Archeomatica_1_2025_Speciale_Chedar

Quarterly Magazine, Year XVII Issue 1 - 2025

www.archeomatica.it

ArcheomaticA

Cultural Heritage Technologies

Special Issue

CHEDAR Project

Expo 2025 Osaka

beauty connects people

Grotto of the Animals

a “hydraulic machine”

Sammezzano Castle

a tuscan oriental dream

Cultural Heritage Technologies 3

EDITORIAL

Geomatic sciences in the service of Art and Culture

Archeomatica is pleased to have had the opportunity to dedicate this special issue to one

of the most significant projects exemplifying Italy’s ability to apply geomatic sciences in

the service of art and culture. This edition explores an initiative that looks toward the

future while remaining firmly rooted in the past, offering a concrete and ambitious vision

in which culture, science, and technology converge to create new ways of understanding,

preserving, and experiencing cultural heritage.

The CHEDAR project—Cultural Heritage Digitalization And Reconstruction—stands as one

of the most important Italian efforts dedicated to the digitization and safeguarding of

cultural assets. The project is one of the initiatives funded by the Italian Ministry of

Universities and Research (MUR) through the “Legacy Expo 2020 Dubai” call, with a €7

million investment supporting global research and advanced training in line with Italy’s

National Recovery and Resilience Plan – Mission 4: Education and Research.

Rather than limiting itself to documentation and conservation, CHEDAR seeks to

regenerate cultural heritage through the use of advanced digital technologies, including

3D modeling, artificial intelligence, environmental sensors, and the innovative concept of

the Digital Twin. A particular focus is placed on the wider Mediterranean region, regarded

as a sensitive and complex crossroads from cultural, environmental, and geopolitical

perspectives. In this context, the project embraces an integrated approach that blends

scientific knowledge with technological tools and cultural strategies, contributing as well

to the United Nations 2030 Agenda for Sustainable Development.

CHEDAR’s activities are organized around the creation of high-precision, interoperable

digital models, the integration of advanced technologies with artisanal expertise and

historical techniques for conservation, and the development of more inclusive and engaging

forms of heritage access through augmented reality and digital design. Furthermore, the

project addresses climate change adaptation and risk management through predictive

modeling and monitoring systems.

Several comprehensive case studies highlight CHEDAR’s interdisciplinary vision. The

Sammezzano Castle, a remarkable example of architectural Orientalism reinterpreted

through a European lens, is currently undergoing in-depth digitization. The Grotto of

the Animals, located in the garden of the Medici Villa of Castello, has been studied as

a sixteenth-century hydraulic machine and reconstructed as a Digital Twin through 3D

surveys and sensor technology. The historic center of Florence and the Arno River have

served as a testing ground for the application of an Urban Digital Twin, offering practical

tools for managing climate risks and preserving the urban landscape.

The project’s interdisciplinary nature also fosters dialogue between traditional arts and

emerging technologies. This is reflected in the digitization of Carlo Finelli’s sculpture Le

Ore Danzanti and in the creation of the CHEDAR metaverse, conceived as a space for

interactive storytelling, experimentation, and cultural memory.

At the heart of the project lies a strong investment in education. CHEDAR academy,

the project’s training platform, offers online courses, webinars, seasonal schools, and

field activities aimed at cultivating new professional profiles capable of navigating the

intersections of technology, cultural heritage and strategies for its enhancement.

Enjoy your reading!

Renzo Carlucci

SUMMARY

THE CHEDAR PROJECT

4 Large Mediterranean Cultural

Heritage, a Strategic Global

Digital Project By Grazia Tucci

On the cover the digital model of

Michelangelo’s David, which made it

possible to create the physical replica for

Expo Dubai 2020. (Courtesy GeCo Lab).

EXPO 2025 OSAKA

7 Beauty connects People

David’s digital twin at Osaka

By Paolo Glisenti

WORK PACKAGES

14 Digitizing Memory for looking

into the Future

By University of Florence

16 Reconstruction of Contexts,

Management and Enhancement

of Cultural Heritage

By Sapienza University of Rome

18 Scientific Research & Creativity:

the Best Practice for New Life

of Cultural Heritage

By CNR–ISPC

follow us on

Facebook and Instagram

20 A New Generation of

Multidisciplinary Experts for

Cultural Heritage Challenges

By University of Florence

ArcheomaticA

CULTURAL HERITAGE TECHNOLOGIES

YEAR XVII, N° 1 - 2025

Archeomatica, quarterly published since 2009, is the

first Italian magazine for dissemination, promotion and

exchange of knowledge on technologies for the preservation,

enhancement and enjoyment of cultural heritage.

Publishing about technologies for survey and documentation,

analysis and diagnosis, restoration and maintenance,

museums and archaeological parks, social networking and

"smart" peripherals. As a reference point in the field is the

sharing media for the industry, the professionals, the institutions,

the academia, including research institutions and

government agencies.

Director

Renzo Carlucci

dir@archeomatica.it

Managing Editor

Michele Fasolo

michele.fasolo@archeomatica.it

Editorial board

Giuseppe Ceraudo, Annalisa Cipriani,

Maurizio Forte, Bernard Frischer,

Giuliana Galli, Giovanni Ettore Gigante,

Mario Micheli, Stefano Monti,

Luca Papi, Marco Ramazzotti,

Antonino Saggio, Francesca Salvemini,

Rodolfo Maria Strollo, Grazia Tucci

Editors

Valerio Carlucci

valerio.carlucci@archeomatica.it

redazione@archeomatica.it

Matteo Serpetti

matteo.serpetti@archeomatica.it

Maria Chiara Spezia

chiaraspiezia@archeomatica.it

4 ArcheomaticA N°1 2025


CASE STUDIES

22 Sammezzano Castle

An oriental Dream in the

Heart of Tuscany

By GeCo Lab

28 The Grotto of the Animals

A sixteenth century

“hydraulic machine”

ADVERTISING

Artemis 46

Codevintec 11

Echoes 47

Gter 41

GeCo Lab 27

Halta Definizione 48

ValueSafe 21

Xenia Solutions 2

By GeCo Lab

31 Protecting the Arno River

and its Historic - Urban Lands

cape from Climate Risks

By GeCo Lab

CHEDAR COLLABORATIONS

42 Advanced Technologies and

International - Cooperation for a

New Era of Conservation

By Fulvio Rinaudo

44 Innovation, Research, and

Advanced Education for the

Protection of Cultural Heritage in

the wider Mediterranean Region

published by

By Maurizio Di Stefano

Science & Technology Communication

Science & Technology Communication

Marketing and Subcriptions

Tatiana Iasillo

t.iasillo@mediageo.it

MediaGEO soc. coop.

Via Palestro, 95

00185 Roma

tel. 06.64.87.12.09

fax. 06.62.20.95.10

www.archeomatica.it

Graphic Design

Daniele Carlucci

daniele@archeomatica.it

Publisher

MediaGEO soc. coop.

Archeomatica è una testata registrata al

Tribunale di Roma con il numero 395/2009

del 19 novembre 2009

ISSN 2037-2485

Printed by Bona Digital Print Srl

Signed articles engages only the

responsibility of the author. It is forbidden

partial reproduction of the contents of

this journal in any form and by any means,

electronic or mechanical, including data storage

systems and download, without any written

permission.

THE CHEDAR PROJECT

Large Mediterranean Cultural Heritage,

a Strategic Global Digital Project

by Grazia Tucci,

CHEDAR Director

At its core, CHEDAR aims

to establish a Research and

Advanced Training and Education

Centre, envisioned as a nerve

center for the convergence of

scientific efforts from partner

institutions.

Cultural Heritage Digitalization

and Reconstruction

The CHEDAR project positions

itself within the

international landscape

as a strategic initiative for the

digitization, documentation, and

safeguarding of cultural heritage.

It fosters co-designed actions

at both national and European

levels, while nurturing a new

generation of professionals with

hybrid expertise — blending

humanities, advanced digital

technologies, and project development

skills — with a particular

emphasis on the wider Mediterranean

region.

The project recognizes that cultural

heritage knowledge and

documentation are not mere

technical processes, but foundational

acts of conservation and

transmission. Digital technologies

are not optional tools here; they

constitute a cognitive and operational

infrastructure to address

vulnerabilities posed by both natural

and anthropogenic factors.

Within this framework, the synergy

between artisanal know-how

and emerging technologies,

including Artificial Intelligence,

represents a new methodological

paradigm.

Coordinated by the University of

Florence, CHEDAR brings together

an interdisciplinary network of

partners: the Universities of

Tuscia, Cassino e Lazio Meridionale,

Roma Tre, Sapienza, Campus

Bio-Medico, CNR–ISPC, the Academy

of Fine Arts of Carrara, ISIA

Florence, and the Central Institute

for Restoration (ICR).

THE RESEARCH AND ADVANCED

TRAINING AND EDUCATION

CENTRE – MISSION AND VISION

In a context where cultural heritage

is increasingly exposed to

environmental risks, conflicts, and

poor management, CHEDAR offers

a strategic and structured response.

Knowledge is the first line of protection,

and documentation is its

operational tool.

The loss of monuments and heritage

sites often outpaces their



documentation, making it urgent

to embed documentation into all

conservation, monitoring, and

management strategies.

The vision of CHEDAR aligns

with the Sustainable Development

Goals (SDGs) and European

guidelines on digital strategy

for cultural heritage, aiming to

translate these framework into

effective, scalable, and replicable

actions, grounded in sustainable,

interoperable, and shared

best practices.

CHEDAR Cultural HEritage

Digitazion And Reconstruction

is funded under the Legacy

Expo 2020 Dubai programme

(Article 25-ter of Law Decree

No. 152/2021 – PNRR) and

was formally approved by

Ministerial Decree MUR No.

237 dated 27/12/2023.

CHEDAR’s mission is to promote

a holistic, interdisciplinary

approach to heritage safeguarding,

integrating 3D digitization,

material diagnostics, environmental

analysis, and predictive

monitoring, including through the

use of AI.

These tools will converge in

the creation of Heritage Digital

Twins—not merely static digital

replicas, but dynamic digital

resources that are part of a

broader sustainable and interconnected

cultural ecosystem.

This is not a one-off effort, but

a strategic, long-term vision.

The digital model of Michelangelo’s *Genius of Victory* (Palazzo Vecchio, Florence),

created as part of a project focused on research, physical replication, and the promotion

of accessibility and inclusion within the museum itineraries of several Florentine museums.

Courtesy GeCo Lab

A STRATEGIC FOCUS ON THE

WIDER MEDITERRANEAN

CHEDAR identifies the wider

Mediterranean as a dynamic and

vulnerable cultural space, where

heritage preservation intersects

with geopolitical, environmental,

and social challenges.

Addressing these requires an

integrated approach, combining

scientific tools with cultural

policy strategies. This vision

embraces an expanded interpretation

of the Mediterranean,

aligned with the Mattei Plan, fostering

dialogue across regions and

disciplines.

Historian Ferdinand Braudel once

asked, “What is the Mediterranean?

A thousand things at once.

Not a landscape, but many landscapes.

Not a sea, but a series

of seas. Not a civilization, but

a sequence of civilizations.”

CHEDAR adopts this plural and

interconnected perspective.

Top: Section view of the

digital model of the dome of

the Baptistery of San Giovanni

in Florence, highlighting the

unghiature that connect the vault

to the roof structure. Courtesy

GeCo Lab

Next page: The point cloud model

of Palazzo Pitti, showing the

Ammannati courtyard and the floor

that houses the Gallery of Modern

Art. Courtesy GeCo Lab

THE PILLARS OF CHEDAR

CHEDAR’s activities revolve

around four thematic pillars,

each serving as a foundational

axis for project development

and inter-partner coordination.

Its governance model is inspired

by FAIR principles and aligned

with international standards to

ensure quality, transparency, and

sustainability:

1. Documentation and Digitiz

ation

Development of advanced solutions

for data digitization and

management, with a strong

focus on interoperability, historical

dataset recovery, and AI

applications for data analysis and

semantic enrichment. Documentation

becomes both a preventive

strategy and an instrument for

proactive conservation.

2. Safeguarding and

Conservation

Integration of digital tools and

artisanal knowledge toward

sustainable restoration. Conservation

is approached as a systemic

process, from risk prevention to

adaptive management, utilizing

green materials and innovative

methods drawn from historical

practices.

3. Valorisation and

Accessibility

Exploration of new modes of heritage

engagement through digital

design, augmented reality, and

inclusive practices. Special attention

is paid to the creative reuse

of cultural data within the creative

industries, enabling accessible

narratives and new heritage

economies.

4.Climate Change and Risks

Analysis of risk factors and development

of predictive models supported

by GeoAI and Digital Twin

simulations. The aim is to transform

risk knowledge into strategic

resources for long-term protection

and climate adaptation.



STRUCTURE AND ACTIVITIES OF

THE CENTRE

CHEDAR is conceived as a permanent

laboratory of innovation

and training, fostering access to

a network of institutional, scientific,

and community actors —

from heritage authorities to local

communities. Its goal is to build

a collaborative, impact-oriented

ecosystem. Hands-on experience

is a cornerstone: CHEDAR promotes

labs, on-site conservation sites,

and fieldwork-based experimentation,

transforming theoretical

learning into actionable practice.

Education becomes a continuous,

place-based learning process

rooted in real-world contexts.

CHEDAR

aspires to become a

cultural and scientific

hub for the regeneration

of heritage, a space for

experimentation and

education, translating

today’s challenges

into visions for the

future. Anchored in the

Mediterranean, with a

global outlook.

ADVANCED TRAINING

AND EDUCATION

Training is a cross-cutting component

of the entire project, aimed

at creating new professional profiles

capable of managing the digital

transformation of the cultural

heritage sector.

The educational network involves

universities, research centers,

and AFAM institutions, with a

strong interdisciplinary and international

orientation.

The support of ICOMOS Italy and

CIPA Heritage Documentation

provides further scientific credibility

and global recognition.

CHEDARACADEMY

MODULAR AND ACCESSIBLE

LEARNING PATHS

To meet the need for

specialised, interdisciplinary,

and accessible training,

CHEDARacademy offers a

modular portfolio tailored to

various skill levels, professional

goals, and learning timelines.

MOOC (MASSIVE OPEN ONLINE

COURSES)

These remote-access online

courses offer both foundational

and advanced theoretical knowledge,

structured into thematic

modules with quizzes and digital

badges. Six key domains of digital

transformation are addressed:

1. Cultural Heritage & Digital

Transformation

A multidisciplinary course offering

the tools to plan, implement,

and manage sustainable, interoperable

digitization projects, with

a focus on 3D technologies, digital

conservation strategies, and

data sharing protocols.

2. Conservation & Sustainable

Practices

Diagnostic tools and innovative

techniques for the sustainable

conservation of materials such as

stone, wood, and earth, focusing

on risk prevention.

3. Risks, Crises & Resilience

Frameworks and tools to evaluate

and respond to natural, anthropogenic,

and conflict-related risks,

emphasizing resilience and fragile

context management.

4. Communication, Interpretation

& Inclusion

Exploration of digital storytelling,

inclusive museums, and participatory

curation, engaging diverse

publics in meaningful ways.

5. Policy, World Heritage &

Rights

Governance issues related to Outstanding

Universal Value (OUV),

digital rights, intellectual property,

and documentation ethics.

6. Innovation in Materials &

Technologies

Emerging solutions such as 3D

printing, augmented reality, and

their applications in conservation,

education, and community

engagement.

SPRING/SUMMER/AUTUMN/

WINTER SCHOOLS

In-person training programmes

ranging from 6 to 15 days, characterised

by an intensive and

multidisciplinary approach.

Organised in collaboration with

academic and cultural institutions,

these schools explore

emerging topics through hands-on

workshops, practical activities,

and guided visits to cultural sites

and institutions. They offer participatory

learning experiences

combining fieldwork, expert

interaction, and structured education

in real-life contexts.

WEBINARS

Online training sessions led

by national and international

experts, dedicated to in-depth

exploration of specific topics,

case studies, and best practices

in conservation, management,

and technological innovation

applied to cultural heritage.

They offer a flexible and accessible

opportunity for ongoing professional

development, encouraging

dialogue among researchers,

professionals, and institutions.

CHEDAR Survey

Please, fill out the questionnaire

and join our Community!

The survey will guide the

development of tailored

training, research, and

networking opportunities.

Your input will help shape the

CHEDAR Project.

Why Participate?

Access the CHEDAR Research

Center, a hub for innovation in

cultural heritage.

Join training programs and

participate in international

experiences.

Enhance your skills in 3D digitization,

AI, and digital creativity.

Connect with a dynamic network

of experts and institutions.



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EXPO 2025 OSAKA

Beauty connects People

David’s digital twin at Osaka

by Paolo Glisenti,

CHEDAR Strategic Advisor

Today, when the passage of

spatial continuity seems in

many ways impossible due to

the geopolitical crisis and the

weakening of multilateralism,

Michelangelo’s 3D David becomes

the symbolic Renaissance agent

capable of fostering intersectorial,

inter-generational,

inter-religious evolutionary

processes by transversely

intercepting culture, engineering

and data sciences.

The first worldwide

appearance of a 3D

David statue reproduction

in the Italian Pavilion at

Expo 2020 Dubai set the central

role of digitization and big data

in the management, protection

and reconstruction of cultural

heritage. Furthermore, it suggested

to international authorities

and opinion makers how

important would be the search

for innovative tools and skills

monitoring heritage sites abandoned

and destroyed in war

zones or damaged by natural

disasters and climate changes,

not just for their conservation

but most importantly for the

reconstruction of national and

territorial identities.

CHEDAR: A SCIENTIFIC LEGACY

BORN FROM EXPO 2020

Michelangelo’s digital David

gave birth to CHEDAR, the first

Expo’s legacy in recent history

by inspiring a long-term scientific

research and educational

project, designed for professionals

and students, which

will be presented at Expo

2025 Osaka and 5 years later

at Expo in Riyadh in an itinerary

of events, meetings, seminars,

academies and museum

presentations.

This unprecedented legacy of

an Expo has its core in the ‘large’

Mediterranean area and marks a

milestone in history, reinforcing

commercial, cultural, religious

interactions amongst these

nations since the start 60 years

ago of archaeological excavations

in the United Arab Emirates.

FROM DUBAI TO OSAKA:

A JOURNEY OF CULTURAL

INNOVATION

A sign of this trend has been the

world’s only Biennale, this year

at its second edition, dedicated

to the arts of Islamic civilization

taking place in Jeddah, with hundreds

of striking artworks and

artifacts on display, more than

600,000 visitors attending the

inaugural event and more than

500 pieces, both historical and

contemporary, being showcased.

David’s digital twin proves to

global audiences the importance

of new competitive multi-disciplinary

soft skills, technological

and collective intelligence, AI

applications not as a one-shot

case study but as a guide to the

contemporary significance of digital

cultural heritage.

The Michelangelo’s

David in the Age

of the Digital

Reproduction

(YouTube video)



DIGITAL DAVID: A CATALYST

FOR GLOBAL CULTURAL

COLLABORATION

What impressed most visitors

at Expo 2020 Dubai was the

inter-connecting value of aerospace

technologies used in downloading

thousands of data from

the original statue in Florence

and the manual artisan’s work

used for covering its bio-plastic

surfaces with marble powder

exactly as Michelangelo did

between 1501 and 1054.

Referring to David’s digital twin,

as it was well captured in the

Italian Government decree setting

the CHEDAR project led by

Florence University, may foster

the true value of unconventional

partnerships with cultural content

creators, artists and even

gaming and virtual reality platforms,

where media and influencers

can help generate public trust

nourishing new waves of cultural

tourism.

FROM MARBLE TO METAVERSE:

THE FUTURE OF HERITAGE

This cultural-technological algorithm

will be able to make the

forthcoming global events processing

machines of the present

time to think of the future,

vectors of a rediscovered diplomatic,

scientific and educational

collaboration between countries,

universities and research centers.

Digital David shows how cultural

and art heritages reproduction

can generate opportunities for

collaboration and sharing on a

broad front. Digital David will

help build collective intelligence

by leveraging cultural and

technological intelligence in a

metaverse of arts, archaeology,

historic buildings, ancient metropolitan

sites.

From Real to Digital: The Expo 2020 Dubai project, Michelangelo’s David. Courtesy GeCo Lab

WORK PACKAGES

Digitizing Memory for looking

into the Future

coordinated by

University of Florence

The acquisition, processing

and management of

three-dimensional spatial

data are key aspects of the

knowledge journey and thus the

domains of documentation and

preservation of tangible cultural

heritage. Methods and techniques

specific to geomatics are

now commonly used tools for

documenting cultural heritage.

The different types of spatial

models obtained (point clouds,

3D models, H-BIM...) are used

throughout the conservation

cycle, to deepen knowledge and

support diagnostic investigations,

as models for structural investigations

and restoration project

definition, up to communication

aimed at the general public and

creative reuse. The 3d models

thus created provide a kind of

digital twin of reality: this concept

constitutes the contemporary

and technologically up-todate

declination of the “Open

System of Knowledge” and, as

such, for its creation requires a

very diverse range of data, quantitative

and qualitative, geometric

and thematic, to be obtained

and investigated in order to produce

accurate, comprehensive

and reliable digital representation.

The classes of artifacts

considered will be both archaeological

and built heritage sites

(buildings, settlements, etc.) and

ancient and contemporary sculptures

and art objects that are

individual or collected in public

and private collections.

The quality of the proposal

offered resides:

• in developing workflows

appropriate for assets of different

sizes and characteristics

and also sustainable in critical

scenarios such as assets at risk,

emergency relief, developing

countries, etc. (in conjunction

with WP3);

• in the preparation and dissemination

of best practices for

data processing and 3D modeling,

including those aimed at

visualization in extended reality

and physical reproduction contexts

(in conjunction with WP3,

WP4 and WP6);

From the point cloud model to the physical replica: Nazareth, the Church of the Annunciation. Courtesy GeCo Lab



From the point cloud to the

digital surface, structured into

articulated semantic levels.

Jerusalem, the Aedicule of the

Holy Sepulchre.

Courtesy GeCo Lab

T 2.4 APPLICATION OF

ARTIFICIAL INTELLIGENCE

TECHNIQUES FOR SEMANTIC

ENRICHMENT OF MODELS,

• Evaluation on the appropriateness/methods

of using

artificial intelligence techniques

in the different scenarios

envisaged,

• Drafting of guidelines on

the use of artificial intelligence

techniques for cultural heritage

storytelling and enhancement

• in experimenting with artificial

intelligence systems for

semantic segmentation and

georeferencing of information

according to GIS, BIM, Digital

Twin, etc. paradigms;

• In the transposition of the

most up-to-date research activities

to high-level training (in

connection with WP5).

WP2 activities will be

divided into the following tasks:

T 2.1 DEFINITION OF WORK-

FLOWS FOR THE DIFFERENT

SCENARIOS ENVISAGED AND AT

DIFFERENT SCALES.

• Evaluation and description of

workflows articulated by technologies

and methods,

• implementation and description

of data acquisition and

processing processes, with special

attention to metadata for

transmissibility and retraceability

of the processes themselves;

• Drafting guidelines for

training.

• design and implementation

of aids for communication

and teaching of the workflows

already mentioned.

T2.2 INTEGRATION OF

MULTI-RESOLUTION AND

MULTI-SENSOR DATA.

• Development and evaluation

of possible workflows for the

integration of multi-sensor and

multi-resolution data in hazard-prone

areas,

• Criticality assessment/integration

of heterogeneous data

acquired multi-sensor, multi-scale,

multi-resolution,

• Design and implementation

of test areas in which to carry

out and repeat acquisitions

over time.

T 2.3 IMPLEMENTATION OF

DIGITAL MODELS

• Evaluation of the most efficient

methods of information

management of the built heritage

using digital models,

• Definition of protocols for

the implementation of digital

models for the purposes of restoration

and management and

enhancement,

DELIVERABLES

D 2.1 report to illustrate the

guidelines and workflows optimized

during the project

D 2.2 report on the integration

of different sensors

D 2.3 repository of digital models

of the various case studies considered

(historical buildings,

archaeological areas, objects) for

both experimental (for Research

Center activities) and demonstrative

(for Higher Education activities)

purposes predominantly

identified in the extended Mediterranean

area

D 2.4 dataset of semantically

classified point models based on

i.a. systems.

The surface model of the archaeological

excavation, Erimi Archaeological Project,

Cyprus. Courtesy GeCo Lab

WORK PACKAGES

Reconstruction of Contexts, Management

and Enhancement of Cultural Heritage

coordinated by

Sapienza University of Rome

Sustainable preservation

of Cultural Heritage, both

from the point of view of its

physical con sistency and transmission

to future generations,

sees the aspects of restoration,

management, and enhancement

closely linked to counter the

ever-increasing pressures of climate

change and hydrogeological

and natural hazards with new

approaches that also allow for

informed enjoyment, the first and

most important element in countering

the anthropogenic risks

that underlie all forms of degradation.

The scientific quality of

the proposal lies in the ability on

the part of the proposing institutions

to transfer the expertise

gained in similar projects carried

out on national and international

cultural heritage and training and

technology transfer experiences

to the contexts of Middle Eastern

and extended Mediterranean

countries.

WP3 tasks concern:

T 3.1 HERITAGE CONTEXTS

• realization of a Heritage Map

covering the entire study area

related to the selected Heritage

Context to provide a baseline

classification map. The geodatabase

will combine historical and

modern cartography with remote

sensing data as a tool to visualize

changes in the landscape.

The multifunctional, multi-layered

geodatabase will serve as

a basis for cultural heritage risk

assessment). Recent developments

in the free availability of

radar (Sentinel-1) and multispectral

satellite imagery (Sentinel 2)

create the possibility of monitoring

landscape use up close and in

near real time. During the course

of the project, this tool will be

developed with special reference

to the definition and selection of

case studies. The main objective

of the geodatabase is to have a

continuously updatable database

that will enable planning for heritage

management, protection

and enhancement,

• Identification of tangible cultural

heritage contexts to detect

risks and carry out cultural heritage

monitoring.

T3.2 ENVIRONMENTAL RISK

MAPS FOR URBAN AND

SUBURBAN CULTURAL SITES AND

STRATEGIES FOR PREVENTION

AND PROTECTION

• Creation of a single risk map for

the historical sites identified as

relevant case studies through the

creation and combination of current

maps and the construction

of large-scale historical maps.



The content of such a map integrates

information regarding

the hydrogeological system, soil

erodibility potential, current

and past vegetation and crops,

climatological and precipitation

curves, actual and potential

urbanization conditions, and distribution

of historic sites during

various periods. The map will

provide the fundamental support

for establishing risk parameters

that can damage or lead to the

total disappearance of cultural

contexts.

• Identification of contexts on

which to carry out diagnostic and

restoration operations.

T 3.3 DESIGN OF STRUCTURAL

REHABILITATION WORKS FOR

THE SAFETY AND PROTECTION

OF THE BUILT HERITAGE

AGAINST NATURAL AND MAN-

MADE HAZARDS

• Implementation of distributed

networks and systems for monitoring

the health status of cultural

property including through

sensors and measurement methodologies

based on non-destructive

techniques.

the maximization of QoE (Quality

of Experience). Therefore, an

analysis of available formats and

the drafting of best practices differentiated

according to application

contexts will be carried out,

• Experimentation with certification

schemes using digital signatures

or through registration

in public blockchains to ensure

the authenticity and genuineness

of distributed content, opening

access monitoring strategies and

possibly remuneration ad opera/

visualization,

• Quantification of the impact

in terms of space, bandwidth,

manageability, SNR (Signal-to-

Noise Ratio) and QoE of different

encoding schemes for works

representable by digital images,

• Identification of case studies

to be used as laboratories and

testing grounds to develop risk

assessment methods tailored

to specific historic landscapes

and to find effective ways to

enhance and protect their unique

characteristics,

• Development of good practice

for risk assessment in the local

and regional landscape.

T 3.5 BUILD A VIRTUAL MUSEUM

PROPOSAL TO ENHANCE

THE CULTURAL HISTORY OF

HERITAGE CONTEXTS

• Creation of guidelines and

operational standards for the

creation of inventories and cadastres

of heritage contexts and cultural

potential of individual sites,

regional and sub-regional areas,

• Creation of operational guidelines

and standards for the integration

of inventories and registries

on a digital infrastructure

of diverse knowledge pathways

aimed at maximizing accessibility

and experience enjoyment,

• Development of operational

guidelines and standards aimed at

suggesting the design of the proposed

Museum and strengthening

cooperation/communication

between institutions, research

organizations and other international

public and/or private actors.

T 3.4 DIGITAL KNOWLEDGE

PATHWAYS AIMED AT MAXIMIZ-

ING ACCESSIBILITY AND ENJOY-

MENT OF THE EXPERIENCE

• Communication of heritage

contexts, within schools and

galleries, physical and virtual,

requires the use of appropriate

information representation formats,

to ensure on the one hand

WORK PACKAGES

Scientific Research & Creativity:

the Best Practice for New Life of

Cultural Heritage

coordinated by

CNR-ISPC

The material knowledge,

together with the documentation,

constitutes a

fundamental step in the knowledge

of techniques and the

craftsmanship ‘wisdom’ that has

brought these artifacts to the

present day.

This is achieved through targeted

diagnosis using advanced instrumentation

designed to provide

precise answers. The facilities

offered by CNR-ISPC range from

non-invasive and micro-invasive

portable instrumentations to laboratory

instruments and access to

the facilities of the E-RIHS infrastructure.

The integration of the

information is useful to realize

the desired knowledge scenario

of a heritage asset which can

carry out to the physical reconstruction

besides the virtual

reconstruction. The knowledge

gathered can also lead to the discovery

of restoration techniques

used in the past, ancient restoration,

which is not only an insight

for the Heritage Science, but also

represent a clue for a reasoned

reconstruction of the asset.

The information collected constitutes

a ‘context-consistent’

dataset on which to train specific

AI algorithms for virtual

reconstruction, the prediction

of deterioration process, an

essential step to achieve reconstruction,

first virtual then physical,

in synergy with art historians

and archaeologists who can

The combination of

methodologies and

techniques belonging to the

hard sciences with those

peculiar to the humanities

thus represent, particularly

for the field of archaeology

and architecture, an

innovation with respect to

traditional practices thanks

to the use of Computer

Graphics methodologies,

both 2D and 3D.

support, through their studies,

different intervention hypotheses

and compare them in a broader

scenario. The need, to provide

tools and objective elements for

accurate reconstruction, is most

keenly felt where degradation

events, natural or anthropic of

various kinds, no longer allow an

integral reading of the artifact.

Virtual Restoration, thus defined,

can be an opportunity for study,

often art works cannot be

restored, either due to technical

problems or lack of resources.

In digital everything is possible,

through digital elaborations carried

out with Computer Graphics

programmes it is possible to

recreate in print portions of the

artifact or additions that are

coherent and compatible with

the context both from a material

and stylistic and art historical

point of view.

In any case, the principle followed

will be that restoration,

whether virtual or physical, and

conservation are two disciplines

whose aim is to seek the best

compromise between the need

to transmit the cultural heritage

to future generations and to conserve

it in a sustainable manner.

WP objectives are articulated

synergistically with WPs:

• The process of knowledge,

both material and artistic, is

a symbiotic path between the

disciplines of hard sciences and

humanities. The importance of

this synergy is at the heart of a

virtuous cycle of research for sustainable

regeneration;

• Technology transfer through



Computer Graphics systems and

tools is an open challenge that

must follow an evolutionary process

with the support/contribution

of different disciplines, only

a 360° systemic approach allows

the triggering of a virtuous process.

AI can be the ‘fuel’ that

semi-automatically feeds the

virtuous mechanism by inspiring

a natural evolutionary learning

process;

• Critical issues for the regeneration

and/or reconstruction of

an asset, whether by virtual or

physical means, must be analyzed

and studied already in the design

of the diagnostics and documentation

activities, which form a

common thread throughout the

entire process.

ORGANIZATION OF TASKS

T4.1 Best practices and guidelines

for conservation.

• Definition of the criteria for

the design of the diagnostics and

monitoring activities on cultural

heritage asset for the selected

case studies (in connection with

WP3). The selection of case studies

was established in collaboration

with restorers and it brought

to the selection of representative

materials and conservation issues

(potential outputs for WP5),

• Definition of best practices

and guidelines for the design of

restoration works and their executions

(potential outputs for

WP5),

• Definition of criteria and

processes for sustainable restoration.

The concept of sustainability

is necessarily broadened to

include aspects of compatibility

with previous restoration works

and with the original materials

(potential outputs for WP5).

T4.2 AI as a bridge between

research and creative industry

• Development of tools that

from diagnostic data and art historical

archaeological knowledge

“teach” artificial intelligence

algorithms how to develop or

improve restoration and maintenance

works (in connection with

WP2, WP5 and WP6).

T4.3 Digital fruition

• virtual technologies for museums

and art collections and other

heritage contexts for sharing with

different targets.

Definition of best practices and

guidelines for proper and effective

dissemination of target-differentiated

content (IBRIDA

exhibition).

Modeling and experimentation

at the Center’s sites to activate

diversified technology transfer

pathways (in connection with

WP2, WP5 and WP6).

3D photogrammetric model. Sculpture of a

boy holding a hare (inv. no. 6533). Fountain

ornament from Pompeii. National Archaeological

Museum, Naples. (CNR-ISPC)

DELIVERABLES

D4.1 guidelines for the implementation

of a diagnostic and monitoring

project, (Report)

D4.2 guidelines for implementing

a regeneration project: from virtual

restoration to physical restoration

(Report),

D4.3 AI as a process optimization

tool based on Computer Graphics

methodologies for returning a

compatible and sustainable ‘intervention’

(Report, Demo),

D4.4 definition of criteria, best

practices and lines for conscious

and consistent transfer to the

creative industry sector (Report,

Demo).

WORK PACKAGES

A New Generation of Multidisciplinary

Experts for Cultural Heritage Challenges

coordinated by

University of Florence

Education, dissemination of

Italian restoration culture,

and technology transfer

of skills to the countries of the

extended Mediterranean are central

goals of the project.

The quality of the proposal

offered resides:

• In the selection of highly

qualified faculty in the topics of

digitization of cultural heritage,

research, management and restoration

of cultural heritage, and

physical and virtual reconstruction

for use and enhancement.

These research and operational

directions are well rooted in the

scientific activities and training

paths of the co-proposing institutions

(degree courses, PhDs,

Level I and II Masters, Postgraduate

Schools, Higher Education

Courses, etc.);

• In continuity with the scientific

activities envisaged by the project

and developed in WP2, WP3

and WP4. This ensures on the one

hand the updating of scientific

content, and on the other hand

the application to the specifics of

case studies characteristic of the

areas of the extended Mediterranean.

Higher education activities

will be framed in distinct tracks

in terms of duration, themes and

target audience:

• Postgraduate courses (master’s

degree recognized by the

University of Florence);

• Summer/winter schools,

aimed at students and graduates.

Teachers will be designated by all

co-proposing institutions based

on course content.

Management and administration

activities of WP5 educational

initiatives will be coordinated by

WP1, as described in T1.3.

Courtesy GeCo Lab

The Chedar WP5 consists of the

following tasks:

T 5.1 MASTER

• Educational programming,

• Operational management of

teaching,

• Monitoring the Quality of

Teaching

T 5.2 SUMMER/WINTER SCHOOL

• Educational programming,

• Operational management of

teaching,

• Monitoring the Quality of

Teaching

T 5.3 EVALUATION OF THE

TRAINING COURSE

• Assessment of management

coordination,

• Evaluation of the training

content achieved,

• Evaluations of possible corrective

actions for the continuation

of activities,

• Final report

DELIVERABLES

D 5.1 curriculum,

D 5.2 summer/winter school educational

programs,

D 5.3 student assessment analysis

report



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CASE STUDIES

Sammezzano Castle

An oriental Dream in the Heart of Tuscany

By GeCo Lab

Pictures courtesy of Alessandro Frignani

FPXA Sammezzano Commitee

Nestled among the hills of

the Upper Valdarno, in

Leccio, the Castle of Sammezzano

stands as one of the

most striking examples of Orientalist

architecture in Italy. Originally

built as a Medicean hunting

lodge in the 17th century, the

building was completely transformed

in the 19th century by

Marquis Ferdinando Panciatichi

Ximenes d’Aragona. To him we

owe the castle’s current appearance—an

extraordinary work

blending Islamic, Moorish, Indian,

and Iberian inspirations into a

unique architectural kaleidoscope.

Heir to one of Florence’s

wealthiest and most cultured

families, Ferdinando was a multifaceted

and unconventional

figure: a self-taught architect,

scientist, bibliophile, politician,

and patron of the arts. His vision

took shape in the Sammezzano

project, carried out between

1853 and 1889. Over nearly forty

years, the marquis designed,

supervised, and financed every

detail of the complex, relying

solely on specially trained local

labor. Though he never visited

the East, Ferdinando drew upon

the iconographic and theoretical

sources of his time—illustrated

texts, collections, treatises—to

forge a personal and fantastical

aesthetic universe. Sammezzano

thus became his retreat and

magnum opus, an expression of

refined artistic sensitivity and

deep political disappointment,

as evidenced by the enigmatic

inscriptions scattered throughout

the rooms, including the famous

lament carved into the Gallery

of Stalactites against the moral

decline of post-unification Italy.

The building rises on three levels,

with a rectangular floor plan

and a flat roof. Its main façade

is dominated by a central tower-like

body with a Visigothic arch

portal, reached by a semicircular

double staircase. The exterior

decoration features Moorish

motifs, with arched windows,



reliefs, and vibrant colors that

hint at the opulence within.

The piano nobile (main floor)

houses over 40 rooms, each

with unique decorative schemes

in terms of color, material, and

motif. Among the most celebrated

are the Hall of Lilies,

the Peacock Room, the Hall of

Lovers, the Gallery of Stalactites,

the White Room, and the Atrium

of Columns. Stucco, stained glass,

tiles, marble, inlaid wood—every

detail showcases the exceptional

craftsmanship of local artisans

and the boundless imagination

of the creator.

The architectural language reinterprets

forms drawn from Islamic

art: polylobed arches, muqarnas,

arabesque patterns, decorative

calligraphy, and symmetrical

designs that evoke the Alhambra

of Granada and the Taj Mahal.

Yet all of it is filtered through

European Romantic sensitivity,

in a dreamlike and intellectual

vision. In addition to the castle,

Ferdinando also designed the vast

surrounding park, transforming a

holm oak woodland into an exotic

garden. Spanning approximately

65 hectares, the park hosts rare

tree species—including 57 giant

sequoias imported from North

America—and Moorish-style

decorative structures such as

fountains, bridges, grottoes,

and pavilions. This green Eden

reflects the marquis’s botanical

passion; in 1864, he purchased

his first sequoia for 224 lire.

Nineteenth-century Florence was

a driving force of Orientalism in

Italy, thanks to institutions such

as the Royal Institute of Higher

Studies and the Italian Society

for Oriental Studies, featuring

prominent figures like Angelo

De Gubernatis and Ernesto

Schiaparelli. The city’s pivotal

role was confirmed by the Fourth

International Congress of Orientalists,

held in Florence in 1878.

On that occasion, a group of one

hundred delegates visited Sammezzano,

admiring its originality

and splendor.

Within this context, Ferdinando

Panciatichi Ximenes d’Aragona

emerged as a radical and visionary

interpreter of the European

fascination with the East—not in

a documentary or philological

sense, but as a total aesthetic

experience, a mental journey

toward distant and idealized

worlds. The Castle of Sammezzano

is not a copy of Islamic

art, but a Western and Romantic

reinvention of the Orient—a

“creative delirium,” as he himself

suggested—where architecture

becomes the language of

the soul.





GECO: digital innovation to preserve, interpret, and transmit cultural heritage.

Key Actions

Scientific Documentation

High-precision 3D technologies and GIS to ensure accurate and reliable heritage records.

Process Quality

Every step is traceable and reproduible, following rigorous digital protocols.

Interpretive Innovation

We create immersive and inclusive narratives to engage diverse audiences.

Knowledge Transmission

We share tools and insights to foster skills, collaboration, and cultural responsibility

20 years

of experience in the world

of recording Cultural Heritage

60 people

Academics and freelancers

from diverse backgrounds and countries

250 cultural heritage asset

digitally recorded and promoted

in Italy and worldwide

30 national and European research initiatives

coordinated or participated in, focused on

cultural heritage innovation and dissemination

300 publications

on cultural heritage in international contexts

Follow our journey and contribute:

CASE STUDIES

The Grotto of the Animals

a sixteenth century “hydraulic machine”

By GeCo Lab

Set within a celebratory

context of the Medici

dynasty, the grotto is

considered the prototype of

artificial caves that,

starting in the mid-16th

century, spread across

Italy and Europe.

It was built alongside the

garden, designed by Niccolò

Pericoli, known as Tribolo.

Since 2013, the Villa has

been part of the UNESCO

World Heritage list.

Through the digital twin,

it becomes possible to

trace the historical path

of the water, observe how

it has changed over time,

and document not only the

material heritage, but also

the intangible values of

this intricate 16th-century

hydraulic machine.

T

he Grotta degli Animali is

one of the most remarkable

architectural features

of the garden at the Medici Villa

of Castello, one of the earliest

examples of an Italian Renaissance

garden.

The space was carved through a

complex excavation of the terrain

and enclosed by a retaining

wall. It was conceived to imitate

a natural cavity: dark, humid,

animated by tartar encrustations

and shells. The ceiling, covered

in sponges, and the mosaic floor

conceal the outlets of the water

features.Inside, three niches

house marble basins topped

with zoomorphic sculptures—

common and exotic animals

such as a lion, a giraffe, and a

rhinoceros—as well as a fantastical

creature, the unicorn. These

figures were designed to inspire

wonder. The immersive effect

was enhanced by bronze birds,

works by Ammannati and Giambologna,

now preserved at the

Bargello Museum.

A complex hydraulic system, still

partially intact today, powered

the water features. A network

of conduits distributed on several

levels allowed the water to

flow: from the Gennaio basin, it

encircles the grotto, runs along

the retaining wall, and reaches

the nymphaea. Another conduit,

made of stone and terracotta,

runs above the vault: it

branches into lead pipes to create

the effect of a “Deluge.” A third

channel, located beneath the

floor of the grotto and the Garden

of the Citrus Trees, carries recovered

water back into the garden.

Today, these narrow and uncomfortable

passages are not open to

the public and are accessible only

to technical staff.

Until recently, many challenges

in documenting these extraordinary

spaces—especially Mannerist

gardens—stemmed from the difficulty

of accurately measuring and

representing their organic forms.

Simplified and often unsatisfactory

representations were the

norm. The challenges are even

greater for the hydraulic tunnels:

narrow, unlit, and difficult to

access, with small openings that

make it hard to understand their

spatial layout.

High-resolution 3D surveying

technologies, such as laser

scanning, have helped overcome



these limitations, allowing for the

creation of accurate models that

reflect the physical reality.

Since 2012, the Geomatics Laboratory

of the University of Florence,

in collaboration with the

Regional Directorate of Museums,

has led the documentation

project of the grotto. Numerous

surveying campaigns have produced

a highly detailed 3D model

of the entire complex—including

the grotto, retaining wall, nymphaea,

and both underground and

external hydraulic conduits—to

support the restoration project

for the reactivation of the water

features. In parallel, the CNR-

ISPC in Florence has carried out

diagnostic investigations to monitor

the conservation state of the

structure.

In 2024, environmental sensors

were installed to measure temperature

and humidity in real

time, in order to assess the condition

of the grotto following the

reactivation of the water system.

In the future, extensometers will

also be added to monitor the

state of the masonry structures.

The installation of the sensors

and the integration of their data

with the geometric model was

achieved through collaboration

between the University of

Florence (UNIFI), the CNR-ISPC

(Florence and Lecce branches),

and the Regional Directorate of

Museums. Thanks to the SENNSE

platform (Spatial hEritage scieNce

oNline Sensor Environment),

developed by the DHILab of the

CNR-ISPC, the model is evolving

into a Heritage Digital Twin, combining

3D geometry with dynamic

sensor data.

This will make it possible to

detect critical conditions and

plan targeted maintenance

interventions, potentially allowing

for remote control of the

water features. The system also

contributes to the enhancement

of spaces normally closed to the

public, offering a new way to tell

the story of the grotto’s defining

element: water.

Above: resin replica to be used

as a model for the realization

of the bronze reply of a hawk

to reposition on the site.

Below: The cave, internal view.

On the previous page: “The

dromedary tank”. Ortimmagine

of the surface model with

Ambient occlusion

Top: Surface model. View of the threedimensional

model of the surface

of the animal cave, which highlights

its architectural and morphological

conformation.

Middle: Tunnels and conduits. Surface model

of the tunnels that develop around the

structure, inside which the hydraulic ducts

used to power the water games flow.

Left: Vault of the cave, detail.



CASE STUDIES

Protecting the Arno River and its Historic

Urban Landscape from Climate Risks

By GeCo Lab

The historic centre of Florence,

crossed by the Arno River

and immersed in its landscape

context, has remained virtually

unchanged over the centuries,

so much so that it was

recognised as a UNESCO World

Heritage Site as early as 1982.

The awareness of the intimate

relationship between landscape

and architecture, between the

river and the city, combined

with the preservation of traditional

building materials and

techniques, has made it possible

to preserve fundamental values

such as integrity and authenticity.

In recent years, however, the

intensification of extreme

weather events, the rapid deterioration

of materials and infrastructure,

and the growing impact

of mass tourism have highlighted

the need for advanced systems

to monitor and manage urban

environmental risks. In this context,

the concept of the digital

twin is emerging as an innovative

technological solution: a

dynamic, updatable digital model

that can faithfully reproduce a

physical environment, enabling

real-time monitoring, predictive

analysis and long-term risk mitigation

strategies.

The Arno River, together with

its infrastructure and the

urban fabric that surrounds it,

is an ideal case study for

exploring the potential of

the Urban Digital Twin, a tool

that enables assessments

and simulations at both

architectural and urban scales

UDT Arno: geometric layer, at the bottom a

point cloud model; at the top a 3D model with

the bathymetric map.

WORK PACKAGES

Digital Creativity and

Artificial Intelligence

Coordinated by the

Accademia di Belle Arti of Carrara

The project aims to bridge the

past, contemporary artistic creativity,

and heritage preservation.

While digital technology initially

seemed to promote dematerialization

and virtualization in art,

recent years have seen a growing

convergence between the physical

and digital realms, cultural

heritage and technological innovation,

as well as new technologies

and sensory perception.

This convergence has been enabled

by advancements that facilitate

the material translation of

digital designs.

At the same time, interactive

simulations and virtual realities

increasingly draw upon the expertise

traditionally associated with

the fine arts—such as painting,

sculpture, and design—rather

than relying solely on programming

and data processing to

achieve high-quality results.

The strength of this proposal

lies in the ongoing research

and educational activities at

ABA CARRARA, which establish

a bridge between its renowned

Sculpture School—whose centuries-old

experimental tradition

continues to define both the city

and the Academy—and the School

of New Technologies of Art, Italy’s

first of its kind and one of the

most highly regarded nationally.

The availability of advanced

equipment for digital acquisition

and physical reproduction

allows for the hybridization of

knowledge, cultures, and techniques

from sculpture and digital

arts. Applications range from

artistic production (sculpture,

design, multimedia installations,

virtual reality) to cultural

heritage conservation

and restoration, as well as

digital modeling, animation,

and the video game industry.



T 6.1 DIGITAL EXHIBITION

The conceptualization of an exhibition

will showcase the fragility

of cultural heritage through the

digitization of Le Ore Danzanti,

the invaluable plaster model

of Carlo Finelli’s neoclassical

masterpiece.

Finelli, a leading neoclassical

sculptor, destroyed many of his

plaster studies towards the end

of his life, making Le Ore Danzanti

a rare and fragile work.

This model now serves as a

reference for conserving the

marble sculpture housed at

the Hermitage Museum in St.

Petersburg.

The exhibition will highlight the

passage of time and the role of

digitization in preserving cultural

heritage. Integrating contemporary

art, new media art,

and communication disciplines,

it will create a dynamic interplay

of words flowing in multiple

directions within a virtual architectural

space. This approach

will encourage reflection on the

meaning of the CHEDAR acronym.

T 6.2 THE CHEDAR METAVERSE:

PLACES OF MEMORY

This task involves designing and

developing a shared virtual environment

hosted on established

digital platforms. The visual

metaphor will resemble a galaxy

of interconnected “places of

memory,” forming a hypertextual

network of evolving knowledge

islands that reflect the diversity

of expressions and experiences

explored within the project.

The virtual exhibition space will

serve as a digital scenography

populated with artworks, rhetorical

figures, and elements

that are not merely digital replicas

of physical artifacts but

also subjects of study and restoration.

It will feature abstract

landscapes, words, and symbols,

serving as points of convergence

between cultural heritage (architectural

sites and traditions) and

the beauty of nature.

Through virtual reality, this space

can be explored freely across

space and time at the speed of

thought, embodying the conceptual

framework of places of

memory as envisioned in this

project.

T 6.3 PHYGITAL EXPERIENCE

The CHEDAR Metaverse is not

meant to remain a self-contained

digital space. Instead, it will be

extended through phygital experiences,

where digital and physical

realities intertwine.

On specific occasions, the

metaverse experience will be

expanded into physical memory

spaces within architectural and

museum environments.

Additionally, by leveraging wearable

technologies, it will facilitate

in-person encounters that

seamlessly blend digital enhancements

with real-world interactions.

These setups will enable

participants to benefit from the

advantages of digital overlays

while preserving the irreplaceable

intensity of face-to-face

human communication.

WORK PACKAGES

Communication and Outreach

Lead Partner Istituto Superiore per

le Industrie Artistiche di Firenze

T 7.1: DEVELOPMENT OF A

COMMUNICATION PLAN

Currently, a strategic communication

plan is being created.

This involves defining clear

objectives, engaging specific

stakeholders, and selecting the

scientific and educational content

to share. Once the strategy

is established, it will be crucial to

implement the planned actions by

choosing the most suitable tools

and measures. Finally, it will be

important to define a system for

evaluating the effectiveness of

the approaches and tools used.

T 7.2: CREATION OF A DESIGN

SYSTEM KIT

Work is underway to create a

Design System Kit, a tool that

will provide the project with a

coherent and recognizable visual

identity. This is not just a style

guide; it will be a dynamic digital

kit suitable for various forms

of communication, both physical

and digital. This system will

follow a strict syntax but will

also be flexible enough to adapt

to different communication and

interaction needs.

T 7.3: CREATION OF A WIKI

REPOSITORY

Additionally, there is ongoing

design and development for a

shared online environment where

users can freely input information

related to the project. It is

expected that each piece of information

will include bidirectional

links to create a map of relationships

and interconnections.

The goal will be to provide new

interpretative and educational

models. By using machine learning

techniques, the system can

highlight aggregations and connections,

thus creating a dynamic

archive of interdisciplinary knowledge

and contributing to the formation

of a visual metaverse.

T 7.4: DEVELOPMENT OF AN

OUTREACH PLAN

The results to be shared, which

may include knowledge, skills,

and experiences gained through

the activities of the Research and

Advanced Training Center, require

effective strategies for dissemination

to various audiences in

order to establish indicators for

assessing the real impact of the

activities. This process will help

measure the results achieved and

formulate recommendations for

the future.

T 7.5: IMPLEMENTATION OF

ENGAGEMENT INITIATIVES

Given the premises outlined

above, this further phase involves

implementing initiatives aimed at

informing and engaging various

stakeholders, such as the scientific

community, institutions,

stakeholders, citizens, schools,

and the media. Periodic events

related to the project will be

organized, including kickoff

meetings, intermediate workshops,

and annual conferences.

Additionally, partners will participate

in national and international

industry events, such as conferences

and seminars. It will therefore

be essential to continue

publishing results in open access

journals to ensure adequate dissemination

within the scientific

community. At the same time,

more accessible publications will

be aimed at a wider audience.

There will also be efforts to promote

advanced training offerings,

such as master’s programs, to

attract participants from various

countries.Furthermore, there will

be active involvement of schools

through training activities based

on multidisciplinary approaches,

supported by educational materials

developed in pilot projects.

Awareness-raising activities

directed at institutions and decision-makers

will aim to channel

resources toward training

professionals suited for digital

transformation.



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The University of Florence,

whose origins date back to

1321, is today one of Italy’s

leading institutions for research

and education quality. With

1,800 faculty members, more

than 1,600 researchers, and 21

departments, it ranks among the

most productive public research

universities in the country, active

across all major scientific fields.

The University promotes innovation

through patents, spin-offs,

and partnerships with industry,

supported by its Research

Enhancement Center. Strongly

oriented toward internationalization,

the University of Florence

is a member of the EUniWell consortium,

has over 500 agreements

in around 100 countries, offers

numerous courses in English,

and runs joint degree programs.

Each year, it welcomes more than

4,000 international students and

over 1,000 Erasmus students.

The University is also home to

centers of excellence such as

LENS (European Laboratory for

Non-Linear Spectroscopy) and

CERM (Magnetic Resonance

Center). Since 2018, it has held

the HR Excellence in Research

Award, reflecting its commitment

to high-level research integrated

into the European and global

landscape.

It leads the CHEDAR project.

Directed by Professor Grazia

Tucci, the Center serves as an

international hub for innovation

through the integration

of advanced technologies with

particular attention to climate

and anthropogenic risks in the

broader Mediterranean area.

The Central Institute for

Restoration (ICR) is a technical

body of the Ministry

of Culture specialised in the restoration

and conservation of cultural

heritage. Since 2014, it has

been part of the General Directorate

for Education and Research

and is a permanent member of

the ICCROM General Council.

It participates in European Commission

projects and collaborates

with the UNESCO World Heritage

Committee, acting as a key interlocutor

on conservation policies

and strategies. ICR hosts the

School of Higher Education (SAF),

responsible for training future

restorers in accordance with the

Cultural Heritage and Landscape

Code. The Institute maintains the

theoretical and methodological

approach of Cesare Brandi, while

integrating innovative research,

training and restoration, ensuring

a constant exchange between

theory and practice.

The Institute brings together art

historians, architects, archaeologists,

physicists, chemists,

biologists and restorers specialising

in various materials, including

paintings, textiles, paper,

metals, ceramics, stone, wood

and leather. Interdisciplinarity is

at the heart of the ICR’s philosophy,

encouraging collaboration

between experts to refine restoration

techniques, applying the

latest scientific advances, particularly

in non-destructive testing

and technological innovation,

to safeguard cultural heritage for

future generations.



The Academy of Fine Arts of

Carrara, founded in 1769,

is one of Italy’s oldest and

most prestigious artistic institutions.

It has a rich tradition of

artistic education, nurturing generations

of artists and sculptors

who contribute to the nation’s

cultural heritage. The Academy

offers diverse programs across

10 schools, including Sculpture,

Painting, Set Design, Cinema,

Photography, Audiovisual,

Decoration, Design, Art Education,

Comics and Illustration,

Art Graphics, and New Art Technologies.

Located in Carrara and

surrounded by the Apuan Alps,

the Academy’s historic building

features frescoed halls and inspiring

spaces.

It encompasses five campuses

equipped with cutting-edge laboratories,

fostering a cosmopolitan

environment with students

from 42 countries. Each program

is designed to provide a strong

theoretical and practical foundation,

emphasizing innovation and

artistic experimentation.

The Academy has historically

hosted a distinguished faculty,

including names like Bartolini,

Cybei, Bodini, Desmarais, Prayer,

Pelliccia, Gangeri, Baratta, and

more recently, Munari, Alviani,

Fabro, and Mari. Since its inception,

it has also appointed Honorary

Academicians, among whom

are historical figures like Napoleon

Bonaparte, Antonio Canova,

and John Flaxman. It maintains a

close connection to the region’s

marble-working tradition, offering

students access to workshops

and inspiration from Carrara’s

famous marble quarries. Additionally,

it was the first institution

in Italy to offer a course in

New Art Technologies, establishing

it as a leader in digital and

multimedia arts education.

The Istituto Superiore per

le Industrie Artistiche di

Firenze (ISIA) is a public

university institute within the

AFAM sector, dedicated to education,

research, and experimentation

in Design. Founded in

1975, its educational offerings

include three-year courses, specialized

two-year programs, master’s

degrees, and post-diploma

courses aimed at training designers

who can tackle contemporary

challenges. To maximize direct

interaction between students

and faculty, access to courses

is regulated through admission

tests. With a well-established

teaching model, ISIA offers a

theoretical-practical approach

characterized by laboratory

experiences and instruction

from industry experts. Classes

are supplemented by lectures

and workshops led by recognized

professionals. A distinctive feature

of ISIA is the development of

applied research projects through

its labs, where students and faculty

collaborate on social and

economic issues. Currently active

labs include Urban Lab, Health,

Mars, AI, and Hyde. ISIA Florence

also participates in the “Joint

Doctorate in Service Design for

the Public Sector” in collaboration

with various Italian universities.

It is a founding member of

the “Politecnico delle Arti e del

Design di Firenze,” a new interdisciplinary

educational hub that

brings together ISIA, the Music

Conservatory “Luigi Cherubini,”

and the Academy of Fine Arts.

Through established partnerships

with companies and institutions,

the hub aims to pave the way for

innovative and highly multidisciplinary

training in the national

artistic landscape.

Forty-three years after its

foundation, the University

of Tuscia remains one of the

youngest, most dynamic and flexible

institutions on the national

academic scene.

Despite its relative youth, it has

continuously grown and evolved,

standing out for its capacity for

innovation, adaptability, and

excellence.

The commitment of its administrative,

technical, and scientific

community has ensured a steady

balance of successful initiatives

and tangible achievements.

The University of Viterbo integrates

its core functions—scientific

research, teaching, and

training—with third mission activities,

ensuring a strong connection

with society, industry, and

institutions. These objectives

are pursued through six departments,

restructured under Law

240/2010 for greater efficiency

and interdisciplinarity.

The administrative framework

is constantly being refined to

streamline bureaucratic processes,

and improve both research

output and user experience for

students and faculty engaging

with university services.

In recent years, the university

has grown, expanding academic

programs, increasing high-impact

research publications, and

launching national and international

R&D projects. At the

same time, recruitment efforts

have focused on attracting highly

qualified young researchers and

administrators, strengthening the

university’s ability to tackle contemporary

challenges and maintain

its position as a key player in

the global academic landscape.

The University of Cassino

and Lazio Meridionale,

founded in 1979, currently

has about 250 faculty members

and 250 administrative staff, serving

approximately 7,500 students.

Its small size fosters direct and

continuous interaction between

faculty and students throughout

their academic journey, encouraging

active participation in laboratories,

libraries, and teaching

facilities, and promoting a highly

personalized learning experience.

Institutional activities—teaching,

research, and the “third

mission”—are structured within

five departments, covering a

broad and interconnected range

of scientific and interdisciplinary

fields. The university offers 30

bachelor’s and master’s degree

programs, three PhD programs,

and several specialized master’s

degrees, ensuring a diverse and

comprehensive educational experience

that meets both academic

and professional demands.

Research is supported by nearly

60 highly specialized laboratories,

enabling the development

of cutting-edge projects in collaboration

with national and

international partners. These

facilities also provide technological

consulting and applied

research solutions for institutions

and industries. University

plays a pivotal role in the

regional industrial, cultural, and

socio-economic landscape, fostering

knowledge transfer and

innovation through numerous

research collaborations, thirdparty

agreements, patents, and

spin-offs.



Founded in 1303, Sapienza

is the oldest university in

Rome, the largest in Europe,

with over 120,000 students and

Italian University number 1 in

world rankings. Its mission is to

contribute to the development of

the knowledge society through

research, excellence and quality

education and international cooperation.

The main world university

rankings place the University

at the top in Italy for the quality

of its research and teaching and

for its international dimension.

Sapienza’s educational offering

include 300 bachelor’s and

master’s programs, over 60 in

English, 200 master’s degrees,

more than 90 doctoral programs,

and 80 graduate schools.

Sapienza is organized into 11

faculties, a school of advanced

studies, a postgraduate school

of aerospace engineering, 58

departments, as well as numerous

research and service centers,

48 libraries, the Sapienza Museum

Complex with its 18 museums,

the Sapienza Sport Center, the

Sapienza Music orchestras and

choirs, the Theatron project,

and RadioSapienza web radio.

The student body includes more

than 30 thousand out-of-state students,

10,000 international students

and more than 2,200 students

per year on international

mobility. Sapienza is a founding

promoting partner of the Lazio

Cultural Technology District

Center of Excellence DTC Lazio

and a promoting entity within the

PNRR of the Extended Partnership

on Humanistic Culture and

Cultural Heritage CHANGES and

the innovation ecosystem Rome

Technopole.

Roma Tre University was

established in 1992 and

has since become a key

reference point in the national

and international academic landscape,

thanks to its high-quality

teaching programmes and

research excellence.

The University has 13 departments,

including Architecture,

Business Economics, Civil, Computer

Science and Aeronautical

Technologies Engineering,

Economics, Education Science,

Foreign Languages, Literatures

and Cultures, Humanities, Industrial,

Electronic and Mechanical

Engineering, Law, Mathematics

and Physics, Philosophy, Communication

and Performing Arts,

Political Science, and Science.

Additionally, Roma Tre boasts

a vibrant academic community

with 996 faculty members and

751 non-academic staff, supporting

a student body of over 35.000

students.

Roma Tre has cultivated a

reputation as a dynamic and

forward-thinking institution,

offering a broad spectrum of

academic programmes. It provides

113 degree courses, including

33 Bachelor’s programmes (first

cycle), 53 Master’s and single-cycle

programmes (second cycle),

and 27 PhD programmes (third

cycle). This has led, step by step,

to the successful recognition of

Roma Tre at the international

level as well. The University is

a member of, among others:

UNICA Network (Universities of

European Capitals) ; UNISCAPE

(European Network of Universities

for the Implementation of

the European Landscape Convention)

; EUA (European University

Association).

CNR is the largest public

research body under the

Ministry of Education, University

and Research, conducts

interdisciplinary research and

promotes European and international

collaboration.

As a key stakeholder in EU projects,

CNR has participated in

more than 700 H2020-funded initiatives

and is an active member

of the association of European

Heads of the Research Councils

(EuroHORCs) , the European

Science Foundation (ESF) and

Science Europe (SE). Since its

reform in 1963, CNR has focused

on social sciences, humanities,

and cultural heritage.

Today, these disciplines are concentrated

in the Department of

Social Sciences and Humanities,

Cultural Heritage (DSU-CNR).

The Institute of Cultural Heritage

Sciences (ISPC), part of DSU-CNR,

leads interdisciplinary research

and contributes to CHEDAR,

promoting heritage-based innovation.

With over 180 researchers,

ISPC develops innovative

approaches to studying, preserving,

and enhancing cultural

heritage, focusing on three key

themes: Human Past, Heritage

at risk, and Sustainable Management.

ISPC collaborates with

universities, research consortia,

and national and international

programs. It plays a leading role

in SSH Research Infrastructures

such as E-RIHS and DARIAH , supports

higher education, and fosters

training initiatives for postdoctoral

and doctoral students.

University institute dedicated

to undergraduate

and postgraduate education

and advanced research.

Established in 1992, today the

university operates the School

of Medicine and Surgery, the

School of Engineering, the School

of Science and Technology for

Sustainable Development and

One Health, and 4 doctoral programs.

In Italy, UCBM has been

systematically ranked at the

top for the quality of education

provided to a selected group of

students. In addition, the University

hosts 50 multidisciplinary

Research Units. Annual scientific

production is constantly and rapidly

increasing, exceeding 900

articles and 6,000 ISI cumulative

impact factors in 2023, along with

a growing amount of research

funding raised from competitive

sources in Italy, Europe, and

worldwide. The current UCBM has

more than 80 active projects and

a high success rate of projects

carried out in collaboration with

companies. Technology transfer

activities are rapidly growing

with approx. 30 ongoing research

projects with large companies

and SMEs, 21 patent families (of

which 12 co-owned) in areas like

rehabilitation engineering, microengineering,

regenerative medicine,

biomedical instrumentation,

oncology diagnostics, and food

analysis, and 8 spin-off companies

accredited by the University

since 2015. An outstanding network

of key national and international

scientific and academic

partners, with over 200 collaborations,

has been continuously

developed and strengthened over

the years through specific cooperation

agreements.


GIS

GNSS

Live

*COURSE

GNSS COURSE

Emergency Management

Earth Observation

Displacement Monitoring

*Official international Certification


Advanced Technologies and International

Cooperation for a New Era of Conservation

By Prof. Fulvio Rinaudo, President of

CIPA Heritage Documentation

Cultural heritage

conservation is no longer

merely a preservation

effort. It is a dynamic

process that connects the

past, present, and future

through the power of

digitization

CHEDAR project is a

tangible demonstration of

how technology can serve

memory and knowledge,

transforming the way we

preserve and narrate our

cultural heritage

Cultural heritage conservation

is facing an epochal

challenge: on the one

hand, the need to preserve the

historical memory of sites and

artifacts threatened by natural

and human-induced factors;

on the other, the opportunity

offered by new technologies to

document, analyze, and reconstruct

cultural assets with unprecedent

accuracy.

The CHEDAR project marks a decisive

step in this direction, aiming

to establish a center of excellence

for cultural heritage digitization

and reconstruction on an international

scale.

As President of CIPA Heritage

Documentation, an international

organization dedicated to cultural

heritage documentation through

advanced technologies, I recognize

CHEDAR as a strategic initiative

capable of integrating science,

technology, and education,

fostering an innovative vision of

conservation based on data interoperability,

digital twins, and artificial

intelligence applications.

The synergy between high-resolution

3D models, machine learning,

augmented reality, and geospatial

information systems will not only

document the past but also make

heritage more accessible and

manageable in the future.

TECHNOLOGIES FOR

DOCUMENTATION AND RISK

MANAGEMENT

3D digitization has become one

of the most powerful tools for

understanding and protecting

cultural heritage.

CHEDAR integrates advanced

three-dimensional survey techniques

such as digital photogrammetry,

laser scanning, and multispectral

imaging, which enable

high-precision data acquisition

and the creation of digital twins

that are exact replicas of original

artifacts and sites.

These digital models not only provide

a permanent data repository

for conservation and restoration

but are also fundamental for risk

management in the event of natural

disasters or armed conflicts.

The ability to monitor changes

over time, comparing successive

surveys and implementing

predictive algorithms, allows for

early detection of deterioration

signals, optimizing conservation

interventions.

CHEDAR aims to establish standardized

protocols for digital data

collection and archiving, ensuring

their interoperability and international

accessibility. The project

aligns with global documentation

standards set by organizations

such as CIPA, ISPRS, and ICOMOS,



contributing to the development

of a global digital ecosystem for

heritage conservation.

VIRTUAL AND PHYSICAL

RECONSTRUCTION: A NEW

INTERDISCIPLINARY APPROACH

Beyond documentation, CHEDAR

explores the possibilities of both

digital and physical reconstruction

of cultural assets, combining

advanced modeling techniques

with artificial intelligence.

The reconstruction methodologies

are based on principles of

sustainability, authenticity, and

innovation, with an approach that

merges tradition and technology.

3D printing and digital fabrication

allow for the faithful recreation

of architectural and decorative

elements, facilitating accurate

and respectful restoration interventions.

At the same time,

virtual and augmented reality

provide immersive experiences,

digitally reconstructing lost sites

and artworks, thereby enhancing

public engagement and education

in heritage. A key aspect of the

project is the scientific validation

of reconstructions through

AI-based methodologies, enabling

the analysis of large volumes of

archaeological, historical, and

iconographic data to generate

increasingly accurate reconstruction

hypotheses.

CHEDAR AS AN INTERNATIONAL

HUB FOR TRAINING AND

SCIENTIFIC COOPERATION

One of the primary objectives of

CHEDAR is to establish a higher

education center, attracting

researchers, professionals, and

students from around the world to

develop advanced competencies

in digitization and heritage management.

The project’s high-level

training programs will provide

theoretical and practical tools

to train experts in geomatics, AI

applications for cultural heritage,

and emerging conservation technologies.

CHEDAR’s international

dimension is a key strength: the

project operates within a network

of research institutions,

universities, and international

organizations, fostering strategic

partnerships between Europe, the

Mediterranean, and the Middle

East. CHEDAR’s participation in

Expo Osaka 2025 represents a

unique opportunity to showcase

the project’s results on a global

stage, reinforcing Italy’s leadership

in research and innovation for

heritage conservation.

TOWARDS A NEW ERA OF

DIGITAL CONSERVATION

The CHEDAR project marks a significant

advancement in cultural

heritage digitization, defining

a management model based on

the integration of digital data,

predictive analytics, and artificial

intelligence. The synergy between

science, technology, and human

expertise will drive a transformational

change that will not

only improve the conservation of

existing assets but also open new

avenues for their accessibility and

promotion.

CIPA Heritage Documentation fully

supports this initiative, offering its

expertise and global network to

ensure the project’s success.

Thematic mapping on mesh model of the Grotto of the animals (courtesy GeCo Lab and ISPC-CNR)


Innovation, Research, and Advanced Education

for the Protection of Cultural Heritage in

the wider Mediterranean Region

By Maurizio Di Stefano,

President of ICOMOS Italy

The tangible and intangible

cultural heritage of the

Mediterranean has always

been an inexhaustible source

of research for scholars across

a wide range of disciplines,

from the humanities to

technical fields

Cultural exchanges among

countries along the various

shores of the Mare Nostrum

are currently being stimulated

and supported through both

bilateral and multilateral agreements.

These initiatives focus on

interdisciplinary research with

the aim of strengthening cultural

diplomacy, allowing such scientific

exchanges to be recognized

as a form of “soft power.”

Among the most significant of

these are the growing collaborations

between universities and

non-governmental organizations

such as ICOMOS and ICCROM.

These partnerships focus on

archaeological, architectural,

landscape, and environmental

heritage, exploring restoration

and conservation techniques and

methodologies, also from a management

perspective.

Innovation, research, and

advanced education—as key components

of capacity building—are

essential drivers of social and

cultural transformation. ICOMOS

has long sought to contribute to

this transformation through the

implementation and promotion of

highly innovative projects across

the globe. This is the guiding philosophy

behind CHEDAR: A New

Frontier for the Digitization and

Reconstruction of Cultural Heritage.

The project brings together

research outputs and advanced

educational initiatives in the field

of digitization, assigning them a

vital scientific role: enhancing

collaboration among technical

and scientific teams through the

development and application of

advanced digital technologies.

The integration of innovations

such as 3D digitization, artificial

intelligence, and augmented reality

is opening up new possibilities

for documentation, risk management,

and heritage reconstruction—particularly

in areas

vulnerable to anthropogenic and

natural threats. This is especially

relevant in the Mediterranean,

as demonstrated by Italian initiatives

related to the so-called

“Mattei Plan.” Within this framework,

CHEDAR—Cultural Heritage

Digitization and Reconstruction—

is positioned as an ambitious



project aiming to establish Italy

as an international leader in the

digitization and reconstruction of

cultural heritage, with a strong

emphasis on advanced research

and specialized training.

The initiative, promoted by the

University of Florence in collaboration

with Italian and international

academic and research

institutions, envisions the creation

of a Center for Research and

Advanced Education—a scientific

and technological hub that harmonizes

tradition and innovation

in conservation processes.

ICOMOS Italy, as a scientific and

consultative body of UNESCO,

recognizes in CHEDAR an extraordinary

opportunity to reinforce

the link between tradition and

innovation, encouraging the integration

of conservation expertise

with the potential of emerging

technologies.

DIGITIZATION AS A TOOL FOR

KNOWLEDGE AND PROTECTION

A central pillar of the CHEDAR

project is the use of digital technologies

for documenting cultural

heritage. 3D surveying, photogrammetry,

and advanced modeling

enable the creation of highly

accurate digital twins—indispensable

tools for diagnostic analysis,

restoration planning, and the

development of accessible digital

archives.

In an era where climate change,

conflict, and natural disasters

increasingly threaten cultural

assets, digitization becomes a

crucial component in the protection

and sustainable management

of heritage.

CHEDAR aims to develop advanced

digitization protocols, certified

metadata standards, and interoperable

models to ensure not

only the quality of acquired data

but also its usability at an international

level.

RECONSTRUCTION OF HERITAGE

BETWEEN INNOVATION AND

TRADITION

The reconstruction of heritage is

another core focus of CHEDAR,

combining state-of-the-art digital

tools with traditional knowledge

and methodologies.

Digital technologies support the

development of accurate and

historically informed reconstructions,

whether physical or virtual,

allowing for the respectful revitalization

of sites damaged or at

risk. These efforts serve not only

technical purposes but also educational

and cultural ones, offering

communities renewed access

to their own heritage.

CHEDAR’s involvement in

Expo 2025 Osaka, along

with its alignment with

Rome’s bid for Expo 2030,

represents a strategic

opportunity to enhance

Italy’s global leadership in

this field.

ADVANCED EDUCATION AND

CULTURAL DIPLOMACY

Protecting cultural heritage

requires not only advanced technologies

but also a new generation

of multidisciplinary professionals.CHEDAR

includes the

establishment of an Advanced

Education Program designed

to train specialists in digitization

and heritage management,

with a particular emphasis on

Mediterranean contexts.The project

also carries significant value

in terms of cultural diplomacy.

Collaboration among academic

institutions, research centers,

and international organizations

encourages the exchange of

knowledge and best practices,

helping to build a shared global

model for heritage conservation.

TOWARDS A NEW PARADIGM

FOR HERITAGE CONSERVATION

CHEDAR aims to redefine the

relationship between cultural

heritage and digital innovation,

promoting a management model

based on the synergy between

scientific research, education,

and technology transfer.

Digitization and conservation are

no longer two separate processes,

but two sides of the same coin,

capable of transforming heritage

protection into a lever for sustainable

development and the

construction of a shared memory

among cultures.

ICOMOS Italy – the Italian National

Committee of the International

Council on Monuments and Sites

– firmly supports this initiative,

making available its scientific

expertise and international network

of specialists, also through

its Scientific Committees, to contribute

to the success of the project.

Protecting the past means

shaping the future: CHEDAR represents

a decisive step in this

direction.

Past Treasures,

Future Vision.

ARTEMIS redefines how we conserve,

restore, and celebrate cultural heritage.

Imagine if the stories carved in ancient walls could speak.

If the cracks, the colours, the silence of old stones could

warn us before time erases them forever.

This is the vision of ARTEMIS:

a European project bringing together cutting-edge

technology, research, and passion to create Reactive

Heritage Digital Twin.

Smart digital replicas that don’t just record the past, but

learn from it, predict risks, and help us protect what

matters most.

Because heritage isn’t just memory, it’s a living legacy we can

shape, share, and pass on.

Be part of the ARTEMIS community:

Follow our journey.

Experience the future of heritage with

ARTEMIS.

ARTEMIS TALKS:

The signature webinar series inspiring

Europe’s cultural innovation.

ARTEMIS is a project funded by the European Union under Grant

Agreement n.101188009. Views and opinions expressed are however

those of the author(s) only and do not necessarily reflect those of the

European Union. 46 Neither the European Union nor the granting

ArcheomaticA N°1 2025

authority can be held responsible for them.


PRESERVING THE PAST

SHAPING THE FUTURE

BE PART OF ECHOES!

Together, we will shape the future Cultural Heritage Cloud

A shared digital infrastructure that connects cultural heritage

ECHOES offers sector-specific digital collaboration tools,

developed by and for the heritage community,

to modernise workflows and foster innovation

ECHOES removes barriers,

empowering smaller and remote institutions to fully participate

in Europe’s digital transformation of cultural heritage

Ready to build the heritage of tomorrow?

@Echoes.eu @echoes_eu Echoes EU @echoes_eu ECHOES EU @ECHOES_EU

ECHOES is a project funded by the European Union under Grant Agreement n.101157364, with

the support of UK Research and Innovation (UKRI) under the UK government’s Horizon Europe

funding guarantee n.10110142 & n.10110466.

Archeomatica_1_2025_Speciale_Chedar

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