The partnership between Pixelated Realities PO and TALENT ANONYMOS ETAIRIA PLIROFORIKIS S.A (Talent S.A.) grew within the framework of the 3D-4CH project, where Repox.io data management platform serves as a core infrastructure component for managing, organising, and publishing complex digital collections.

Pixelated Realities PO and Talent S.A. began working together through the 3D-4CH Competence Centre project, co-funded by the EU Commission as part of the Digital Europe programme, which brings together digitisation specialists, cultural heritage institutions, and technology providers to establish best practices and a shared learning platform for 3D competencies in the European heritage sector.

A new initiative between the organisations has been launched to populate a Repox database with information on 85 Cossack crosses in Odesa. Building on previous collaborative efforts, Pixelated Realities PO, in partnership with Repox.io, has started implementing the international project “Cross‑sectoral Platform for Research of Cossack Crosses of Odesa” with the support of the Ukrainian Cultural Foundation. The results and feedback from this collaboration will be used for updating features of the platform and preparing it for future use by Ukrainian organisations.

Why this partnership matters

The collaboration between Pixelated Realities PO and Repox.io is not simply a story of adopting a new technology platform. It takes place in a context that gives the technical work particular urgency and significance.

Ukrainian cultural heritage institutions operate under conditions that many European partners have never had to confront: the physical vulnerability of collections, the urgency of documentation where physical survival cannot be guaranteed, and the importance of establishing a presence in trusted European databases that ensure long-term visibility and international recognition.

Repox Store provides infrastructure that is flexible enough to reflect the specificity of Ukrainian heritage objects and institutional practice, rigorous enough to meet the standards required for Europeana publication, and interoperable enough to connect local collections with global audiences.

Pixelated Realities contributes field expertise, curatorial precision, and a strong understanding of what must be preserved and why.

What is Repox and how can it help manage heritage data?

Repox is a modern headless content management platform designed for integration, scalability, and collaboration. Built with a flexible architecture, it enables institutions, especially in the public and cultural heritage sectors, to organise, store, retrieve, and preserve digital assets efficiently.

This is not a generic cloud storage solution. Repox Store was designed specifically to address the challenges institutions such as Pixelated Realities face in daily work: the heterogeneity of digital assets produced through digitisation projects, the need to preserve rich metadata alongside large binary files, and the requirement to publish content in formats compatible with European aggregation pipelines and open data standards.

The platform currently serves more than 15 institutions, manages over 500,000 cultural heritage objects, and hosts more than 3000 three-dimensional models, demonstrating both its scalability and its practical adoption within the professional heritage community.

What Repox Store Does

A holistic information ecosystem

The core philosophy behind Repox Store is simple: a cultural heritage object is never just one file. In 3D digitisation projects, a single artefact, whether a carved stone cross or a porcelain cup, is represented by a bundle of interconnected data types:

• Descriptive metadata: titles, descriptions, subject classifications, geographic and temporal context, provenance information.
• Raw capture data: high-volume media files produced during scanning, including photogrammetry images, point clouds, and structured-light scan outputs.
• Processed 3D outputs: final models in different formats and levels of detail.
• Textual documentation: processing reports, methodology notes, and condition assessments.
• Supporting media: reference photographs, video documentation, and audio commentary.

Treating the 3D model alone as the object is not enough. Repox Store brings all of these components together within a single structured content record that is searchable, traceable, and ready for publication.

Flexibility without compromise

What distinguishes Repox Store from generic digital asset management systems is its commitment to institutional flexibility. The platform does not impose a predefined data model or assume that collections must be organised in one standard way. Instead, it provides a schema builder that allows institutions to define their own content types and metadata fields.

This includes a broad range of property types suited to practical collection management:

• Text / Text Area for titles, descriptions, and notes.
• Number for IDs, quantities, and ratings.
• Date for creation dates and event dates.
• Boolean for yes/no flags.
• Enumeration for categories, colours, and condition states.
• URL for links to external resources.
• Spatial for geographic coordinates.
• Rich Text for formatted descriptions with embedded media.
• Reference for links between content records.
• Vocabulary for controlled terms such as AAT, Getty, or custom lists.
• Identifier for auto-incremented or literal identifiers.

Controlled vocabularies support consistency across records. Quality profiles help track and improve metadata completeness over time. Mapping schemas and crosswalks make it possible to transform institutional data into standardised formats for external publication. In short, institutional practice defines the structure, not the system.

Ingest and organisation at scale

For institutions managing large digitisation campaigns, workflow matters as much as architecture. Repox Store supports bulk import of both files and metadata, allowing entire collections to be ingested efficiently.

The platform supports major 3D file formats, including .glb, .gltf, .fbx, .obj, .stl, .dae, and .ply, as well as materials and texture files such as .mtl, .png, and .jpeg, alongside Gaussian Splatting outputs.

Once ingested, content becomes searchable through an advanced filter interface that supports queries by metadata schema, content type, and specific property values. For example, a query for all 3D models created through photogrammetry can return exactly that, provided the relevant metadata has been entered during ingestion.

Version control and audit trails record every modification to a content record, including what changed, who made the change, and when. Analytics provide an overview of collection growth and metadata completeness over time, which is especially useful for monitoring project progress and preparing grant reports.

The built-in 3D viewer

One of Repox Store’s most valuable features for digitisation-focused teams is its embedded 3D viewer (i.e. Repox 3D Viewer). Instead of exporting files to a separate application for review, team members can preview, inspect, and document 3D content directly within the platform.

The viewer includes:

• Interactive exploration through rotate, zoom, pan, and auto-rotate.
• Visualisation with materials and textures.
• Gaussian Splatting rendering.
• Configurable scenes with lighting presets, wireframe mode, and visual effects.
• A measurement tool for calculating distances within the model.
• Screenshot capture for documentation and reporting.

For teams working across multiple digitisation projects, the ability to review a model and annotate it with metadata in one interface, instead of switching between a 3D viewer, spreadsheets, and databases, significantly reduces workflow friction.

Technical foundation

For institutions making long-term infrastructure decisions, Repox Store’s technical architecture is a major strength. The platform is built on a modern open stack:

• Backend: Spring Boot (Java), headless architecture with a REST API.
• Database: PostgreSQL for structured data.
• Object storage: an S3-compatible layer that works with MinIO, AWS S3, Google Cloud Platform, and other providers.
• Search and indexing: OpenSearch.
• Async workflows: RabbitMQ.
• Web client: React-based.

Access control is granular and covers users, groups, and individual objects through IAM permissions and Access Control Lists (ACLs). Because the system follows an API-first approach, custom applications, integrations, and extensions can be built without architectural constraints.

Deployment is available in two models: SaaS, for cloud-hosted access by subscription, or on-premise, for local installation and full institutional control over data. The Repox team also provides personalised support, online documentation, and hands-on guidance for data modelling, migration, and curation, as well as custom development when needed.

Looking ahead, the platform’s AI layer, already in development, introduces a conversational search interface for querying collections in natural language, alongside AI-assisted metadata enrichment and document graph visualisation for exploring relationships within large collections.

From Repox to Europeana

Managing and preserving content is only part of the task. For the work of Pixelated Realities to reach researchers, educators, and the public, it must also be discoverable through European and international heritage platforms.

This is where Repox Store connects to the broader publication ecosystem. Through its integration with the Share3D Dashboard 2.0, developed in collaboration with CARARE within the 3D-4CH project, content managed in Repox can be ingested, metadata-enriched, and published directly to Europeana and the Common European Data Space for Cultural Heritage.

Repox Store functions as a recognised source platform within Share3D 2.0. This means that collections documented and curated in Repox can move smoothly into the European aggregation pipeline.

The results are already publicly visible. In Europeana’s database, under the providing institution Pixelated Realities PO, records from the organisation are now accessible to the public. Each record includes the contextual information required for meaningful discoverability: provenance, subject classifications using AAT terms, copyright statements, language metadata, and links to the 3D model itself.

These are not placeholder entries. They are complete, standards-aligned contributions to Europe’s largest cultural heritage database, produced in Ukraine, documented with precision, and made available internationally.

The international project “Cross-sectoral Platform for Research on Cossack Crosses of Odesa” is implemented by Pixelated Realities PO in partnership with TALENT ANONYMOS ETAIRIA PLIROFORIKIS S.A with the support of the Ukrainian Cultural Foundation.

Сообщение Pixelated Realities PO × Repox.io team: Building Scalable Infrastructure for 3D Cultural Heritage Management and European Access появились сначала на Pixelated Realities.

Culture is a component of national security: its destruction, theft, or distortion undermines a state’s resilience just as attacks on infrastructure do. That is why, in wartime conditions, Ukraine needs sustainable scenarios for applying innovative technologies to preserve, document, evacuate, and provide digital access to heritage from 3D scanning and AR tools to the integration of data into national and European registries. When the enemy seeks to destroy Ukrainian culture, museum professionals from areas of active hostilities evacuate priceless artefacts to safe storage. Thus, in wartime, Ukraine is becoming a testing ground for different approaches and practices in real time a country that offers the world practical experience in preserving heritage during a crisis.

In response to one of the sector’s greatest challenges — the evacuation of movable cultural heritage objects, we, the Odesa-based non-governmental organisation Pixelated Realities, tested new scenarios for protecting endangered heritage within the XRculture consortium. Our team represented Ukraine in this European project on the digitisation of cultural heritage through cutting-edge methods, three-dimensional modelling, and extended reality, with the Ministry of Culture officially acting as the project beneficiary in Ukraine.

The activities of Pixelated Realities within this project were carried out in coordination with Anastasiia Bondar, Deputy Minister of Culture of Ukraine for Digital Development, Digital Transformations, and Digitalisation, and Oleksandr Lashko, Director of the Department of Innovation and Digital Transformations of the Ministry of Culture of Ukraine.

The XR scenario for endangered heritage included a set of recommendations and technological developments: an MVP (minimum viable product) of a mobile AR application for scanning museum objects in emergency conditions; the development of methods for digitising collections with complex surfaces in Ukrainian and European museums; and the integration of 3D models of cultural heritage objects into the Register of the Museum Fund of Ukraine (RMFU) and the Europeana platform.

What Is XRculture and Why Does It Matter for Ukraine

The XRculture project — eXplore & Reuse 3D Cultural Heritage within the Data Space — is funded by the European Commission under the Digital Europe Programme and runs from February 2025 to July 2026. Its main goal is to enrich the shared European Data Space for Cultural Heritage (DSCH) with the highest-quality three-dimensional models, applying advanced digitisation methods based on neural networks and XR applications.

The XRculture consortium brings together ten partners from seven European countries: INCEPTION (Italy, coordinator), Fondazione Bruno Kessler – FBK (Italy), Stichting Europeana (Netherlands), IN2 Digital Innovations GmbH (Germany), Arctur (Slovenia), RDF OOD (Bulgaria), Pixelated Realities PO (Ukraine), Università Politecnica delle Marche – UNIVPM (Italy), Ministero della Cultura (Italy), and Talent S.A. (Greece).

The Ukrainian organisation worked in close cooperation with leading European institutions possessing deep expertise in 3D digitisation, artificial intelligence, XR technologies, and digital cultural heritage platforms. This matters not only in terms of receiving support, but above all from the perspective of integration into European research networks: joint development of solutions, real-world testing, and the exchange of experience make it possible to create projects that yield a genuine technological product — such as the presented mobile application for scanning heritage under emergency conditions, developed within the XR for Heritage at Risk scenario on the initiative of Pixelated Realities.

XR Scenario for Heritage at Risk

The scenario was developed under the leadership of  Pixelated Realities PO, with the participation of partners IN2, ARCTUR, FBK, and UNIVPM. Its aim is to provide Ukrainian and European museum professionals, volunteers, and emergency responders with a practical tool that enables them to act quickly and confidently wherever cultural heritage comes under direct threat, whether in conflict zones (as in Ukraine during the war) or in regions exposed to natural and technological risks.

The team studied evacuation procedures aligned with the recommendations of ICCROM, Blue Shield, and new policies of the Ministry of Culture in order to define time windows for digitisation: preventively, prior to evacuation once a threat has been identified, as well as during conservation or inspection of an object in storage.

The XR scenario focuses on designing a set of technologies that, in specific conditions, configure the digitisation process more efficiently than existing methods and make it possible to capture the appearance of endangered collections and disseminate information about them within professional communities in Ukraine and across the EU.

Technological Stack of the XR Scenario

The set of technologies developed by the consortium includes:

• An AR application built on open‑source technologies that can operate offline.
• A 3D reconstruction tool that can be deployed on a server.
• A middleware protocol that enables the development of 3D viewers compatible with the Europeana data space.
• An aggregation pipeline from the Zenodo cloud repository to the data space, extracting metadata from prepared XML files and automatically adding paradata for 3D models and splats (3DGS).
• The publication of objects with 3D models and 3DGS in the public interfaces of the Register of the Museum Fund of Ukraine (RMFU) and Europeana.

Who the Tool Is For

The AR application is designed for staff of museums and institutions working with movable heritage, conservation and restoration specialists, emergency services, and volunteer organisations involved in protecting heritage during shelling, floods, or fires.

A particular emphasis is placed on small and regional museums with limited resources, for whom the tool must be easy to deploy, intuitive for non‑specialists in 3D, and more effective than paper‑based methods, which provide neither rapid response nor a full‑fledged digital copy. In frontline conditions, digital recording becomes the only realistic way to capture the state and context of objects before evacuation or conservation.

Digital inventorying of each object creates an additional layer of protection in cases of theft or illegal export: 3D models, metadata, and photo‑video documentation can be used for identification, international search, and legal proof of ownership. In this way, digital recording simultaneously serves conservation, legal protection, and diplomatic argumentation for the return of heritage.

121 Ukrainian Objects on Europeana and Splats on the RMFU

As part of XRculture, Pixelated Realities digitised and contributed to the digitisation of 62 movable cultural heritage objects from Ukraine and aggregated a total of 198 models, 121 of them from Ukraine, onto Europeana, the pan-European data space for cultural heritage.

Endangered Immovable Heritage

The first publication took place in November 2025 and marked a historic moment: three-dimensional models from the Museum of Ukrainian Victory, the Kuialnyk Catalogue, and the Odesa Municipal Museum of Personal Collections named after Bleschunov appeared on Europeana as the first 3D objects from Ukraine. In particular, the online collection included:

• The statue of the Duke de Richelieu wrapped in sandbags (Odesa)

• The Lioness of the Odesa City Garden (sculptor Auguste Caen)

• The monument to Taras Shevchenko in Odesa and its sandbagged counterpart in Kharkiv

• The Polovtsian warrior statues (Polovtsian babas), Kharkiv region

• The Northern Gate of Kherson fortress

• The Okhtyrka Museum of Local Lore, Sumy region

These models were created by the Pixelated Realities team in 2022–2023 with the support of war correspondents, who underwent specialised training and carried out photogrammetric scanning directly in the field, after which the materials were processed in Odesa.

3D Gaussian Splatting in the Register of the Museum Fund of Ukraine

The Portal of the Register of the Museum Fund of Ukraine was created by the Ministry of Culture of Ukraine as a national hub for museums, which, once the National Europeana Aggregator is established, will connect Ukrainian collections with the pan-European data space for cultural heritage. It contributes not only to the digital transformation of the sector, but also to Ukraine’s recovery after victory.

On the Portal of the Museum Fund of Ukraine, 3D models of objects created by the NGO Pixelated Realities using the 3DGS method on the basis of photogrammetric shooting are already preserved. These are digital copies that have already been integrated into the state system for recording cultural heritage and serve as a demonstration of how modern 3D reconstruction algorithms using neural networks work with surfaces that are difficult to digitise—metal, glass, fine relief, and decorative inlays. Such objects include, in particular, exhibits from the Odesa Municipal Museum of Personal Collections named after O. V. Bleschunov:

• “Gulyaka” (Turkmen chest ornament, copper alloy and coloured glass, with a complex multi-layered surface texture)

• “Yenselik” (traditional jewellery with a delicate metal framework and numerous small inlays)

• “Shelpe” (a pendant with a multi-component structure combining metal and glass elements)

• “Tumar” (an amulet-container with pronounced relief decor, mixed materials, and complex transitions of form)

• “Dagdan” (a massive element of a traditional ornament combining metal plates and various inlays).

For these objects, the 3DGS rendering method is applied after photogrammetry as a way to obtain a maximally photorealistic 3D reconstruction.

In the classical photogrammetric reconstruction method, the model is generated from depth maps of pre-aligned stereo pairs (SfM/MVS), and for shiny or transparent objects this creates conditions that are impossible for the meshing algorithm. Shiny, metallic, and transparent surfaces are therefore called non-collaborative, and their effective scanning typically requires matting sprays and chemical compounds. However, not all museum objects can be coated with such sprays, and a matted surface does not convey the internal properties of transparent and translucent materials during scanning.

3D Gaussian Splatting is based on the first stage of photogrammetry, Structure from Motion, which uses a sparse point cloud obtained after triangulation and a camera pose matrix in space. These provide the neural network with the information it needs to train, from photographs, a 3D representation composed of small coloured ellipsoids—splats—and to enable the scanning of non-collaborative surfaces without the use of sprays or chemical agents.

For icons scanned using 3DGS, high-quality textured 3D models are also created, including:

• The icon “Dormition of the Mother of God” – first half of the 19th century, executed in the tradition of Lipovan painting of the Lower Danube region (Odesa oblast, Ukraine), with characteristic saturated colours and a strong focus on the centre of the composition.

• The icon “Saint Nicholas ‘Reversing Misfortune’” – late 19th century, executed in the tradition of Lipovan painting of the Lower Danube region (Odesa oblast, Ukraine), with characteristically layered paint, a darkened oil ground, and complex surface texture.

• The icon “Mother of God of Okhtyrka” – late 18th – early 19th century, patron of the Sumy Hussar Regiment, Ukrainian variant, Ukraine (Sumy oblast), with finely rendered facial features and clothing and pronounced craquelure.

For icons, 3D models are important not only from the perspective of visualisation, but also for restoration and protection: the digital layer makes it possible to document the condition of the painting, cracks, paint losses, and deformations of the support, and to use these data as a digital “point of departure” for subsequent interventions.

Scanning Glass at the Verona Archaeological Museum

Within the XRculture project, Pixelated Realities PO acts not only as the Ukrainian partner of the consortium, but also as the team that takes on the most challenging 3D digitisation cases. Their work is simultaneously aimed at preserving Ukrainian heritage and expanding the ability of all museums to work with “unfriendly” materials: glass, metal, composite surfaces, icons, and objects with high optical complexity.

The team succeeded in scanning transparent glass. At the end of March 2026, they carried out 3D digitisation of a collection of Roman glass at the Museo Archeologico Nazionale di Verona (Italy). The campaign was led by Fedir Boitsov. Seventy‑seven unique artefacts from the 1st–3rd centuries AD were captured: balsamaria, amphorae, tumblers, plates, bottles, jugs, lids — thin‑walled, transparent, with relief and pressed decoration, in shades ranging from bluish to yellowish.

To overcome the challenges of scanning non‑collaborative surfaces and transparent objects, the team developed a customised mobile rig:

— a turntable and camera tripod;

• Continuous video lighting that evenly illuminates the glass and minimises stray reflections in the photographic material

• An automatic turntable with ultra‑clear plexiglass, which allows the object not to be turned over in order to capture its underside – crucial for fragile artefacts

• A tall vertical rail on a 2‑metre stand with a cord‑and‑counterweight system for smooth, repeatable vertical passes of the camera

In combination with photogrammetry and 3D Gaussian Splatting, this rig made it possible to obtain detailed digital models even of the smallest glass objects, which will be presented on Europeana as an example of how non‑collaborative surfaces can be successfully digitised.

Glass and Icons at the Bleschunov Museum

In Odesa, the team digitised a collection of icons and glass objects from the Odesa Municipal Museum of Personal Collections named after O. V. Bleschunov. They created 3D models of 10 icons and 20 glass artefacts selected specifically because of the complex properties of their surfaces: transparency, gloss, and the combination of different materials.

For these objects, in addition to photogrammetry and 3D Gaussian Splatting, the team developed a new semi‑automated point‑cloud cleaning method based on Houdini, which reduces post‑processing to approximately 10 minutes per object – a critically important figure where time and resources are limited.

From a technological standpoint, this means:

• The ability to systematically digitise transparent and shiny objects (glass vessels, jewellery, metal details) and make them accessible to researchers and the wider public

• The capacity to create meshes for the most valuable exhibits, which can subsequently be used for 3D printing and milling – for inclusive displays (tactile replicas for work with children, blind and visually impaired visitors), as well as for restoration processes.

What This Means for Ukraine

The results of the XRculture project directly strengthen state cultural policy and take into account the strategic interests of the Ministry of Culture of Ukraine.

First, the integration of Ukrainian 3D models into Europeana and the synchronisation of these data with objects in the Register of the Museum Fund of Ukraine make Ukrainian heritage visible and protected at a level that is financially and technologically difficult to achieve using only national resources.

For Ukraine, this is a tool for:

• Proving ownership of objects that may be stolen, removed, or subjected to dubious restitution schemes

• Legal and diplomatic argumentation in international proceedings (as in the case of the Scythian gold, where a single state register and digital records become evidence of the exhibits’ belonging to Ukraine).

Second, Ukraine’s participation through XRculture in creating the first Ukrainian 3D models on Europeana is both a symbolic and a practical gesture, showing that Ukrainian culture is an integral part of the shared European cultural space. These are not merely “digital files”, but:

• A signal to EU partners that Ukrainian institutions are capable of working to the highest technical standards

• An argument in favour of further investment in the digital infrastructure of culture and of Ukraine’s accession to long‑term European initiatives in the field of 3D digitisation.

Third, the development of the XR scenario Heritage at Risk means:

• The existence of a piloted, proven technological scenario (3D Gaussian Splatting, mobile digitisation rigs, offline application) that can be scaled up in cooperation with museums across the country

• The ability to build national digital policy in the heritage sector in synchrony with already recognised international standards, platforms, and IT development protocols

• A stronger position for Ukraine in European discussions on heritage protection under conditions of war, climate change, and crises – with the argument: “we are not only asking for help; we are sharing solutions that work.”

In summary, international projects are not only grants as a source of funding, but also access to cutting‑edge technologies and expert communities; the opportunity to test one’s solutions on real cases – from museums in frontline cities to major European institutions; and a chance to secure Ukraine’s presence in the shared digital space.

Сообщение Digital Shield for Heritage: A Case Study in Developing an XR Scenario for Emergency Situations появились сначала на Pixelated Realities.

On 30 June 2026 in Odesa, at the Odesa Municipal Museum Of Personal Collections Named after O. V. Bleschunov, Pixelated Realities PO held the final XRculture event in Ukraine, dedicated to the digitisation of cultural heritage, open data, and XR solutions for museums as well as cultural and research institutions. The hybrid-format event brought together museum professionals, researchers, cultural project managers, and everyone working with the preservation, presentation, and digital accessibility of heritage.

The event was opened by Iana Boitsova, Head of the Pixelated Realities PO, who presented the results and achievements of the XRculture project. She explained that members of the XRculture consortium have been working on applying AI-based approaches to create and enhance high-quality 3D models, developing XR scenarios for heritage preservation, and designing solutions for 3D visualisation.

During the meeting in Odesa, these developments were considered in the context of Ukraine’s specific challenges – from the need for rapid digital recording of heritage objects to creating new access scenarios for evacuated and conserved museum collections.

“The collection of the Odesa Municipal Museum Of Personal Collections Named after O. V. Bleschunov is not accessible to visitors in the museum’s exhibition during the war. As early as July 2026, 112 3D models will be aggregated to Europeana and added to the Register of the Museum Fund of Ukraine thanks to the support of the XRculture project,” said Iana Boitsova. “These are objects described with meta- and paradata, endangered Ukrainian heritage that will become a bridge between these two databases. The creation of a national Europeana aggregator based on the Museum Fund Register, which we expect from the Ministry of Culture of Ukraine, will open up a flow of opportunities for our museums and expand access to heritage for Ukrainians.”

A separate discussion block focused on 3D scanning of complex movable heritage objects, particularly items with shiny, transparent, or materially heterogeneous surfaces. These categories often pose the greatest challenges for high-quality digital recording, while at the same time being extremely important for museum collections.

Participants had the opportunity to see how new approaches to photogrammetry and AI-driven data processing open up new possibilities for more accurate digital representation of such objects.

Henk Alkemade from CARARE addressed the participants with a welcome speech. He presented the work carried out within the XRculture project and emphasised the importance of partnerships between Ukrainian and European institutions, the development of open approaches to working with cultural data, and the broader inclusion of Ukrainian heritage in Europe’s shared digital environment.

The main presentation was delivered by Yuliia Frolova, an architect, architecture researcher, and educational projects manager at the non-profit organisation Pixelated Realities.

She presented the opportunities that Europeana offers for Ukrainian heritage and explained how digital collections, open description standards, and inter-institutional cooperation can enhance the visibility of Ukrainian cultural materials at the European level.  Particular attention was paid to the practical aspects of integrating digital objects into an international context and to the role of open data in contemporary museum practice.

During the discussion, participants also addressed the openness of museum data and the readiness of institutions to cooperate with European platforms.  They considered whether museums should open up data about their collections, what advantages this provides for researchers, educational initiatives, and international partnerships, and which barriers most often arise at the initial stages of digitisation.  The participants noted that data openness can become not only a tool for increasing visibility but also an important part of the European integration process in the cultural sphere.

The event concluded with remarks by Olena Iliasova, Acting Director of the Odesa Municipal Museum Of Personal Collections Named after O. V. Bleschunov.  She spoke about the museum’s collections, shared the institution’s experience in digital preservation, and outlined how the museum secures support for scanning its collections and developing contemporary formats for working with heritage.  Her contribution added an important practical dimension to the conversation, demonstrating how strategic approaches to digitisation are implemented at the level of a specific museum institution.

Such events encourage professionals to grow, deepen their competences in digital transformation, and advance their skills in working with open data.  They provide new knowledge, practical tools, and ideas for further work with collections, while also creating opportunities to build partnerships and joint projects between Ukrainian and international institutions, particularly in the context of XRculture and broader European initiatives in the field of digital heritage.

Pixelated Realities PO is a consortium partner in XRculture, a project co‑funded by the European Commission under the Digital Europe Programme in Ukraine. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение Digital Heritage Digitisation and XR Solutions for Museums: event at the Odesa Municipal Museum Of Personal Collections Named after O. V. Bleschunov появились сначала на Pixelated Realities.

The first ARTEMIS Summer School 2026, an intensive programme dedicated to Reactive Heritage Digital Twins (RHDT) and their application in cultural heritage preservation has concluded in Hof (Germany). Over the course of several days, participants from various countries worked at Hof University of Applied Sciences on practical case studies, explored tools for digital and reactive twins, and engaged with risk‑modelling techniques and approaches for monitoring the condition of heritage assets.

The programme combined lectures by European researchers, workshops and networking sessions, focusing on how digital twins can assist with the conservation, restoration and management of cultural heritage — from individual artefacts to historic buildings and landscapes. The summer school formed part of the wider ARTEMIS project, which is developing digital tools to protect cultural heritage with EU support under the Horizon Europe programme.

In the lead-up to the ARTEMIS Summer School 2026, the ARTEMIS Second Interim Meeting took place, in which the Pixelated Realities PO was represented by its Head, Iana Boitsova, and educational projects coordinator Yulia Frolova, who presented Ukraine’s experience of digitally documenting heritage in wartime.

Our colleagues joined the international community of digital heritage specialists. ARTEMIS, recognised as the European Commission’s ‘Project of the Month’ for June, focuses on the concept of ‘Reactive Heritage Digital Twins’ — reactive digital twins of real objects that help analyse risks and plan for their preservation. Their participation strengthens Ukraine’s voice in the European debate on the future of digital heritage twins and long-term digital infrastructure for working with cultural heritage sites.

You can read more about the outcomes of the ARTEMIS Summer School 2026, the programme and the participants on the ARTEMIS project website via the link.

The Pixelated Realities PO is a partner in the consortium implementing the ARTEMIS project (under the Horizon Europe programme), which aims to create a digital infrastructure for the preservation and restoration of cultural heritage using 3D visualisation technologies.

Сообщение ARTEMIS Summer School 2026 has successfully concluded at Hof University появились сначала на Pixelated Realities.

Pixelated Realities co-founders Iana Boitsova and Fedir Boitsov took part in last week’s Heritage at Risk Summer School 2026 in Ferrara, Italy, bringing Ukraine’s frontline experience in documenting cultural heritage in war zones to an international audience. The two-day programme, hosted at the University of Ferrara within the 3DBigDataSpace project, focused on 3D documentation methods for cultural heritage at risk in contexts ranging from natural disasters to armed conflict.

As part of the programme, Iana and Fedir delivered a talk titled “Documenting architectural heritage in war zones: experiences and lessons from Ukraine”. Drawing on several years of fieldwork, they presented approaches to the digital recording of destroyed and damaged architectural heritage in frontline and liberated regions of Ukraine. Their contribution showcased how photogrammetry, 3D laser scanning and geospatial analytics capturing is different in active warfare and attacks on civilians. Their message is clear: “obtaining high-precision data for emergency documentation on war-related destruction can support evidence-based strategies for future recovery and reconstruction”.

An important part of their presentation was dedicated to initiatives that rethink space and memory, including ongoing work on the Museum of Ukrainian Victory and other projects that connect digital heritage, education and research at an international level. Within the framework of the XRculture project, the team also shared recent results from scanning endangered museum collections in Ukraine and outlined their methodology for remote digitisation in high-risk contexts.

Reflecting on the experience, Iana Boitsova highlighted the importance of international collaboration and knowledge exchange:

“Taking part in this event reminds us that Ukraine is not alone in facing the loss of cultural heritage in times of crisis. Sharing our experience from war-affected regions and hearing how colleagues work with disasters and risks in other countries gave us both practical tools and a sense of solidarity. For us, the most valuable part was the open exchange with experts who are ready to share technologies, methods and standards to support institutions and communities in Ukraine right now, while also thinking together about how these data will guide future recovery.”

Participation of Pixelated Realities in initiatives such as the Heritage at Risk Summer School strengthens Ukraine’s presence in the European professional discussion on safeguarding cultural heritage during war. It also helps embed Ukrainian experience within broader international standards and practices for documenting cultural heritage at risk.
Pixelated Realities PO is a consortium partner in the XRculture project co-financed by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение Between earthquake and the Middle East: Pixelated Realities shares Ukraine’s war-zone heritage documentation experience at Heritage at Risk Summer School 2026 появились сначала на Pixelated Realities.

Pixelated Realities PO is carrying out 3D digitisation of objects from the collection of the Odesa Municipal Museum Of Personal Collections Named After O. V. Bleschunov” as part of the XRculture project’s research.

The Municipal Institution “Odesa Municipal Museum Of Personal Collections Named After O. V. Bleschunov” is one of Odesa’s leading cultural institutions, regularly conducting research, securing funding for cultural projects, collaborating with European partners, and implementing digitisation initiatives since 2018.

Work is being carried out within the framework of the European research project XRculture — Research and Reuse of 3D Cultural Heritage through XR.

Research and reuse of 3D cultural heritage through XR

The project aims to explore new approaches to the digitisation of cultural heritage, develop innovative methods for working with 3D data, and design use cases for extended reality (XR) technologies in the cultural sector.
This research plays an important role in building digital archives and shaping contemporary approaches to the preservation, study, and presentation of cultural heritage in digital environments.
Thanks to innovative 3D digitisation and XR presentation technologies, Ukrainian museums will be able not only to ensure the long-term preservation of their collections, but also to make them accessible to wide audiences through virtual exhibitions, educational platforms, and scholarly publications.

Digitising the Bleschunov Museum collection

As part of the study, 3D models of 10 icons and 20 glass objects will be created.
These items were selected to test and refine scanning methods for materials with complex properties, including transparent, glossy, and combined surfaces. Such objects traditionally pose a significant challenge for 3D digitisation technologies, so the research focuses on developing more effective approaches to their digital capture.

In addition to photogrammetry and Gaussian splatting, the team is developing a new semi-automatic point-cloud cleaning method that minimises manual work and reduces post-processing time to around 20 minutes per object. For the most valuable objects, meshes are also being created, which will make it possible in the future to reproduce them via 3D printing and milling to develop inclusive exhibitions or carry out restoration processes.

Digitisation team

The project is produced by Fedir Boitsov.
Digitisation is carried out by Dmytro Dokunov and Andrii Tkalich.
Alik Kadum is developing the point-cloud cleaning algorithm together with Fedir, while Yuliia Frolova compiles and prepares annotations.

Historical and cultural significance

The icons and glass objects from the museum’s collection are part of Ukraine’s museum heritage, reflecting various aspects of history, art, and private collecting.

Presentation in the European digital space

The created 3D models, together with their metadata, will be published by Pixelated Realities PO on the European platform Europeana, ensuring open access to digital copies of cultural heritage for researchers, educational initiatives, and the general public.
The results of the research into methods for scanning transparent and complex surfaces will be presented in subsequent publications and analytical materials of the project.
Pixelated Realities is a partner in the XRсulture consortium, which is being implemented in Ukraine under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение Pixelated Realities digitises the Collection of Icons and Glass objects from the Odesa Museum появились сначала на Pixelated Realities.

In the framework of the XRculture project, Pixelated Realities PO (Odesa, Ukraine), together with Inception Srl (Ferrara, Italy), has undertaken 3D digitisation of the Roman Glass collection at the Museo Archeologico Nazionale di Verona (Italy), applying advanced photogrammetry and Gaussian Splatting methods. This campaign has been led by Fedir Boitsov.

During the recent scanning session at the museum, the team captured seventy-seven unique pieces of ancient Roman glassware. The collection includes objects such as balsamari, anfore, bicchieri, piatti, bottiglie, olle, coperchi, and brocche (vases, balsamaria, pitchers, glasses and bottles of various shapes and sizes). These items date to approximately the I-III centuries AD and were found in Verona. Each piece stands out for its remarkable thinness, clarity, and range of hues — from bluish tones to subtle yellow shades, and imprinted or relief-decorated surfaces.

The research took place at the Museo Archeologico Nazionale di Verona, home to one of the region’s most representative collections of Roman glass. The primary goal of this work is to create precise 3D documentation of these artefacts to support their study, preservation, and digital presentation. 

Information about Gaussian Splatting and photogrammetry

Gaussian Splatting plays a key role in the project’s digitisation workflow, enabling the creation of highly realistic 3D representations by reconstructing radiance fields from high-resolution photographs. Through precise image capture and alignment, the team generates detailed Gaussian Splat models that capture both the geometric form and the material qualities of each artefact with exceptional visual fidelity. This method is particularly effective for documenting non-cooperative objects such as glass, as it allows the rendering of fine surface details, transparency, and reflections while maintaining a true-to-life appearance. The resulting Splat models serve as the foundation for producing immersive, real-time, viewable digital assets. 

For the capture process, the Pixelated Realities team developed a customized mobile rig equipped with a steady video light, ensuring even illumination of glass surfaces without persistent reflections in the resulting Splat rendering. To make this project happen, a custom solution was created based on the automatic turntable paired with highly transparent plexiglass, allowing for seamless full object captures without the need to rotate fragile objects. This approach minimises any potential damage to the precious artefact while producing the best possible splatting representations. For better and faster shooting, a video rail was attached vertically to a 2-meter stand, with a camera moved via a cord and counterweight system—enabling smooth, repeatable vertical motion for consistent multi-angle coverage.

This custom scanning setup, designed specifically for glass 3D capture and Gaussian Splatting, was tested directly in the museum environment and successfully captured detailed digital models of even the smallest objects.

The initiative is part of the XRculture project activities and forms part of a broader programme to digitise European cultural heritage that is difficult to scan using traditional methods, such as glass, gemstones and metal.

The project was carried out with the kind support and collaboration of Giovanna Falezza and Ada Gabucci, and in partnership with the Italian Ministry of Culture, Regional Directorate of National Museums of Veneto (Museo Archeologico Nazionale di Verona, Museo Archeologico Nazionale di Adria), the Central Institute for Cataloguing and Documentation (ICCD), and the Superintendence for Archaeology, Fine Arts and Landscape of the provinces of Verona, Rovigo and Vicenza.

Pixelated Realities PO is a consortium partner in the XRCulture project co-financed by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение 3D digitisation of Roman Glass Collection in Verona появились сначала на Pixelated Realities.

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.

As Europeana works to support the digital cultural heritage of Ukraine and advance 3D in the common European data space for cultural heritage, we are delighted that 3D models from the Museum of Ukrainian Victory are now available on Europeana.eu.

Okhtyrka City Museum of Local Lore, Sumy region

Cultural heritage under threat in Ukraine

Making cultural heritage available for future generations to enjoy and be inspired by is a major public policy goal in the European Union. 3D technologies offer unprecedented opportunities to advance this objective, widening access to culture, supporting digital preservation and fostering the reuse of Europe’s cultural assets.

The potential of 3D models of heritage sites and objects to document, preserve and share cultural artefacts becomes even more potent when it comes to heritage at risk of destruction from climate change, natural disaster or conflict. Sadly, this is the case for the rich cultural heritage of Ukraine, which has been stolen, destroyed or displaced as a result of Russia’s full-scale invasion. As of 7 January 2026, UNESCO has verified 515 cultural sites as damaged in Ukraine, alongside thousands of cultural heritage institutions and artefacts.

The Northern Gate, Kherson city 

Ukrainian 3D models on Europeana.eu

Against this background, a collaboration between Pixelated Realities, a non-governmental organisation running projects funded by the European Commission, and the EU-funded XRculture and 3D-4CH Online Competence Centre projects has seen the aggregation of the first 3D models from their Museum of Ukrainian Victory to Europeana.eu. The publication of models from the Museum enriches both the high-quality 3D data and the Ukrainian cultural heritage data which Europeana.eu makes available, and makes them available to researchers, educators, creatives and citizens over Europe.

As the 3D-4CH project explains, ‘These first published 3D models originate from the Museum of Ukrainian Victory initiative and include outdoor sculptures and heritage sites from Odesa, Kherson, Kharkiv, and Sumy regions… The cultural heritage objects were captured through emergency photogrammetry workflows conducted by trained conflict reporters with subsequent 3D processing carried out in Odesa. The models are part of a wider collection of more than 30 objects documented for the Museum of Ukrainian Victory in 2022 and early 2023.’

The Polovtsian warrior statues (Polovtsian babas)

Expert collaborators

The three initiatives involved in the publication of the models on Europeana.eu are expertly placed for this work. Pixelated Realities works to improve the methods of preserving cultural heritage, including the use of 3D scanning, digital production, virtual and augmented reality, in particular preserving Ukraine’s cultural heritage through initiatives like the Museum of Ukrainian Victory.

XRCulture uses innovative technologies to boost the availability of high-quality 3D and XR content in the data space. Targeting diverse use cases—such as preservation education and tourism—the project harnesses advanced AI tools for 3D model generation and improvement and provides an open framework for 3D visualisation.

The 3D-4CH project champions advanced 3D technologies in cultural heritage preservation and education, ensuring sustainability, accessibility and cooperation. The project has established the online Competence Centre for 3D heritage, focusing on the preservation, digitisation and knowledge transfer of cultural heritage in the EU and Ukraine.

Support from the Europeana Initiative

The Europeana Initiative is proud to be a partner in the XR-Culture and 3D-4CH projects, and to be working more widely to support the Ukrainian cultural heritage sector across the Initiative as a whole.

Speaking to the 3D-4CH project, Valentine Charles, Technical Director of the Europeana Foundation, says, ‘Together with our partners — the data space consortium, the European Commission and Member States — we are shaping the data space as the main entry point for cultural heritage data. Expanding high-quality 3D content is a priority for the years ahead. Guided by the principles of diversity and inclusion, we are committed to ensuring Ukraine’s heritage is duly represented. Building on previous work, such as the Europeana Initiative’s Supporting the digital cultural heritage of Ukraine Working Group, this step strengthens digital capacity for Ukrainian institutions while bringing 3D Ukrainian content to a wider audience.’

Sofie Taes says, ‘As Chair of the Europeana Network Association – which includes several Ukrainian members – I see these 3D initiatives as a vital expression of our ongoing connection and solidarity with Ukrainian colleagues. These models and representations allow us to jointly visit, contemplate and cherish landmarks that shape Ukrainian cultural identity, even when physical access is threatened or impossible. As Chair of Europeana’s Supporting the digital cultural heritage of Ukraine Working Group, I had the opportunity to interview Ms Anastasia Bondar (Deputy Minister for Digital Development, Digital Transformations and Digitalisation at Ukraine’s Ministry of Culture and Information Policy) at the Europeana Conference in Warsaw last year, where she underlined the strategic importance of cultural heritage and urged us not to let Ukraine’s voice be silenced. This work responds directly to that call, using powerful 3D visuals to give digital substance to a shared spirit of togetherness.’

Kerstin Arnold, Chair of the Europeana Aggregators’ Forum says, ‘One objective of our network of aggregating and data sharing services is the exchange of knowledge and expertise. This applies to the EAF’s current members, the cultural heritage institutions and professionals they work with and to other actors in the sector with the aim to support them in our shared mission of democratising access to cultural heritage and of ensuring the best data quality possible in doing so. Via the 3D-4CH project, which includes aggregators such as CARARE (Connecting Archaeology And Architecture In Europe), the European Fashion Heritage Association, the Michael Culture Association and the Netherlands Institute for Sound and Vision, we were able to focus specifically on supporting the cultural heritage sector in Ukraine and I am excited to see the first results of this work on Europeana.eu.’

The Monument to T.G. Shevchenko, Kharkiv

Looking to the future

The 3D-4CH project outlines how, ‘Building on this successful pilot, Pixelated Realities – partner of the 3D-4CH Online Competence Centre – will contribute approximately 40 additional 3D models to Europeana this year. An open call will further invite Ukrainian cultural heritage institutions to share existing 3D assets via Europeana, expanding the representation of Ukrainian heritage within international digital infrastructures… This effort is also an important step toward the long-term plans to establish a national Europeana aggregator based on the Register of the Museum Fund of Ukraine. This aggregator will serve as a key national hub, connecting Ukrainian museum collections more directly with European digital platforms and infrastructures.’Explore the Ukrainian 3D models on Europeana.eu and learn more about the work of Pixelated Realities. We also invite you to explore how Europeana is supporting the digital cultural heritage of Ukraine through its dedicated Working Group and increasing the 3D models made available via the data space through the Twin it! Part II campaign.

Original article on Europeana.eu.

Сообщение Ukrainian cultural heritage published in 3D on Europeana.eu for the first time появились сначала на Pixelated Realities.