibitions and info about the physical place

Bridge the gap between real and virtual experiences

Do not waste time to find data during researches Download models for

related activities Make users updated on last modifications of their visited models

Provide users the % of browsed elements of a visited model

Reliable data for scientific researches

Provide augmented reality during a visit

Give users few and clear information

Technicians and

professionals

Split the elements of a building in order to visualize different historic phases Keep in memory information already visited Real-time work sharing

Private area for not accessible models and filter research bar Store data of previous

interventions and documents available even on mobile devices Download 3D models with different scales of details Timeline of

interventions and last updating

Interoperability among several external databases

See missing parts of the buildings

Comprehension of different parts that compose the building 360 F. Maietti et al.

of inclusion and on the maximum possible spread of 3D models for different uses applied to the knowledge and conservation of Cultural Heritage.

Thoughts, comments and ideas resulting from the brainstorming among partners and Stakeholders were collected in three categories:

• contents,

• user experience and • interface,

where“contents” are data and information relevant according to the opinion of the Stakeholders;“user experience” are opportunities in browsing 3D digital models and interacting with specific information; and “interface” are all the possible platform functionalities (Table1and Fig.2).

3

INCEPTION Platform Interface and Accessibility

Within Co-Design session, a journey map was defined. INCEPTION platform has a high number of functions and different modalities of interaction, so the card-sorting methodology was applied to represent schematically the complex architecture of the web platform in a user centered approach, facilitating shared representations of work through a tactile and visible experience of the possible interaction tools. Thanks to Stakeholders different skills, different feedbacks from wide-ranging experiences, abil-ities and needs were collected. Different contents of the INCEPTION platform were hierarchized and it was analyzed what interaction modalities were more usable forfinal users, in order to reach an intuitive and accessible navigation.

Fig. 2. View of the co-design workshop.

The workshop tried to define tools able to improve user experiences for a first interaction with the INCEPTION platform. To do this, many“cards” were processed and printed, representing through icons and drawings every single operation that the user 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, change shades, walkthrough, pan, rotate,filter elements, etc.);

• Cards for the functions related to video (play 360°, rotate 360°, rotate, download and 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 to implement the hypothesized tools based on the specific needs of the Stakeholders involved and increase the available functions. The aim was to create a visual graphic map allowing users to understand and move the tools at their disposal, to imagine a possible conceptual map of tools for knowledge/modification/implementation of the platform [6] (Fig.3).

During this phase, an experience map was elaborated with the aim of understanding the most appropriate and suitable tools for platform navigation and exploration by different users, and to point out possible weaknesses, trying to find accessible and inclusive solutions. Thanks to this methodology, it was also possible to analyze the informationflows between activities, making the navigation experience more efficient. The tools considered more relevant are related to basic actions to be performed on the model, such as visualize and download videos and images, select elements of the model, measure distances or surfaces or move within the model.“Missing” cards from

Fig. 3. View of some of the used cards. 362 F. Maietti et al.

the first survey were not related to operational tools to be applied to the model, but rather to a better contents organization, informationflows and navigation.

How to understand and interact with the information shown by the INCEPTION platform interface and how to make it easier to navigate is a relevant point outlined for basic users. Navigation can be carried out by two different ways of interaction: through the 3D model or by customizing contents through researchfilters. At the first browsing, training instructions may be useful on how to use the platform, as well as a location bar tofind buildings to visit. To provide information, it is possible to either receive per-sonal data of users byfilling in a short initial questionnaire or by data obtained from previous 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 a short and full version and a list of visited or favorite models.

For each building, a window showing available functions should be useful, also based on different devices (laptop, smartphone, tablet, etc.). Additional suggestions are related to different interfaces for any single typology of users, and the possibility to receive news when models are updated (Fig.4).

Regarding expert users, the discussion was focused mainly on the creation of contents: who can uploadfiles to be approved by expert evaluators in order to deliver only reliable models, through a moderator who approves the files and authorizes to proceed with the upload. The possibility to have some guidelines explaining how to upload thefile with its specific characteristics is a point stressed several times.

Every user should be able to upload data, materials and information in relation to BIM 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, possible interactions (BIM model, point cloud, images, documents, videos, etc.).

file updatable in real time, without having multiple copies of the object, is an additional requirement.

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 session where everyone was feeling free to express the own point of view, with the aim of enriching the users’ and Stakeholders’ perspectives within the INCEPTION project. The organization of the Co-design Workshop was effectively focused on objectives set by the team, both for obtaining information needed for the application of the User Centered Design process, and to strengthen the sense of being part of a group of people with different backgrounds working for the same purpose.

4

Conclusions

User needs collected during the co-design workshop were grouped and classified in some subgroups more specifically related to the optimization of the platform. Of course, the needs of every user category may interact and influence each other. Requirements have been discussed and pointed out to design different interfaces for each user target. The visitor’s interface should be simple and intuitive, and provide immersive experiences according to the user needs in an open access environment.

About technical users, the interface should provide afilter research area in order to avoid wasting time in searching needed information. Technical users need specific and technical tools to be used in their work, so the system should provide a better support in performing their activities rather than focusing on virtual expositions. For decision makers, it is more interesting to provide scientific and reliable sources, involving at the same time touristic users through the activities promoted by the public institution itself. The requirement to provide an easy-to-use platform for upload and downloadfiles has been highlighted, as the availability of a private area in order to protect data to be shared with specific partners but not publicly. For the visitor/tourist it would be useful to analyze a tool set that could improve knowledge and involvement of people by virtual experiences. Virtual reality guides are positively considered, but it is crucial providing experiences based on different historic periods and related contents. Through a different user experience map, expert users debated on the importance of policies for data management, data reliability and guidelines for downloading and uploadingfiles. Based on these results, the platform interface and content management are being updated. The verification of this advanced prototype will be the focus of the next Stakeholders workshop, in November 2018.

Quantitative results on platform interface and accessibility will be delivered after the project conclusion, when the platform will be populated with several heritage models, as well as an estimation of usability of different platform functionalities.

Acknowledgments. The project is under development by a consortium led by the Department of Architecture of the University of Ferrara. Academic partners of the Consortium, in addition to the Department of Architecture of the University of Ferrara, include the University of Ljubljana (Slovenia), the National Technical University of Athens (Greece), the Cyprus University of Technology (Cyprus), the University of Zagreb (Croatia), the research centers Consorzio Futuro 364 F. Maietti et al.

in Ricerca (Italy) and Cartif (Spain). The clustering of small medium enterprises includes: DEMO Consultants 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 Framework Programme for research and innovation under Grant agreement no 665220.

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