ICTforuser-experiencetransformationsinSustainable ...papers.cumincad.org/data/works/att/ecaadesigradi2019_492.pdf · ICTforuser-experiencetransformationsinSustainable-SmartTourismProjects

ICT for user-experience transformations in Sustainable -Smart Tourism Projects

VR, AR andMR in Rome’s historical center

Vasiliki Geropanta1, Anna Karagianni2, Panagiotis Parthenios31,2,3Technical University of [email protected] [email protected] [email protected]

This paper explores the user - experience transformations that occur after thedeployment of ICT in the redevelopment projects of three archeological -monumental spaces, in Rome, Italy. The study consists in a detailed analysis oftheir contextual and typological configuration aiming to explain the following:how different is the user experience in these three different Smart tourismprojects, how this experience is spatially transformed and how does preservingthe cultural heritage through the use of ICT transforms the user experience? Theanalysis showed that ICT supports new ways of thinking about user experience,while it alters the shaping of this experience per se at macro and micro scales andin terms of the emotional state and user learning path.

Keywords: ICT, Digital Heritage, Smart Tourism, Virtual Reality, AugmentedReality

INTRODUCTIONDuring the last decade, ICT has gained a presence intourism for the ability of technology to interconnectcommercial objectives with practical approaches forthe revival of cultural heritage (Ronchi, 2009). In fact,themethods of creating virtual cultural storages, anddigital reconstruction of cultural and architectural ar-tifacts offer multiple benefits to the local culture,tourism companies and tourism themselves (Barcelo,Forte, Sanders, 2000). On the one hand, they helpto protect and revive visually information which oth-erwise would be lost without intervening physicallyon the cultural artifacts. On the other hand, thesemethods minimize the impact on the environment

and the local people, while they contribute to gener-ating income and to create new possibilities for em-ployment. Overall, these strategies form the SmartTourism paradigm, and at a micro scale, they aim atenhancing tourism experience in technologically ad-vanced destinations such as smart cities (Gretzel, Z.,Koo, 2016, Portalés, C., João M. F. Rodrigues, Alexan-dra RodriguesGonçalves, Ester Alba, Jorge Sebastián,2018). At amacro scale, their objective is the achieve-ment of commongoals towards sustainable develop-ment, and therefore to respond to the challenges ofSustainable Tourism.

The breadth of the influence exerted by the ap-plicationof ICTon theurbanenvironment fromauser

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perspective is being also analyzed extensively today(Ratti, 2016). ICT certainly exert data that reveal be-havioral and spatial patterns and the ICT monitorsuse thesedata in away toexert some sort of influenceon the urban environment. This is true both on thelevel of new methods and tools available for design-ing cities (Ratti, Matthew, 2016), aswell as on the levelof new needs (new services, new ways of living andworking) that drive urban development (ITRE, 2012).Lastly, the benefits of ICT in the management andfunctioning of urban centers is a factor that has beenacknowledged by a number of scholars (Engel 2014).

In the case of Smart Tourism for the revival of cul-tural heritage, however, the presence of ICTs can beof twodifferent approaches that bringdifferent theo-retical developments in what regards the user expe-rience transformations. For instance, it can take theshape of sensors or terminals to access public infor-mation as it is in any other smart city project, or amixture of digital data and physical spaces that cre-ate smart spaces hybrid in nature. The first categorylooks at ICT that is user-focused and therefore all theattention is placed on how to attract more users andcreate friendlier platforms of interaction. The sec-ond category of applications is used in areas wheremuch of their heritage is immaterial, therefore inmu-seums and archeological spaces and focus on the ex-hibited material. These cases basically offer an aug-mented environment and therefore the users’ move-ment or interaction is irrelevant to the mission. Infact, in those enhanced cases, people are testimoniesof a virtual museum which helps the cognitive pro-cesses of memory (Gabellone, 2009). In other words,the presence of ICT on the specific sector affects thesense of identity, learning, and culture and thereforealter the spatial perspective users have by the acces-sibility to new information.

This difference in the application of ICT in thespecific sector, has created the question of how di-verse is the shaping of user experience and how thisexperience is spatially transformed? How does pre-serving the cultural heritage through the use of ICTchanges the user experience? As is the case with

most questions surroundingdesign, it is preferable toseek a middle ground between theoretical extremesin order to arrive at the optimal design solution. Nev-ertheless, is undeniable that the introduction of ICThas altered our way of experiencing a monument ora museum and in effect, they are part of our con-temporary cultural imaginary, or zeitgeist. Followingthis premise, this article offers an examination of howthis interconnection can be realized. Specifically, itpresents three case studies fromRome and examinesthe role of ICT in the formation of new enhanced userexperiences.

ROME AS A CITY FOR EXPERIMENTINGWITH AR, VR ANDMR TECHNOLOGIESA number of initiatives in the city center of Rome re-veal a smart district active and emerging. For exam-ple, in many different areas there are installed com-munication networks, GIS based applications, Infras-tructureMonitoringprojects, amongothers that con-stitute the most common Smart City Infrastructure(Al-Hader, M. & Rodzi, A., 2009). In the field of SmartTourism, Virtual and augmented reality experiencesinmuseums and archeological sites are changing thenarratives about the past and the present of the eter-nal city affecting the way people perceive the sitesand their history. The popularity of these techniquesin the city center and the quantity of activities hap-pening there usin AR, VR andMR render Rome a veryintersting city to experiment. In this framework, thispaper presents three cases where this phenomenonis visible.

The first case describes the redevelopmentproject of the Ara Pacis in augmented and virtual re-ality. This project combines technologies for the cre-ation of virtual worlds using computer graphics (CG).Traditional green screenfilmingusing real actors is in-troduced into a 360° built in an innovative software.The second project is the redevelopment project ofthe Augustus Ex Cinema in virtual reality. In this case,there is a combination of technologies divided intofour different experiences: from the development ofvirtual realitywith self-propelled plastics to the expe-

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rience of an interactive 3d museum. Lastly, the thirdis the virtual reconstructions on the existing walls,columns and archeological remains of the ForumAu-gustus. In this case, the technologies regard the 3dmapping audiovisual projections on the archeologi-cal site. At an economic level, the observation of thethree places shows that they have given an economicboost to an already strong touristic ecosystem. Fur-thermore, the generation of the new “hybrid spaces”that combine the virtual and the real and thereforeinteract less with the built space revealed the affec-tive possibilities of the objects (Hooper - Greenhill,E. 2000, Unesco Portal on Sustainable Tourism). Thepopularity that the three projects have acquired inthe local and internationalmedia and themassive at-tendance of people depicts the significance of theparadigm they suggest.

METHODOLOGYOur first question is how does the layer of technol-ogy alter the user experience? What is the innovationemerged by the application of these three differentstrategies from the user’s point of view? A second,more specific question, regarding the case study, is:How do the three different Smart tourism strategiescontribute to the enhancement of user experienceand add therefore to the achievement of sustainabil-ity in Roman tourism? Following these objectives,this paper analyzes the three case studies, extrapo-lates the possible effects that technologymight haveon the social practices and reveals the new natureof the three areas: Archeological spaces prove to beno longer static and linear and museum spaces, ar-tifacts, and visitors (users) engage to an interactivedialoguewhich transforms themuseums themselvesin real time ‘performances’. As a final reflection, theresearch aims at establishing a connection betweenthe concepts surrounding the digitization of culturalheritage, smart tourism, sustainable tourism and thebroader discussion in the field of urban - architecturaldesign.

The methods applied are a detailed analysis ofthe three cases, using the techniques of participant

observation and documentary research of the threespaces after the application of the ICT. This part es-tablishes the function of the ICT within the contextof their display in an exhibition and describes theuser experience in an empirical way. For this step,few parameters the authors highlighted: a) the novelspaces that were created to support the reconstruc-tion project, b) the novel spaces that the ICT intro-duced to the user, and c) the way the users alteredtheir interaction with the building because of theuse of ICT. To achieve those goals, the authors pro-ceeded in specialized visits in allmonumental spaces,where they collected data coming from their empiri-cal observations and the information surrounding allthree sites. After analyzing thoroughly this informa-tion, the authors pointed out the kind of transforma-tion the previous analysis brought about in the socialpractices and tried to build an argument on the userexperience formation.

THE CASE STUDIES: ICT DEPLOYMENT INROME’S ARCHEOLOGICAL AND EXHIBI-TION SPACESFor the aims of this paper, the authors present herethree different cases: the Forum of Augustus spec-tacle, the redevelopment projects of the Ara Pacis inaugmented and virtual reality and the one of Augus-tus Ex Cinema in virtual reality. The three case studiesappear to be among the most popular in the city ofRome and result in almost all international guidingtours.

The Forum of Augustus was the first one to belaunched and was created as a commemoration forthe two-thousand anniversary of the death of theemperor Augustus, which took place on August 19thof the year 14. It regards a spectacle, by Piero An-gela and Paco Lanciano, and promoted by the Mu-nicipality of Rome, projected onto the remains of theforum, making use of the 300 meter surface of theposteriorwall, aswell as thepavement and the stand-ing columns. The overall technical experience is de-fined as “an instance of Augmented reality” wherean interesting trajectory that links architecture, his-


tory, cultural heritage, sustainable development, en-tertainment, and education emerges (Geropanta V.,Cornelio Mari E., page 47-48, 2018). The contentsextend to include cultural, architectural and histori-cal details of all the archeological space and are gen-erated through light effects and 3D mapping tech-niques. Visitors are expected to be seated at an am-phitheatrical seating area, stable and concentratedfor all the duration of the spectacle facing the fo-rum and through the audiovisual information theyreceive, they become active learners.

The second one was the redevelopment projectin the augmented reality of the Ara Pacis. The aimof the intervention, promoted by the Department ofCultural Growth of the Municipality of Rome and bythe Superintendence of Cultural Heritage was orga-nized by Zètema and carried out by Ett spa. The aimof theprojectwas precisely to allowvisitors to enjoy amultimedia story, throughwhich they could discoverthe original appearance and the function of the al-tar, but also the transformations suffered over timeby the Campus Martius. This project combines tech-nologies for the creation of virtual worlds using com-puter graphics (CG). Traditional green screen filmingusing real actors is introduced into a 360° built-ininnovative software. During this spectacle, visitorsare expected firstly to be gathered seated at a livingroom area where all introductory - historical part ispresented to them. Then they follow a guided tour offive more points surrounding the altar. In each one,they wear AR visors and are able to observe in thisway the enhanced reality of the altar.

The third project is called Welcome to Romewhere, after the Roman Domus of Palazzo Valentiniand the Forum of Augustus and Caesar, the physi-cist and scientific divulger Paco Lanciano conceivedand created it as a new interactive show dedicatedto Rome and its millennial history. The show takesplace inside the former Augustus cinema, in CorsoVittorio Emanuele. Using technologically advancedinstruments, a highly immersive projection tells the2,700 years of Rome’s history in 27 minutes. In thiscase, there is a combination of technologies divided

into four different experiences: from the develop-ment of virtual reality with self-propelled plastics tothe experience of an interactive 3d museum. Visitorsin this spectacle are expected to walk through differ-ent rooms where parts of stories are projected withaudio-visual means onto plastic models, and end upin the main Cinema area. There, visitors watch a 3dprojected film in all walls of the cinema.

EXPERIENCE OF THE CASES: NOVEL USERFLOWS, DENSITIES AND SPATIAL TRANS-FORMATIONSThe next subsections present the novel experiencesthat emerge by the application of ICT in relation tothe existing reality of the three areas. The authorshere highlight the possible impact of the spectaclesin the spatial experience. This is obvious in the mo-ments of user - building interaction and in the waythe various working teams that produce the user ex-perience create interdisciplinary knowledge escapes(Blackwell, F. A. et al 2019). The experience of thethree case studies revealed a commonpoint: thewaythe specificities of the various spectacles affect theimaginary and therefore the overall user experienceof the archeological sites.

a)VRandARcreatenewnovel experienceofthe altar of Ara PacisFor the altar of Ara Pacis, an ancient civic ritual func-tion, dedicated to the Roman goddess of Peace, theproject’s goal was triple: a) to rediscover the origi-nal appearance and the function of the altar, b) topresent the various historical moments that led to itsfinal transformation and to c) explain eachelement ofthe lavish ornamentation. For this reason, users areencouraged to watch firstly a green screen narrativefilming - sat - and then go around its rectangular, un-covered shape (11.65 x 10.62 x 4.60meters), and learnabout all details of sculpting elements on the altar’sCarrara marble (figure 1).


Figure 1Geropanta V.,Karagianni A.,Parthenios P., 2019.The altar of AraPacis

Figure 2Geropanta V.,Karagianni A.,Parthenios P., 2019.Silent seating areasnext to the glassfacade of the AraPacis Museum.

Figure 3Geropanta V.,Karagianni A.,Parthenios P., 2019.New storage areascreated to supportthe AR experience

The altar is hosted inside the Museum of AraPacis, a space designed by Richard Meier. The de-sign concept is built upon the contrast between lightand shadow that alternate in sequence. The users en-ter into a darkened area where they receive instruc-tions and their ticket. Then they access the recep-tion gallery which is semi-permeable, to arrive at thecentral pavilion that is housing the Ara Pacis, all sur-rounded by glass. In this area the natural light is fil-tered through 500m of glass, creating a visual con-tinuity with the outside facade, while retaining thenecessary silence to the full enjoyment of the mon-ument (figure 2).

Before the implementation of the MR project ( amixof virtual andaugmented realityprojectionsontothe altar and the surrounding space), users usuallyentered from the two indicated entrances in themaingallery and wandered around the altar with no ad-ditional information. During the MR spectacle, thewandering experience changes to support the func-tion of the AR, and VR projections. Users are nowpassing a sequence of movements (eight in total)starting from the entrance (figure 3) to the pavilionup to the exit of the venue. They are firstly encour-aged to rest in the living room created facing the al-tar (figure 4). There, they wear the visors and watcha green screen film, built in 360 degrees of their vi-sion. At this moment, the audiovisual material in-troduces them to the history and specificity of themonument. Afterward, once the projection time fin-ishes they are encouraged to follow six steps, dis-tributed in the spaces surrounding the altar. For eachone of them, there is material projected through thevisors onto the monument. The new users’ move-ment creates also different movement flows and dif-ferent users- densities. These are periodical as theylast for the time of the projection, but repeated asthey happen continuously each time the spectacle isprojected.


Figure 4Geropanta V.,Karagianni A.,Parthenios P., 2019.Novel collectiveareas created in themuseum to supportthe AR experience

Figure 5Geropanta V.,Karagianni A.,Parthenios P., 2019.The AR visors of theAra Pacisexperience

Figure 6Retrieved by:http:\/\/www.arapacis.it\/en\/mostre_ed_-eventi\/eventi\/l_-ara_com_era ARprojections on theAltar

The new enhanced realities created by the juxtapo-sition of a digital reconstructed surface to the realspace introduce two novel spatial experiences. Onthe one hand, users can see a virtually constructedspace based on the narration of the story of the al-tar which they enjoy when sat to the seating area.The other reveals by the various blended versions ofthe altar after the AV projections onto it. Both can beexperienced only when wearing the AR visors (Sam-

sung GearVR) and when using the cameras insertedinto the devices. These devices allow for the virtualand real elements of the show to come together inthe spectator’s field of vision through an AR applica-tion which picks up the detail of the bas reliefs andsculptures in 3D, tracking them in real time. The vir-tual elements appear to visitors as if they are “an-chored” to real objects which adds to the overall ef-fect, the sense of being a part of the scenario (figure5).

Users in these two new spatial experiences cansee different data: some of these reconstruct theimagery of the site’s architecture, while others of-fer a visualization of historical events and personal-ities. In the first case, the surface designed is super-imposed on the altar and builds on the existing archi-tectural elements. In the second case, the surface de-signed ispart of a three-dimensional setting thatusesthe different depths of the projection perspective toline up with the monument and the building. Thedigital surface consists of 2D design elements (lines,shapes, volumes) and reconstructs the facades of thealtar, architectural details, ornamentation, andmate-rials. Therefore, in design, this surface could be ex-plained as a layer with its special characteristics andattributes. In its full depiction, the layer reconfiguresthe design form of the altar along with all architec-tural details. In all cases, the depictions have real di-mensions, in 1/1 scale. In other words, it manages topresent elements that are inexistent today, explainstheir transformation in time, and transfers the impor-tance they carry in the urban heritage of the site (fig-ure 6).

The aesthetic product of the spectacle builds anovel imaginary collective knowledge of the altarcreating the impression to users that they transforminto active participants in an emotional and learningexperience.

b) The redevelopment project of the Augus-tus Ex Cinema in VRThe secondproject regards the redevelopmentof theAugustus Ex Cinema with the use of virtual reality


Figure 7Retrieved by:https://roma.repubblica.it/cronaca/2012/06/25 /foto/la_de-stra_occupa_l_ex_-cinema_augustus-37927749/1/ Thereconstruction ofthe Ex Cinema ofAugustus and itstransformation toan ICT assistedMuseum space

Figure 8Retrieved by:https://www.touringclub.it/news/la-storia-diventa-spettacolo-e-lantica-roma-rinasce-in-3d/immagine/2/welcome-to-rome The fivenew rooms thathost the MR Reality

Figure 9Retrieved by:http://welcometo-rome.it/564/ Theex cinema ofAugustus in 4Dreality

technology aswell asMRapplications. Thedifferencebetween this case studyand theother two is thatpro-jections here take place inside a historical buildingbut however reproduce the material and immaterialcultural heritage of places that are located outside ofthat space and inside the historical center of Rome.

For the purposes of this mission, a whole groundfloor space was reconstructed to accommodate thevarious spectacles (figure 7). The plan was dividedinto four smaller rooms (figure 8), wherein each oneof them there was a presentation of a piece of thestorywith audio-visualmeans enhancedby a 4dbacktickler. In the same plan, the initiative predicted alsothe redevelopment of the ex-cinema of Augustus toa venue that could include several physical effects toinstall a 4d movie (figure 9). As a result, the imple-mentation of ICT in the specific project required twodifferent initiatives: a) the transformation of an openplan space to a traditional path exhibition area, andthe refurbishment of the cinema along with the inte-gration of technologies for the 4D experience.

In the new exhibition space, therefore, there is acombination of technologies divided into four differ-ent experiences: from the development of virtual re-ality with self-propelled plastics to the experience ofthe 4D auditorium. In a straight, bearly illuminatedspace, the users are guided through a serial list ofevents after having acquired their headphones andipads from the reception. The ipads serve as medi-ators with the sensors installed to the wall surfacesof each room. In fact, outside of each room, there isinstalled a small sensor that allows for the starting ofeach spectaclewhichmeans that thismachine toma-chine interaction with the users’ contribution is theone that allows for all the didactic process to happen.From these interactions there generate a number ofnovel experiences in each roomwhich alter the usersflows and density in the various rooms. Opposite toeach seating area, there is a theatrical screen, hori-zontal or vertically expanded with the presentationof each monument under examination (figure 10).People are expected to be standing in front of thisscreen which consists of a plastic model onto which


the information is projected under the means of vir-tual reality.

Figure 10Geropanta V.,Karagianni A.,Parthenios P., 2019.The creation of theForum Augustis

As the time of the narration is passing, different partsof the model reveal, and with lighting effects theycreate a strong learning experience.

In the cinema, a large venue presents a 4D ver-sion of a wide - release 3d film (figure 11). Thismeansthat the experience of the projections create an en-hanced reality since it consists also of effects simu-lated in a 4D film such as strobe lights, and vibration.The seat effects include smoke, and lightning comingout.

Figure 11Retrieved by:http://welcometo-rome.it/564/ The excinema of Augustusin 4D reality

Users in these new spatial experiences familiarizewith three different technological instruments thatcollaborate to offer the above-mentioned experi-ence. These are the sensors followingall of their flowsinside the different rooms as they use them to gener-ate the starting moments of the shows. Then usersget familiarized with the reconstruction of the arche-ological stories through the use of 2d line projectionsonto the plastic models. These help them not only

perceive the different constructionmaterials but alsothe different construction stages. Lastly, as they allgather to the new projections venue, they watch a360 degrees audiovisual material and also becomepart of an emotional experience. These changes arenot periodical but the authors argue that they areepisodical in the sense that the ICT, in this case, altersonce and for all the users experience in the space.

c) AR projections in the Forumof AugustusThe third case study is the virtual reconstructionson the existing walls, columns and archeological re-mains of the ForumAugustuswith theuse of AR tech-nologies. Specifically, users experience the result of3d mapping audiovisual projections on the archeo-logical site assistedbyheadphoneswith the recordedstories (figure 12). Specifically, all the materiality ofthe monument material and missing is set in com-plete visualization to the users. This allows them toimmediately understand in detail the value of the ex-isting landscape, restoring all the details that wouldbe impossible to physically perceive. The implemen-tation of ICT in this case, entails a methodology tomake indistinguishable the digital and the real im-ages through the animations, while it preserves themonument in its original state (Gabellone, 2009). Theresult of this activity is the transmission of informa-tion to the visitors, offering the wider public an im-portant opportunity to learn.

Figure 12Retrieved byViaggio nei Fori, n.d

Before the implementation of the AR, project userswere the regular visitors of Via dei Fori Imperiali, an


axis that connects Venezia square and the Colos-seum. As this area consists of five compounds, allremaining frozen in the archeological site there waslittle information related to its specific story and ar-chitecture. There was also very little human inter-action with the archeological site as the Forum isthree meters lower than the walking area. Duringthe AR spectacle, the wandering experience trans-formed completely into a theatrical instance. Usersare now part of an ancient Greek theatrical scene, sit-uated in an amphitheatrical seating area. There, theywear headphones and watch the spectacle. At thismoment, the audiovisual material introduces themto the history and specificity of the monument. Theusers are offered in this way an important opportu-nity to learn, in a method that has the impact partlyof an ancient Greek theater partly a short of distancemuseum piece, given at the disposal of the visitors(Geropanta V., Cornelio M. E., 2018). This leads usersto think that they are testimonies of a virtual mu-seum, which helps the cognitive processes of mem-ory (Gabellone, 2009). Once this collective mem-ory is built, then as a whole, the aesthetic producttransforms the original experience and builds a novelimaginary collective landscape. Lastly, since the im-pact of such a learning experience is strong, it is con-sidered that the effect creates spillover effects in thesurroundings, that in turn offers to users emotions forunderstanding, learning, safety, belonging, and ad-miring (Geropanta V., Cornelio M. E., 2018).

This context extends not only to the understand-ing of the micro scale, but also to the extent of per-ceiving the reality of the compound in relation to itssurrounding compounds. The three-dimensional re-production of each of the components of the forumallowed for further understanding of its urban con-text and the underlying system of relationships withthe surroundingmonuments, which becomes an im-portant guide for the comprehension of the architec-tural strategies that have been followed in site (Gra-ham Shane, 2005).

NOVEL SPACES AND INTERDISCIPLINARYKNOWLEDGE ESCAPES EMERGING FROMTHE INTERACTIONS BETWEEN TECHNOL-OGY AND ARCHITECTUREThe three case studies revealed that the actual trans-forming experience can be either ’episodic’ or peri-odic’ (deLahunta, 2002). Thismeans that ICTdoesnotalways cause foundation-shattering impacts on userexperience butwhen it does this experience changesin massive ways. In their being episodic and by en-gaging a finite number of actors, their impacts are re-duced in scale. In their being periodic and by engag-ing a less or finite number of actors their impacts be-come stronger. Yet, the authors would like to arguethat there is more to these interdisciplinary encoun-ters than their tangible, project-bound outcomes. Tounderstand how their impact builds up in time it isuseful to look at the process of integration of the VR,AR and MR technologies in the architectural spacenot only at micro but also at macro-scale. At micro-scale, observations are done to the artifacts and theway people see them more complete or more holis-tic. Atmacro-scale, we look at how the specific exam-ples lead to the emergence of new, interdisciplinaryconstructs, theories, approaches and techniques andeventually lay the foundationof new interdisciplinarymethods of analyzing the user experience results, so-lidified by the foundation of new professional roles,academic departments and curricula.

In the three case studies, the authors argue thatthe process of integration happens simultaneouslyat micro and macro-scales, influencing and feedinginto each other. The more different types of inter-disciplinary encounters concentrate on a timeline,the greater impetus and momentum is created fornew, interdisciplinary spaces that blend the think-ing, resources, theories, and methodologies of di-verse fields.

At a physical level, novel spaces are produced inall three cases, such as a) the collective new seatingareas, the spaces where all projectors and cables areinstalled. It regards the material/physical use of theexisting space, which is transformed into a place that


hosts all projectors and relevant technologies. Theoverall space where this hardware is gathered over-laps with the archeological site, hidden to the viewerbut nevertheless present. Furthermore, new spatialentities host exhibiting material.

From an experiential point of view, the fact thatthe artifacts are not frozen in time, and reveal in theirtotality to the users. This adds to an overall effort ofmaking visitors get themaximumof their experiencein theplace, and reinforce the culturalmemory, in thecontext of which ”the distinction between myth andhistory vanishes” (Assman, 2008, p. 113). In this way,the aesthetic decisions reconcile a memory, an iden-tity, and build in the visitors’ consciousness the ideathat all data belong to a specific cultural community.

Other results deriving from the case studies arethe following: a) the creation of a visual connectionamong the different places where projections hap-pen simultaneously; b) the transformation of regularvisitors into active participants in an emotional ex-perience; and, c) the transformation of regular visi-tors into active participants in a learning experience.All the above allow for the creation of an interdisci-plinary knowledge scape and of a reinforced experi-ence.

CONCLUSIONSWe have proposed a contribution to the field by analyz-ing the three case studies from the user’s point of view.It emerges from all cases that the implementation ofICT in the specific cases brings a different experience ofthe sites that could have implications in many differentstates (e.g. emotional, psychological, physical, etc). In allcases, the exhibited areas transform to ‘smart spaces’ fullof meanings of the past, mixed with the technology ofthe present. In Ara Pacis, the AR layer creates two noveldigital spatial perceptions and a number of new move-ment flows and people densities throughout the build-ing. In the Ex Cinema of Augustus ICT revive and revealto the observer new ways of understanding and analyz-ing the history. The new digital designed layers, pro-jected onto the physicalmodels and assisted by 4D tech-niques, contribute to a sense of participation to a mu-seum exhibition. Lastly, in the Forum of Augustus, theaudiovisual projections present the thickness of mean-ing that exists behind the frozen in time monuments,thus, contributing to a renewed sense of identity, ori-gins, and knowledge for all visitors. Although the new

digital layers are constructed with the aim to add detailsto themonuments, in the end, they create anewmethodof enhancing the interaction between user and monu-ment. This method brings a different experience of thesites that could have philosophical implications and istherefore suggested as important to study and experi-ment.

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