On March 25, Fedir and Yana Boitsov delivered a lecture at the Garage UA Lab community, where they discussed the evolution of 3D scanning technologies and their application in cultural heritage preservation. The focus of the meeting was the topic “The History of 3D Scanning: From SfM to Europeana,” which combined a historical overview of technologies, practical case studies, and a vision for the future of the digitisation of Ukrainian heritage.

During the lecture, Fedir Boitsov spoke about 3D scanning — from the basic principles of photogrammetry to modern approaches used to create accurate digital copies of objects and environments. He outlined the Structure from Motion (SfM) method, which makes it possible to reconstruct the three-dimensional structure of a scene on the basis of a series of two-dimensional photographs, determining the positions of cameras and forming a sparse point cloud as the basis for further reconstruction. It was also about Multi-View Stereo (MVS), which works after SfM and makes it possible to build the dense geometry of an object, turning photographic material into a detailed 3D model.

In addition to photogrammetry, the lecture also presented other relevant technologies: LiDAR laser scanning, structured light scanning, NeRF, Gaussian Splatting, X-ray computed tomography, and RTI photometry. The speaker explained that each of these methods has its own area of application: some work better with large architectural objects, others — with museum artifacts, jewelry, or complex surfaces with reflections and transparency. Thus, modern 3D scanning appears not as one technology, but as a whole set of complementary tools that make it possible to obtain accurate, realistic, and suitable for different tasks digital models.

A separate block of the lecture was devoted to practical approaches to scanning objects of different scales. For large buildings and locations, combinations of aerial and ground photography are used, which make it possible to cover the object completely and at the same time preserve sufficient detail. For sculptures, small architectural forms, and museum objects, the team uses circular shooting, lighting control, ring flashes, turntables, macro lenses, cross-polarization, and special fixtures for delicate or moving objects. In some cases, photogrammetry is combined with structured light scanning in order to achieve maximum geometric accuracy. Fedir shared practical cases — scanning buildings, sculptures, archaeological artifacts, and jewelry from museum collections, including the Odesa Museum of Personal Collections named after O.M. Bleschunov and the National Archaeological Museum of Verona.

Yana Boitsova spoke about experience working with web platforms for publishing 3D content (Sketchfab, Europeana) and gave examples of how the results of 3D scanning can be used in practice. This is not only about the preservation of cultural heritage, but also about the creation of VR and AR experiences, visual effects for film, digital production, scientific research, damage documentation, exhibition formats, and online catalogs. Such an approach demonstrates that a 3D model today is not a final product, but a multifunctional digital asset that can work in education, museums, tourism, engineering, and the creative industries, and these relevant issues are being laid in the cultural policy of digitisation, in particular the Strategy for the Development of Culture of Ukraine until 2030.

The full recording of the lecture is available on YouTube: History of 3D Scanning: The Path from SfM to Europeana

This event is an example of how technical communities and cultural initiatives can interact with each other, creating new points of intersection between engineering, digital production, and the humanitarian sphere. Educational events not only popularize modern technologies, but also show that 3D digitisation is an important tool for preserving memory, documenting losses, and opening Ukrainian cultural heritage to an international audience.

The lecture was prepared within the activities of the project “3D-4CH — Online Competence Centre in 3D for Cultural Heritage,” which is being implemented in Ukraine by the public organization Pixelated Realities,, a partner of the 3D-4CH consortium, and co-financed by the European Commission under the Digital Europe Programme. In accordance with Ukrainian legislation, the project is registered as international technical assistance, with the Ministry of Culture and Information Policy of Ukraine indicated as the beneficiary.

Сообщение Lecture “The History of 3D Scanning: From SfM to Europeana” for the Garage UA Lab IT Community появились сначала на Pixelated Realities.

The inaugural 3D-4CH Winter School took place from 21–23 January 2026 at the Art & History Museum in Brussels. This event marked the launch of the seasonal school programme of the 3D-4CH Online Competence Centre, an EU-funded initiative that supports the development of skills, interoperability and innovation in the field of 3D cultural heritage. Over 100 participants from across Europe came together to explore how 3D digitisation, extended reality (XR) and digital storytelling are shaping cultural heritage practices, from strategy and policy to hands-on implementation in museums and heritage institutions.

Day 1: Policy, Strategy, and the European Framework for 3D Cultural Heritage

The Winter School opened with a strong focus on European policy, strategic alignment and capacity building. The increasing role of 3D technologies in the EU’s digital and cultural agenda was highlighted. Rehana Schwenninger-Ladak (DG CNECT, European Commission) set the scene, emphasising that 3D digitisation strengthens Europe’s cultural heritage ecosystem by supporting digital skills, FAIR data practices, cross-border collaboration and long-term sustainability.

Géraldine David, Director of the Art & History Museum, welcomed participants and drew connections between the museum’s plaster cast collections, which are early examples of 3D representation, and contemporary digital approaches. Nick Mols, representing the museum as the venue host, emphasised the importance of holding the Winter School in a museum to showcase digital innovation in practice. Marco Medici, Project Coordinator of 3D-4CH, presented the project’s overarching mission: to equip institutions with the necessary skills and knowledge to make digital heritage accessible, engaging, and sustainable.

The morning session featured the Digital Europe Project Showcase, chaired by Fulgencio Sanmartín (DG CNECT). This event highlighted key European initiatives, including Europeana’s TwinIt! Campaign (Part II), the 3D-4CH Online Competence Centre and XRculture, the latter of which focuses on reusing 3D heritage content within the European Data Space. Complementary Horizon Europe projects, including 3DBigDataSpace, EUreka3D-XR, ARTEMIS, StratiGraph and Textailes, emphasised interoperability, shared standards and collaboration across EU-funded initiatives.

In the afternoon, sessions chaired by Marco Medici explored best practices for introducing 3D technology in cultural institutions. Topics included mass digitisation workflows, dynamic 3D collections, accessibility for visually impaired audiences, and strategies for institutional engagement. The day concluded with a focus on storage solutions, web viewers, and heritage data management, including updates on 3D-heritage.eu and the Share3D Dashboard. These updates effectively bridge the gap between policy, technical infrastructure, and practical implementation.

Day 2: Hands-on Digitisation and Applied Workflows

The second day shifted the focus from strategy to practical, hands-on learning. A select group of participants joined an intensive workshop led by Fabio Remondino and Elisa Mariarosaria Farella (FBK), working directly with museum artefacts. They explored photogrammetry, structured light scanning, and Gaussian splatting, while sessions on XR storytelling from the Netherlands’ Sound and Vision Institute demonstrated immersive approaches tailored for cultural heritage. The workshops provided insight into the technical choices and best practices that institutions encounter when implementing 3D digitisation projects in the real world.

Day 3: From Capture to Publication

On the final day, the 3D workflow was concluded, covering everything from capture to dissemination. Participants reviewed digitisation techniques and visited the Plaster Cast Workshop, where they explored the historical role of plaster casts in reproducing and sharing artworks. They also reflected on the parallels with contemporary 3D reproduction for access, education and reuse. The final session focused on capturing, licensing, storing and publishing metadata via the Share3D Dashboard, providing participants with hands-on experience of managing and sharing 3D cultural heritage data. By the end of the Winter School, participants had gained experience of the entire lifecycle of a 3D cultural heritage project, integrating theory, technology, and institutional practice.

Beyond the Winter School – Building Long-Term Capacity

Reflecting on the event, Marco Medici emphasised the broader role of the Winter School within the 3D-4CH Online Competence Centre:

“The Winter School demonstrated what the 3D-4CH Online Competence Centre is designed to do: connect policy, research and hands-on practice. What matters now is continuity — supporting professionals beyond the event, strengthening skills over time, and ensuring that 3D technologies become an integrated and sustainable part of everyday heritage work across Europe.”

The first 3D-4CH Winter School has set a strong foundation for future seasonal schools and training activities, supporting cross-European collaboration and strengthening skills in 3D cultural heritage.

We would like to express our sincere gratitude to all consortium members, museum colleagues, trainers, and participants who contributed to the success of the Winter School.

Missed the Winter School? Recordings from Day 1 will be available soon, offering insights into European policy, best practices, and the future of 3D cultural heritage.

The project “3D-4CH — Online 3D Competence Center for Cultural Heritage” is implemented in Ukraine by the NGO “Pixelated Realities”, a partner of the 3D-4CH consortium, and co-financed by the European Commission under the Digital Europe Programme.

In accordance with Ukrainian legislation, the project is registered as international technical assistance, with the Ministry of Culture and Information Policy of Ukraine indicated as the beneficiary.

Сообщение 3D-4CH Winter School 2026: From Strategy to Practice появились сначала на Pixelated Realities.

Pixelated Realities has joined Europeana, Europe’s main digital platform for cultural heritage, with its first 3D objects now publicly available online. This marks an important step toward enriching the representation of Ukrainian cultural heritage in major European digital collections.​

3D objects on Europeana

The first items published are 3D models from the Museum of Ukrainian Victory, created by the Pixelated Realities team within international collaborations. These models can already be explored online via Europeana at this link. 

The current selection on Europeana includes outdoor sculptures and heritage sites from Odesa, Kherson, Kharkiv and Sumy regions:

• Statue of Duke de Richelieu in Sand Bags and as an original version
• Lioness and Lion of the Odesa City Garden (sculptor Auguste Caїn)
• Taras Shevchenko monument, Odesa
• Taras Shevchenko Monument in Sand Bags, Kharkiv
• The Polovtsian warrior statues of Izium (Polovtsian babas), Kharkiv region
• The Northern Gate of Kherson fortress, Kherson
• Okhtyrka City Museum of Local Lore, Sumy region

These models are part of a wider collection of more than 30 objects documented for the Museum of Ukrainian Victory initiative in 2022 and early 2023 with the support of conflict reporters, who received training and then carried out emergency photogrammetry scanning in the field before the images were processed into 3D models in Odesa.

Contribution to Europe’s digital heritage

Europeana brings together over 50 million digital objects from around 3,500 cultural institutions across Europe, making cultural heritage openly accessible and preserved for future generations. By contributing high‑quality 3D content, Pixelated Realities helps ensure that stories and objects from Ukraine become an integral part of this shared European digital space.​

Powered by XRculture and 3D-4CH

The publication of these models on Europeana is part of the activities of the XRculture project and the 3D‑4CH consortium, which focus on advancing 3D digitisation and reuse of cultural heritage across Europe. Their technical frameworks and workflows support the aggregation, optimisation, and sharing of complex 3D data for open access platforms like Europeana.​

Future expansions and national aggregation for Ukraine

Starting next year, building on this pilot aggregation, Pixelated Realities PO will add around 40 more of its 3D models to Europeana through the same partnership and workflow. In parallel, an open call will be launched for Ukrainian organisations that already have CH 3D models and wish to share them via Europeana, expanding the visibility of Ukraine’s cultural heritage in European and global digital spaces.

This initiative is also an important step toward the future development of a national Europeana aggregator based on the Register of the Museum Fund of Ukraine, which will serve as the key national hub for connecting Ukrainian museum collections with European digital infrastructures.

Read more on XRculture

More details about this milestone and the broader collaboration are available in the news article on the XRculture website: “The first objects from Pixelated Realities are now available on Europeana — the first steps toward enriching the collections from Ukraine”.

Сообщение The first 3D objects from Pixelated Realities are now available on Europeana  появились сначала на Pixelated Realities.

On September 16, 2025, the 3D-4CH consortium held online meeting to review project progress, discuss ongoing activities, and plan future steps. The meeting brought together partners from multiple organizations to provide updates on each work package and ensure continued collaboration.

Project manager, Marco Medici, opened the session with a timeline that set the tone for the day. Looking back at the past six months, it was encouraging to see how much has been accomplished as a team: from participation at Digital Heritage 2025 in Siena and the Europeana Conference in Warsaw, to the launch of two important surveys, and the successful organization of an online stakeholder panel and advisory board meeting. Another key milestone has been the submission of five deliverables in July, which marks a significant step forward in the project’s journey.

The 3D-4CH consortium continues to advance its mission to enhance 3D technologies in cultural heritage through collaborative research, training, and shared infrastructure, reinforcing its commitment to innovation and sustainable impact across Europe.

Pixelated Realities PO actively participated in the development of the training curriculum and prepared materials for the Good Practices review. In addition to this, the team continues to advance its work across the core areas of the project’s work packages, contributing expertise and resources to ensure progress in 3D cultural heritage digitization, capacity building, and dissemination efforts. The team of Pixelated Realities also joined the development of the State-of-the-Art report on 3D heritage tools and methodologies, which is planned for publication and dissemination, including a Ukrainian language version. 

The project “3D-4CH — Online 3D Competence Centre for Cultural Heritage” is implemented by the public organisation Pixelated Realities, acting as a consortium partner, and is funded by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture and Strategic Communications of Ukraine.

Сообщение 3D-4CH Consortium held a half-year summary meeting появились сначала на Pixelated Realities.

Thanks to the latest Gaussian Splatting visualization, it was possible to digitize a museum jewelry collection that was almost impossible to scan just a few years ago.

In Odesa, with the support of the House of Europe, a six-month project for the digital preservation of a collection of Turkmen jewelry from the 19th and the first half of the 20th century, housed in the O. V. Bleshchunov Museum of Personal Collections, has been completed. The Pixelated Realities team, in partnership with the museum, created an online catalog of 32 unique items of traditional women’s clothing and ritual life: children’s amulets, sewn-on and pendant ritual jewelry, and obligatory everyday charms. Some of them went out of use at the beginning of the last century.

In the process of preparing the catalog, the museum objects were further researched and attributed, and terminology was developed. For each of them, an accompanying annotation in Ukrainian and English was prepared, containing the original name, information about tribal origin, material and technique of execution, as well as the purpose of the charm and its method of use. The achieved results will form the basis for creating a printed version of the catalog of Central Asian jewelry.

The collection covers a wide range of decorative forms and jewelry techniques: from tiny children’s amulets measuring 2 centimeters to mobile wedding decorations over 50 cm long with many pendants and decorative elements. In the traditional Turkmen costume, these items performed not only an aesthetic but also a sacred-protective function, being an important element of tribal rituals.

The items are made of silver, copper alloys, and decorated with carnelian, turquoise, and colored glass. The surface of the vast majority of the items is abundantly covered with engraved and openwork ornaments, and the larger decorations consist of numerous moving elements. Their decorativeness and fine execution technique create a special challenge for digitization—reflections on the metal, transparent inserts, moving pendants, and chains place high technical demands on the scanning process.

Availability and Scientific Significance

As a result, three-dimensional models were created in OBJ, FBX, and Gaussian Splat formats. The Odesa Museum of Private Collections of Bleschunov plans to upload the objects to the Register of the Museum Fund of Ukraine and Europeana, which will ensure accessibility for both researchers and the general public.

For scientific work, this opens up new possibilities: the objects are no longer limited to study only in museum halls but become available online—to students, restorers, and scientists around the world.

The digitization of unique Turkmen heritage enhances international collaboration—as the created 3D models will be used in the XRculture project, which aims to preserve and popularize European cultural heritage. In particular, the lessons learned and findings will form the basis of an XR scenario for endangered cultural heritage. Learn more in Ukrainian on our blog.

This project, among other things, will demonstrate the role of Ukrainian museums in the global trend where cultural heritage is preserved not only in physical but also in digital form, which corresponds to European and world standards of digital transformation of the cultural sector.

The methodology for digitizing shiny and transparent objects developed during this scanning will form the basis of training materials for 3D-4CH — the Online Digital Competence Center for Cultural Heritage. Learn more in Ukrainian on our blog.

The project was carried out with the support of the House of Europe program, which financed 19,000 euros for technical equipment and digitization.

Among the available models

Gulyaka (Turkmen: gülẏaka) 1930-40s. Gulyaka (from Turkmen – flower on the collar) is an everyday decoration for Turkmen women, and from the beginning of the 20th century, for girls as well. By origin, the gulyaka relates to the ancient solar cult. It is a symbol of benevolence and happiness. For centuries, it was a traditional amulet of the western and northern Yomut tribes, and in the first half of the 20th century, it spread throughout Turkmenistan.

Changa (Turkmen: çanga) (late 19th – early 20th century). Changa is a wedding and festive women’s decoration that serves as a clasp for the “chabyt” (çabyt) robe. It is sewn onto wide strips of fabric along with stamped “chapraz” (çapraz) plaques, which ascend to it in rows.

Bilezik (Turkmen: bilezik) (bracelet, 19th — early 20th century). Bilezik (from Turkmen – bracelet) is a traditional everyday amulet-decoration for women of all ages of all Turkmen tribes. The bracelets were always paired, one on each arm. They had from one to eight rows, the largest reaching the elbow and imitating armor bracers. Each pair was custom-made for a specific wrist size.

Gupba (Turkmen: gupba) (late 19th – early 20th century). Gupba (Turkmen: gupba – dome) is the first, most common, decoration of a Turkmen girl, which she wore until her wedding. It was sewn as a finial on the takhya (tahýa) cap. It has the shape of a small dome with a tube for owl, eagle-owl, or falcon feathers, which served as a charm. An empty tube meant that the girl was betrothed.

Appasy (Turkmen: appasy) 1930-40s. Appasy are amulet-decorations in the form of drop-shaped plaques, used on special festive days by representatives of all Turkmen tribes. The plates were sewn onto the traditional keteni (keteni) dress separately from each other according to a special scale-like pattern.

Button from a coin (late 19th – early 20th century). The button is made from an Iranian 50 dinar coin of Naser al-Din Shah Qajar (1831 – 1896), which was minted by Iran and Austria in the period 1876 – 1888.

Tumar (Turkmen: tumar) amulet-pendant, late 19th – early 20th century). Tumar/tumor (from Turkmen – amulet) is a case for storing spells, magical herbs, and enchanted natural materials. With the advent of Islam, a rolled-up piece of paper with sayings from the Quran began to be placed inside. The tumar is one of the first charms of a child, and later it was used regardless of age.

Children’s amulet (late 19th — early 20th century). The amulet was made from a 1 tenga coin of Khorezm, which was minted in 1888 during the reign of Mohammad Rahim-khan II (1864-1910).

View the full catalog.

Сообщение In Odesa, jewelry masterpieces of Turkmen heritage from the 19th and 20th centuries have been digitized появились сначала на Pixelated Realities.

Save the date: 3D-4CH Winter School, 21–23 January 2026

We’re excited to announce the 3D-4CH Winter School, taking place from 21 to 23 January 2026 at the Royal Museum of Art and History in Brussels.

This three-day event is tailored for cultural heritage professionals, from museum teams to digitisation specialists, who want to deepen their knowledge and hands-on experience with 3D technologies.

What to Expect

The Winter School will offer a dynamic mix of:

• Keynotes from leading voices in digital and cultural heritage
  
• Hands-on sessions featuring the latest 3D tools, techniques, and workflows
  
• Collaborative learning designed to foster knowledge exchange and build lasting connections

Organised in cooperation with the Twin it! Part II campaign by the Europeana Foundation and the European Commission, the Winter School is part of the 3D-4CH project’s broader mission: building a European Online Competence Centre for 3D cultural heritage. This initiative aims to support institutions and individuals across Europe in navigating the digital shift with confidence and skill.

Whether you’re just getting started with 3D or are already well along your digitisation journey, the Winter School is your opportunity to explore new tools, share best practices, and shape the future of digital heritage.

Open Call Launching September 2025

In September, we’ll publish the official Open Call with programme details, how to apply, and information on available funding to support participation.

The project “3D-4CH — Online 3D Competence Centre for Cultural Heritage” is implemented by the public organisation Pixelated Realities, acting as a consortium partner, and is funded by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture and Strategic Communications of Ukraine.

Сообщение 3D-4CH Winter School появились сначала на Pixelated Realities.

We’re excited to share some recent updates from the 3D-4CH project that mark a new chapter in our journey to build a pan-European ecosystem for 3D digitisation in the cultural heritage sector. 

As we move into the next phase of the project, the consortium is growing stronger with the addition of new partners and the official inclusion of key institutions as full beneficiaries. These changes not only reflect the collaborative spirit at the heart of 3D-4CH but also broaden our collective expertise and outreach potential. 

ATHENA Joins as a Full Beneficiary 

We’re thrilled to welcome the ATHENA Research Centre as a full beneficiary of 3D-4CH. ATHENA has been closely involved in the project since the beginning through its affiliation with CARARE, and now steps into a more prominent role. 

“As the head of the Clepsydra – Cultural Heritage Digitisation Lab, I’m delighted to see ATHENA officially join as a full beneficiary. We’ve been committed to this initiative from day one, and it’s an honour to now contribute more directly to building a European ecosystem for 3D digitisation in cultural heritage.”  — Dr. Anestis Koutsoudis, ATHENA Research Centre 

With decades of experience in terrestrial and aerial 3D digitisation, interdisciplinary research, and public education, ATHENA will play a key role in shaping the Competence Centre’s training services and technical infrastructure. 

KMKG Steps Into a New Role 

We’re equally pleased to announce that the Royal Museums of Art and History (KMKG) in Brussels has also joined the project as a full beneficiary. KMKG brings deep expertise in collection management, curation, and public engagement—skills that are essential to ensuring 3D-4CH outcomes are grounded in real institutional needs and serve diverse audiences. 

We’re currently working with KMKG to plan a workshop at their institution in early 2026, which will be a great opportunity to showcase the Competence Centre and connect with the wider cultural heritage community. 

A Warm Welcome to Universidad de Jaén 

The newest member of the 3D-4CH consortium is the Universidad de Jaén. Their participation brings invaluable expertise in archaeology, education, and inclusive access to heritage. 

“3D-4CH offers a strategic opportunity to deepen our work in archaeological research and education. We’re particularly excited about creating immersive content that introduces students and professionals to digital tools for heritage interpretation—and about ensuring the Competence Centre develops a truly inclusive dimension.”  — Universidad de Jaén.

The university’s work on inclusive 3D activities, such as multi-sensory models for users with visual impairments, is an inspiring reminder of how digital heritage can—and should—be accessible to all. 

These consortium updates mark an important milestone in the evolution of the 3D-4CH project. With these new partners and expanded roles, we are better equipped than ever to build a robust and inclusive 3D Online Competence Centre that responds to the real needs of the cultural heritage sector. 

We look forward to sharing more news and partner highlights in the weeks ahead. For now, a warm welcome to ATHENA, KMKG, and Universidad de Jaén—your expertise and passion are vital to our shared mission. 

The project “3D-4CH — Online 3D Competence Centre for Cultural Heritage” is implemented by the public organisation Pixelated Realities, acting as a consortium partner, and is funded by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture and Strategic Communications of Ukraine.

Сообщение Expanding Our Horizons: Welcoming New Members to the 3D-4CH Consortium  появились сначала на Pixelated Realities.

The 3D-4CH project is conducting a survey of formal and non-formal educational programmes, courses and trainings on 3D technologies for cultural heritage, including those developed over the past 5 years.

The research team is interested in the following data:

• online and face-to-face training, workshops;
• educational materials (especially open or openly licensed);
• curricula used to create courses;
• organisations and institutions that teach 3D for cultural heritage needs.

The results of the survey will help to:

• outline the current state of training;
• identify examples of successful practices;
• identify gaps and training needs;
• develop an online competence centre, new modules and practical trainings as part of the 3D-4CH initiative.

 The questionnaire will take 10-15 minutes to complete.

Deadline: 21 May 2025.

 Questionnaire: https://forms.gle/5gVbS9iBV4E8mi5y7

 Please share the information with interested colleagues and institutions.

Сообщение Survey: 3D-4CH surveys the state of the art of 3D learning in cultural heritage появились сначала на Pixelated Realities.

The 3D-4CH Online Competence Centre in 3D for Cultural Heritage project, co-funded by the European Union, is set to revolutionize the preservation, digitization, and accessibility of cultural heritage through advanced 3D technologies, artificial intelligence (Al), and extended reality (R). Over the next three years, this initiative will establish a fully online Competence Centre for 3D Cultural Heritage, enabling institutions, researchers, and the public to explore and protect Europe’s rich and diverse heritage like never before.

Funded under the Digital Europe Programme, 3D-4CH directly aligns with key objectives such as enhancing digital skills, strengthening data infrastructures, and accelerating the digital transformation of cultural heritage institutions (CH|s). The project will empower CHIs by providing training, tools, and a collaborative platform, ensuring that cultural treasures are safeguarded, studied, and made accessible for future generations.

Fulgencio Sanmartín, 3D-4CH Project Officer, underscores the vital role of the Digital Europe Programme in advancing 3D upskilling: “The reconstruction and reopening of Notre Dame have shown that 3D technology is not only beneficial but essential. We must systematically safeguard all cultural heritage at risk by digitizing it in 3D – making the process more efficient, accessible, and widely adopted.”

A Vision of Excellence

The 3D-4CH Competence Centre will address critical challenges in cultural heritage digitization through four core pillars:

1.   Training and Capacity Building – Offering interactive online courses, in-person workshops, and seasonal schools, the centre will equip cultural professionals with cutting-edge skills and certifications in 3D digitization and Al applications. Training materials will be made available in six different languages, including Ukrainian, ensuring broad accessibility.
2.   Advanced Tools and Services – Providing access to state-of-the-art technologies, best practices, and digital tools, the centre will support CHIs in preserving and managing digital heritage assets.
3.   3D Deployment and Innovation – Developing high-quality 3D cultural assets, enhancing existing datasets, and ensuring metadata and sustainable archiving standards are upheld.
4.   Research and Development – Driving technological progress through collaborations with leading European and Ukrainian researchers to explore innovative solutions in
   3D documentation, Al-enhanced analysis, and immersive storytelling.

Spearheading Digital Transformation in Cultural Heritage Building on the foundations of influential EU-funded projects and leveraging European research infrastructures such as the Common European Data Space for Cultural Heritage, E-RIHS (European Research Infrastructure for Heritage Science) and partnerships with leading cultural institutions, the Competence Centre will foster a unified approach to 3D heritage management. Furthermore, a special focus will be placed on supporting Ukraine’s cultural heritage, ensuring the integration of Ukrainian digital assets into the European data space.

“With 3D-4CH, we are establishing a comprehensive Competence Centre that will make high-quality 3D digitization accessible to cultural institutions across Europe. This initiative not only provides training and tools but also builds a sustainable framework for preserving our shared heritage. Bringing innovative 3D technologies, integrated with Artificial Intelligence and eXtended Reality, closer to people, we are ensuring that cultural heritage remains available for study, storytelling, and engagement now and in the future.”

A Sustainable and Inclusive Future

To guarantee long-term impact, the project will establish a Stakeholder Panel and an Advisory Board, comprising experts, CHI representatives, and policy makers. The Competence Centre will also implement a long-term sustainability plan, ensuring open access to resources for at least five years post-project completion.

Kickoff Meeting in Trento (IT): Aligning 3D-4CH with Key European Initiatives

The 3D-4CH project is set to launch with a Kickoff Meeting in Trento (IT) from 18-20

February 2025, bringing together a diverse group of consortium partners, experts, and key stakeholders. This gathering marks not only the beginning of our collaborative efforts but also a significant opportunity to connect and align with crucial European initiatives, including the Common Data Space and the European Collaborative Cloud for Cultural Heritage.

A highlight of the event will be the public session on 19th February, featuring keynote speeches and a roundtable discussion on the future of 3D cultural heritage preservation. This session will serve as a platform to explore synergies between competence centers, cutting-edge research, and ongoing European strategies that shape the digital transformation of cultural heritage.

Speakers for the public session:

•   Geert Verhoeven (Dept. of Prehistoric & Historical Archaeology, University of Vienna)
•   “Mind the Gap”
•   Antonella Guidazzoli (Head of Visit Lab, HPC Supercomputing Division, CINECA) –
  “The Isabella d’Este Virtual Studiolo”

Roundtable discussion: “The Role of Competence Centres in the Cultural Heritage Community” featuring:

•   Geert Verhoeven (University of Vienna)
•   Antonella Guidazzoli (CINECA)
•   Andreas Georgopoulos (NTUA & ICOMOS International Board Member)

Roundtable discussion: “Synergies with CH initiatives” featuring:

•   Harry Verwayen (EUROPEANA General Director)
•   Xavier Rodier (CNRS, ECHOES project coordinator)
•   Roberto Di Giulio (INCEPTION, 4CH Scientific Coordinator)
•   Members of the 3D-4CH Advisory Board

This Kickoff Meeting will not only set the foundation for 3D-4CH but also strengthen its integration within the broader European cultural heritage ecosystem. By fostering collaboration with initiatives like the Common Data Space and the European Collaborative Cloud for Cultural Heritage, the 3D-4CH consortium ensures that the project contributes to a larger, cohesive vision for the future of digital heritage preservation in Europe. The 3D-4CH project is more than a technological advancement – it is a step towards making Europe’s cultural heritage more accessible, interactive, and safeguarded for the future.

About 3D-4CH

The 3D-4CH project (Online Competence Centre in 3D for Cultural Heritage) is an initiative co-funded by the European Union designed to enhance the digital preservation and accessibility of cultural heritage through 3D digitization, Al, and XR technologies. Running from February 2025 to January 2028, the project brings together 20+ partners from across Europe and Ukraine to establish a world-leading online Competence Centre for 3D heritage.

Project Partners 

1. INCEPTION (Coordinator) (IT) 

2. Università degli Studi di Ferrara (IT) 

3. EUROPEANA Foundation (NL) 

4. Fondazione Bruno Kessler (IT) 

5. Connecting Archaeology and Architecture in Europe – CARARE (IR) 

6. Time Machine Organisation (AT) 

7. IN2 Digital Innovations GmbH – IN2 (DE) 

8. The Discovery Programme Centre for Archaeology and Innovation Ireland – DISC (IR) 

9. ARCTUR (SI) 

10. RDF Ltd. (BG)

11. Pixelated Realities (UA) 

12. Consiglio Nazionale delle Ricerche – CNR-ISPC (IT) 

13. The Cyprus Institute (CY) 

14. Centre Nationale de la Recherche Scientifique – CNRS-MAP (FR) 

15. Poznan Supercomputing and Networking Center – PSNC (PL) 

16. University of Calabria / 3Dresearch (IT) 

17. European Fashion Heritage Association (IT) 

18. Talent Anonymos Etaira Pliroforikis – TALENT (GR) 

19. Netherlands Institute for Sound and Vision (NL) 

20. Michael Culture Association (BE) 

Aliated and Associated Partners 

1. Europeana Network Association (NL) 

2. Athena Research Center (GR) 

3. NGO Volyn Foundation (UA) 

4. KMKG – Royal Museums of Art and History (BE) 

5. Instituto Nazionale di Fisica Nucleare (IT) 

6. Fondazione PIN – Polo Universitario Città di Prato (IT) 

7. Highbury Research & Development Ltd. (IE) 

8. Dipartimento della Protezione Civile (IT)

Сообщение Transforming Cultural Heritage: The 3D-4CHProject Unveils Europe’s Online CompetenceCentre in 3D появились сначала на Pixelated Realities.