Unlocking cultural heritage: leveraging georeferenced tools and open data for enhanced cultural tourism experiences.

This article underscores the importance of digitally preserving and accessing Cultural Heritage through techniques like 3D modelling, WebGIS, and cloud storage. It explores collaborative efforts using crowdsourcing and Linked Data initiatives. The second part focuses on integrated digitisation strategies, advocating an integrated approach involving computer and human sciences, addressing tangible and intangible heritage, globalisation's impact, and UNESCO guidelines. The article shares insights from the research group's experiences in digitising Cultural Heritage, encompassing projects at territorial and urban scales. These initiatives encompass diverse documentation methods, 3D modeling, and innovative technologies for disseminating data and creating virtual experiences. Ultimately, the article concludes by underlining how digital technologies have the potential to enrich Cultural Heritage, for example fostering sustainable tourism.


INTRODUCTION
The digital image of Heritage is now vital to ensure its protection and preservation; the preservation of digital data is an important issue so that its value is not lost even if the physical structure is damaged.Therefore, in recent decades, Cultural Heritage Institutes worldwide have made considerable efforts to digitise sites, artefacts and historical documents to ensure the preservation of digital data and the possibility of online access.Numerous research projects in recent years also demonstrated the great capabilities of web-geographic information systems (WebGIS) for the online representation and dissemination of data related to Cultural Heritage [1].
The dissemination of 3D modelling techniques has also become an important tool for heritage conservation specialists.One of the reasons is the increasing diffusion and accessibility of digital surveying techniques such as laser scanning and SfM photogrammetry (Structure from Motion), which can efficiently and accurately document small artefacts and entire complex assets [2][3][4].3D models are used to disseminate spatial and morphological characteristics and in specific practices to conserve and restore artefacts.There are also interesting applications, for example, in GIS (Geographic Information Systems) database [5,6], for the visualisation through AR (Augmented Reality) and VR (Virtual Reality) [7] of objects of interest also for purposes related to musealisation, tourism, research and teaching [8].Web repositories, WebGIS platforms, and cloud-based storage are also emerging for long-term storage, visualisation, and analysis of Heritage 3D models.Research in this area aims to define methodologies for the online repository of Cultural Heritage related data using free and open-source technologies [9].In addition, over the last twenty years, emphasis has been placed on the importance of the opportunities offered by the interconnection and interoperability of data being uploaded to the network, integration into a common documentation framework from heterogeneous sources and a standardised description of the resources available online.The spread of unstructured information on the web has led Tim Berners-Lee to develop the so-called Semantic Web.The Semantic Web project aims to create a standard format to describe online data, giving rise to a network of mechanically and semantically readable documents expressed through appropriate languages [31].This project has been further formalised through the Linked Data initiative that promotes the release of datasets in an interconnected semantic data network.The role of users as data producers has also become crucial, particularly in the collection of geographical data.The synergy between crowdsourcing, VGI (Volunteered Geographic Information) and Semantic Geospatial Web has produced several large-scale collaborative projects such as Wikipedia, which is the most famous text crowdsourcing project, and OSM (Open Street Map), which applied the wiki template to create an open world vector map.Several Geo-Knowledge Bases have been created by structuring existing datasets in formats suitable for dissemination on the Semantic Web, such as the LinkedGeoData, Geonames and GeoWordNet projects [10].
This paper collects considerations and scientific updates gained within the different projects conducted in the Digital Survey Laboratory of the Department of Architecture, University of Florence, directed by prof.Stefano Bertocci.Within the Laboratory several researchers, including the authors of this contribution, carry out different research projects.
In the following paragraphs are presented, in addition to the theoretical and methodological basis for an appropriate approach to the issues of Heritage, three experiences realised by our working group.These experiences are related to the digital documentation of Cultural Heritage and have a multi-scalar approach: they involve territorial aspects on an international scale, such as the European project F-ATLAS, on an urban scale, such as the Historical and Traditional Shops in Florence city Centre project, and on an architectural scale, such as the Theater of Maggio Musicale Fiorentino survey project.These projects have produced a considerable mass of georeferenced data that has found interesting developments through the potential offered by the (geospatial) Semantic Web for the use and interconnection of online databases.For this reason the results are presented as different methodologies of experimental approach to the various topics dealt with, and are not yet in a definitive format.

GEOREFERENCED INSTRUMENTS FOR CULTURAL HERITAGE
Tangible Cultural Heritage -such as monuments, sites, artefacts, and historical maps -is often exposed to various natural disasters, such as earthquakes and floods, and to risks caused by man.An increasing number of public institutions have adopted the principles of Open Data for the publication of data through ontologies, which are readable by machines and linked to external data sources.
The cultural heritage sector, as previously stated, has implemented specific ontologies such as CIDOC-CRM.Examples of platforms worldwide include Wisski1 , Arches2 , ResearchSpace3 , Omeka S 4 , which allow Heritage data to be uploaded as linked data [1].A similar small-scale project is the National Library of Scotland, the Edinburgh Parallel Computing Centre, the National Galleries of Scotland and the Digital Preservation of Coalition.The project name is Cloudy Culture 5 .It aims to investigate the potential of EUDAT cloud services for the storage and accessibility of Cultural Heritage data hosted in the National Library of Scotland and Scotland's national galleries --containing digital data such as maps, books, articles, images, that require secure digital preservation [11].
The European Union has been funding the Europeana6 platform since 2008, a cloud infrastructure that contains a large collection of digitised objects from European institutions and organisations and provides a shared cloud infrastructure for the aggregation and exchange of Cultural Heritage-related data.To this end, it offers services such as unique identifiers for individual records, storage and access for heterogeneous data, annotation services for records, and tracking of changes made to records [12].CulturalERICA (Cultural Heritage Conversational Agent) is a project that aims to improve the digital exploration of Cultural Heritage through interaction technologies based on natural language, exploiting the semantic knowledge base of Europeana.CulturalERICA provides an interaction interface implemented through Google DialogFlow 7 , while data is retrieved from the Europeana platform via REST API [13].
In Italy, the Emilia Romagna region has financed the project SACHER 8 (Smart Architecture for Cultural Heritage in Emilia Romagna) as part of the European Regional Development Fund.It is a cloud-based, open-source, federated platform for managing various aspects of tangible Heritage, such as the lifecycle management of 3D models for Cultural Heritage and a search engine for retrieving data from heterogeneous sources.The platform offers services to both industry professionals and the public, leveraging 3DHOP (3D Heritage Online Presenter) as a visualisation framework for 3D models and incorporating a Google map through which places can be searched by name, address and type of building [14].CNR-ITABC (Institute for Applied Cultural Heritage Technologies), in collaboration with ARIADNE and E-RIHS, has developed a cloud-based modular architecture to allow archaeologists to process and visualise 3D landscapes.This architecture was built on a Owncloud 9cloud platform and provides a desktop client and an app to upload and manage data.The platform leverages the webGL-based tool Virtual Planet Builder10 to allow users to upload, process and display elevation data on GIS as digital elevation models (DEM), possibly accompanied by a brief description [15].Another related large-scale project is INCEPTION 11 (Inclusive Cultural Heritage in Europe through 3D Semantic Modelling), funded by the European Union under the Horizon 2020 programme.One of the objectives of this project was to semantically enrich 3D digital models of Cultural Heritage using technologies related to H-BIM and Semantic Web [16].Then there is the project 3D-IMP-ACT 12 , which has implemented an architecture that offers a WebGIS platform containing 360°photos and 3D models for the remote exploration of digital Cultural Heritage.The project aims to create a "virtual network" of architectures and historical sites using for the WebGIS platform the QGIS Server and postGIS database, and for the front-end rendering of the map the Lizmap13 application [17].

MULTISCALE APPLICATIONS FOR DIGITISING TANGIBLE AND INTANGIBLE CULTURAL HERITAGE
Cultural heritage documentation requires an increasingly integrated approach between computer and human sciences.The management of cultural heritage is a highly debated topic, especially in a country like Italy [18], which holds the world leader for the most significant number of historical, traditional and cultural sites, including monuments, museums, archaeological sites (MiBACT, 2023) and also UNESCO cultural sites (Italy-UNESCO WHL, 2023).Cultural heritage is made up of physical elements such as buildings and monuments and customs and behaviours that have been handed down through the generations.These traditions and their constant renewal are the engines that keep a site's cultural process alive over time and constitute its crucial element of irreproducibility.The globalisation and social transformation processes have put this heritage at risk of disappearing.The link between intangible and tangible cultural heritage and natural assets has been ignored for a long time, sometimes leading to architecture surviving despite the social value, slowly transforming cities into large open-air museums ready to welcome tourist flows.The UNESCO "Convention Concerning the Protection of the World Cultural and Natural Heritage" of November 1972 marks a turning point in international policies in the field of heritage protection and enhancement, introducing the tool of the list: an inventory of natural and cultural sites which meet the selection parameters defined by the convention and which can enjoy protection, funding and broad visibility at a global level [19].Starting from 1977 with the periodic definition of the "Operational guidelines for the implementation of the World Heritage Convention", two new definitions were introduced: "mixed heritage", which has both the characteristics of cultural and natural heritage and "cultural landscapes", understood as joint creations of man and nature.These definitions, which initially met with great success, involving and sensitising many countries and including numerous sites and monuments on the list, have shown weaknesses over time.In particular, the definition of cultural heritage, which provides for the possession of an exceptional value in the context of human history, art, science or aesthetics, has proved to be weak precisely in the questionable parameter of "exceptionality", and the Eurocentric vision has been harshly criticised.
The UNESCO guidelines supported architecture at the expense of other conceptions and cultural values widespread in large areas of the planet, such as Africa, Asia, Latin America and the Pacific region [19].Many countries -especially those in the Far East, South America and Africa -recognise traditional and oral culture as one of the main manifestations of their cultural heritage and society.Since the 1990s, UNESCO has taken the first steps in recognising and preserving intangible cultural heritage by identifying the Living Human Treasures in 1993 and with the Masterpieces of the Oral and Intangible Heritage of Humanity in 1998.In 2003 it made a further important step in protecting cultural heritage by adopting the "Convention for the Safeguarding of the Intangible Cultural Heritage".The convention recognises intangible heritage as a fundamental element for maintaining cultural diversity and a promoter of intercultural dialogue.With the introduction of the term "intangible cultural heritage", UNESCO does not intend only to move from the material to the immaterial dimension but aims to recognise cultural expressions as cultural processes in their entirety and complexity, to be considered dynamic over time and in use [20].The 2003 Convention raises the question of what we want today and must consider heritage to preserve those local cultural aspects to be handed down to future generations.However, the strong attraction of UNESCO recognition requires the development of heritage management strategies that also involve the tourism industry, which often intervenes negatively in the authenticity and survival of cultural events [21].

Digitisation Strategies for cultural tourism experiences
We live in an era strongly characterised by a cultural approach towards the surrounding environment, following the concepts of Landscapes and Cultural Places highlighted by UNESCO and ICO-MOS.The diffusion of ICTs (Information and Communications Technologies) allows the transmission of information everywhere and, based on the choice of the type of use, has made it possible to address them to different types of users and connect this data to the global network [22].The data acquired during the census and the digital survey campaigns carried out during the field research activity make it possible to set up an integrated and georeferenced three-dimensional database useful in the management and planning phases.The development of analytical protocols and methodologies for acquiring data relating to Cultural Heritage, combined with the processes of modelling and displaying information remotely through the use of suitably optimised point clouds and the inclusion of multimedia content within the virtual environments, allow the development of narrative systems fundamental for the dissemination of heritage [23].Remote access to information promotes safeguarding through disseminating knowledge to develop sustainable, inclusive and flexible memory conservation strategies that allow cultural heritage to be managed and made accessible to various users [24].The continuous creation of content has generated digital databases rich in data, often linked together through textual tags, which pivot on the UGC (User-Generated Content) system and refer to the concept of citizens as sensors [25] introduced with Web 2.0 [26].As far as the city and the territories are concerned, this data allows us to document its evolutionary dynamics constantly, constituting an archive that facilitates controlling its variations over time.
The ever-increasing diffusion of technologically advanced devices allows sharing of research data with an ever-wider audience.This possibility highlights the need to develop new communication tools and systems that make data accessible even to a more mass-based user [27].
In Italy, we must recognise heritage's substantial impact on the social development of cities and the potential it can demonstrate in managing tourist flows, particularly in cities of art.However, tourism has an "ambivalent character" (Lanzarote Charter, 1995): it can potentially act as a possible cause of environmental and social degradation if not adequately controlled, or it can, alternatively, be a fundamental element for the protection, promotion and recovery of local traditions [28].The centrality of the local community must be considered to identify and propose innovative methods for the sustainable enhancement and promotion of local realities, combining the protection of heritage and welcoming visitors with the economic development linked to local activities.With COVID-19, the concepts of E-Tourism are strengthened, which implies the development of web platforms and Virtual Tourism through Augmented and Virtual Reality technologies as powerful means of knowledge and communication.These new systems, which start from urban planning and management systems to arrive at promotion and incentive strategies for local culture, are based on the IoT (Internet of Things) paradigm, i.e., the transformation of cultural heritage from an inanimate object to a SCO (Smart Cultural Object), source and recipient of advanced information.The progress of web systems allows the development of user-generated content systems, i.e., to stimulate users, who can be researchers, inhabitants or tourists, to actively participate in creating, sharing and collecting web content, transforming them from passive users to active users.Establishing this virtuous data management and sharing system implies the development of a platform that allows collaboration between the parties involved and a dialogue between the heterogeneous data collected.

Applications
The research group of the DIDA -Department of Architecture of the University of Florence, coordinated by Prof. Stefano Bertocci, has dealt with numerous research activities that address the digitisation of Cultural Heritage.In the context of scientific research on the digitisation of Cultural Heritage, the documentation methodologies of the built environment allow the development of highly reliable and descriptive three-dimensional models comparable to digital twins, which can exploit the potential of Augmented and Virtual Reality technologies.The integration of these technologies allows the development of tools for disseminating data collected in scientific research and to improve the classic workflow between researchers, providing realistic 3D models that can be implemented and navigated remotely.The 3D laser-scanner survey has developed a lot in recent years, allowing the processing of highly reliable point clouds with increasingly descriptive data.Similarly, the integrated use of the photogrammetric survey with SfM/IM techniques (Structure from Motion/Image Matching), both close range and UAV (Unmanned Aerial Vehicle), allows you to develop textured 3D mesh models that return a photorealistic model.Thanks to the improvement and dissemination of AR and VR technologies, now easily accessible to the public, the large amount of data collected by laser scanning can be used to create virtual environments and process the large volume of data acquired by LIDAR (Light Detection And Ranging) systems to visualise the dataset realistically and engagingly using different devices such as smartphones or tablets [29].The workflow can significantly improve research in cultural heritage conservation, archaeology, architecture and engineering and offer opportunities to disseminate culture in a widespread and more accessible way.The activities carried out by the research group range from the study of the networks between settlements at a territorial level to reconstructing through the investigation of individual case studies networks and connections that relate a context to the broader international framework.They also address the issue of integrating archival sources and reconstructing the intangible and tangible aspects of architecture and the city.

Territorial scale -F-ATLAS project. The European project F-ATLAS envisaged the development of innovative methodologies
for documenting cultural heritage by deepening the case study of the convents of the Franciscan Observance in Italy, Portugal and Spain.The research aims to define an "atlas" of documentation and knowledge for conserving, protecting, and promoting this scattered cultural heritage.The remote location of these buildings and their connection with the surrounding landscape and territory instances the issue of peripheral and abandoned areas and contributes to defining a map of criticalities.The proposal aims to combine traditional and innovative techniques to develop risk assessment methodologies, protocols, and tools and to create userfriendly interfaces for managing and enhancing Cultural Heritage.The expected outcomes will facilitate awareness of European citizenship based on sharing shared values and achievements.They will promote an understanding of Europe's history based on its physical, intangible and natural heritage.

Urban scale -Historical and Traditional Shops in Florence
City Centre.The documentation project of Florentine historical and traditional economic activities is a good starting point for experimenting with an overall museum system in the historic centre of Florence.The systematisation and implementation of the digital archive and the vast and heterogeneous amount of data collected during the six years of the project on over 350 stores, combined with the collaboration network established through commissions and the direct involvement of shopkeepers, are an ideal prerequisite for this purpose.The heritage of historical shops survives through the collaboration of the community and is strongly influenced by the tourist demand of the city.From this point of view, the research shows interesting development possibilities through structuring an Internet-based interactive virtual experience [30] to incentivise cultural tourism of historical activities through integrating new information technologies of Virtual Tourism.The correct structuring of the interactive database makes it possible to exploit the web technologies of linked and open data to return information to citizens and tourists, encouraging the active digital participation of the various players involved.The contents of the web platform can include the simultaneous presence of multimedia data such as photos and videos, information data, Virtual Tours 360, three-dimensional models up to UGC and features for the promotion of personalised tourist itineraries.The Virtual Tour becomes a fundamental knowledge tool by exploiting digital technologies and their interconnection to the database.It goes from a simple virtual reconstruction to a means of communication and cultural promotion of the heritage.

Architectural scale -The Theater of Maggio Musicale
Fiorentino.The Teatro del Maggio Musicale Fiorentino case study in Florence (Italy) was investigated in the European project AURA context.The challenge of the AURA project has been creating multisensory models with reliable performance in acoustics, graphic rendering and virtual reality to support and encourage business opportunities related to musical heritage and its communication and dissemination.Three emblematic European case studies have been examined to test and develop a methodology for theatrical venues' digitisation, virtual reconstruction, and auralisation.The three case studies identified -the Berlin Konzerthaus, the Lviv Opera and Ballet Theater and the Teatro del Maggio Musicale Fiorentinopresent architectural and functional differences that influence the choice of analysis methodology and technical tools to be applied.The workflow implements different 3D modelling methods for the three case studies based on reality-based digital surveys and semantic classifications of the elements present and their respective materials to study their acoustic characteristics and implement the results within auralization processes, a technique for recreating virtual soundscapes responsive to the acoustics of the real place.The acoustic reconstruction of the various main hall venues was combined with the virtual reconstruction of 3D models within specific Game Engine platforms, where immersive VR experiences were developed.The study continued through the analysis of the archival

METHODOLOGIES
First of all, in the field of Digital Humanities, it is important to reflect on the workflow to follow for the structuring of the project.Tomasi [31] provides guidelines to follow in drafting a DH (Digital Humanities) project.These are indications to be considered valid for the drafting of any project, but they contain good practices specifically applicable to the design of digital products: • Analysis.During the initial phase, the project's objectives are defined: the aims of the research, the users -or userstype, the methods of access to the platform, the contents to be inserted, the sources and the formats for their retrieval.• Evaluation of existing and networked similar projects.
• Construction of data collection.Data types, relationships and standards of representation should be considered, metadata reference standards and controlled vocabularies should be verified and understood if it is possible to categorise resources based on pre-ordered types.• Data structuring and modelling.It is necessary to reflect on the opportunity to use markup systems, to use a database, and to enhance the database through semantic technologies.
• Creation of a map and a diagram.Based on the content analysis, it is appropriate to produce a concept map that connects the concepts underlying the content of the resources, but also a dependency scheme, to establish the hierarchies of the pages of the Web product.• Interface definition, interface and service usability verification.You must address all those issues concerning the UX/UI (User Experience/User Interface) design.• Explanation of the bibliography.It is important to ensure that the user has the opportunity to verify the bibliographic references and the sites necessary to understand the origin of the resources present in the project.
Another aspect to consider in the design phase of the processes leading to the final product is using FAIR data (Findability, Accessibility, Interoperability, Reuse) [32].This is the strategy aimed at disseminating open data, which has as its cornerstone availability, accessibility, interoperability and reuse for producing open data.Their identification must be unambiguous to be findable, open protocols are encouraged for maximum accessibility, standard metadata and controlled vocabularies for interoperability must be used, the data must be published with open licenses and a declaration of origin to ensure proper reuse [31].In the elaboration of projects, FLOSS software should be used, which is free and open source.

Target users
In defining the destination users, some considerations must be made to understand which tourist types should address the final product.It is a rule that, before building any product, it identifies the public to be addressed with a segmentation operation or separation of population groups based on relevant aspects.The segmentation strategies developed in recent decades in the field of Communication, related to socio-demographic factors, psychographic ones or those related to lifestyle, are also useful to define the types of tourism and target groups [33].In particular, Giacomarra [33] lists some tourist practices: holiday, weekend, spa tourism, student tourism, religious tourism, congress tourism, sports tourism, cruise, tourist village, farm, travelling holiday, food and wine tourism, and cultural tourism.
Taking up the typologies proposed by Giacomarra [33], applied for example to the F-ATLAS case study (as illustrated in paragraph 3.2.1), it is possible to assume that the target tourist users are substantially linked to cultural tourism -related to tourist itineraries and cultural routes, in the function of cultural deposits within which tourist flows of groups and individual visitors move; the religious dimension -which takes the place of the ancient pilgrimages that took place in successive stages and tend to preserve the community dimension; the travelling holiday -an individual or family tourism, free and seemingly spontaneous.
Given the above considerations, it is important to select data which can only depend on the chosen audience [33].To promote slow and sustainable tourism, for example, it is important to remember the intrinsic nature of the places as architectural, religious and landscape complexes inserted in a certain context and as part of a local community of inhabitants.The process of developing cultural tourist goods involves the transformation of the existing Cultural Heritage into a tourist product and, thus, transforming Community resources and residents into active or passive participants in tourism, sometimes without their consent.Therefore, the success of this transformation process involves balancing the legitimate needs of tourists and residents [34].
4.1.1The language of tourism.To understand the meaning of the language of tourism, it is advisable to start from some notations regarding the sectoral languages.In recent decades, linguists have addressed the theme of "special purpose languages", highlighting the crucial role that the specific purpose language aims to achieve.They are "functional-contextual varieties of the language", limited to the particular professional field or disciplinary field, distinct from the common language by the specificity of the lexicon used and the high frequency with which some rules and elements of the common language appear in them.In principle, it can be said that a special language is not a linguistic variety with its structure, but is distinguished from the common language mainly by the lexical variety, determined by the specificity of the contents and the knowledge shared among the operators of a particular sector [35,36].A further characteristic of the specialised languages is their "vertical variation": they are not circumscribed, therefore passing from the professional communication and the technical-scientific discourse, both understandable only by experts in the field, to those whose meaning is also accessible to a non-specialist audience [35].Calvi [37] identifies three degrees of specialisation of the sectoral language, namely "communication between experts", "communication between experts and non-experts", and "communication between experts and the public".In the first case, there is a high density of concepts and specific terminology, with expositive-argumentative texts; in the second case, the main function is teaching, with content and specific terminology simplified; in the third case, there are texts of a popular nature with a simpler language and free from excessive technicalities.

Data gathering
The specific objective of the research mentioned in paragraph 3.2 is linked to disseminating Heritage to make it known to the nonacademic public.Its enhancement also passes through adequate preservation and inclusion in tourist routes.In addition, the data collected and processed to obtain 3D colour point clouds, textured mesh models, two-dimensional and three-dimensional graphs, images and short videos can support the dissemination of Heritage through the Web.Of course, these data must be selected beforehand and properly filtered to meet the needs of the "heaviness" of the files used on the Web.
During the early stages of the research, the team conducted historical research to understand the context in which the case studies developed.The objective was to analyse the relationship between this context and the artistic and architectural features.The research involved the collection and critical analysis of the existing bibliography and an evaluation of archival sources.The general objective was to develop a research methodology on the evolution of the case studies over the centuries and their relationship with the local territory and culture.This methodology had to be integrated with the architectural surveys carried out on-site.Subsequently, the researchers used the integrated digital survey to create threedimensional representations of the architecture at different detail scales.Cataloguing forms have also been compiled to census the individual case studies.The methodologies adopted, in line with international practices of digitisation of Cultural Heritage, have been carried out in reference to previously published research work.

Data structure and model
Nishanbaev et.al [31] propose an architecture for integrating digital models 3D, LOD and raster data.The goal is to improve the digital fruition of the Cultural Heritage, using cloud-based WebGIS technologies and enriching three-dimensional models with LOD (Linked Open Data) -belonging, for example, to Dbpedia and Geonames.This allows users to interact with digital maps, view 3D digital models and explore the LOD, which offers additional information about the selected Cultural Heritage site and external Web resources.
This methodology for producing geospatial LOD for Cultural Heritage can be applied to the specific case of the research and is divided into three fundamental sections.
• Server-side: cloud computing runs on virtual machines on Amazon's Amazon Web Services platform.The back end is then operated through KeystoneJS, a FLOSS content management system based on databases (mongodb), which allows you to program APIs.In this way, 3D models of point and mesh clouds are stored on the Amazon Web Services platform, while the associated metadata are stored on mongodb.NGINX, a FLOSS Web server, is an intermediary between KeystoneJS and clients.

Final products
The final products, as mentioned, have dissemination and promotion purposes and are aimed at a tourist user with a fairly wide range of characteristics in terms of age, particular interests and objectives -it is not a specialised user.It is appropriate to follow certain criteria in the design, which affect the choices of layout and content: the interface must be simple and intuitive, the information provided must be sufficient but not excessive, and the vocabulary must be appropriate but not overly technical.With the described methodology, it is, therefore, possible to obtain digital products useful for the dissemination of information of various kinds to a tourist end user.These products, adaptable to different scales of detail describing the assets, have a high degree of effectiveness in terms of communication to the public, exploiting the visual products obtained from the integrated digital survey (3D models, technical drawings, images, photos, videos, ...), as well as the possibility of making these databases dialogue with others available online, exploiting the potential offered by Linked Open Data.

CONCLUSIONS
Of course, effectively representing these data collections -especially with a view to possible future integration -requires a holistic approach to project structuring, from the first stages of data acquisition and selection to its presentation to the end user.The critical process of structuring the project workflow for a digital product involves the management of certain aspects such as project analysis and goal setting, evaluation of existing similar projects, construction of data collection, structuring and modelling of data (and database), creation of a concept map and a dependency scheme, definition of the user interface, explication of data sources.
In the specific case of designing a digital product for a tourist end user, the role of the Survey discipline is of fundamental importance in the data acquisition and processing phases.Accurately planning the data collection campaigns related to the case studies, carried out in parallel with the historical research and archive operations, allows to obtain the digital elaborations that comprise the database.Such products are heterogeneous and include textual documentation, three-dimensional models, images and videos, and geospatial information.To load these data on the Web, they must be properly processed to be readable by the machines and integrable into the existing Linked Open Data networks.File formats without structure and semantics are fragmented in the archives in which they are contained and, in practice, unusable if not locally, limiting the ability of users to contextualise this information in distributed repositories.The use of standards related to the geospatial semantic web is therefore strongly recommended, as it will allow the creation of more accessible, interoperable and reusable Cultural Heritage data.Semantics seeks to express knowledge objectively as a set of relationships, constraints and rules, that is, as metadata surrounding real data that can be easily manipulated, interrogated and integrated.In particular, for a tourist, therefore belonging to a general user and not specialised in any specific sector, the representation on a territorial scale is functional because it allows framing the territory entirety, moving inside and visualising at the same time all the present points of interest.Equally useful are the 3D models and the Virtual Tours that can be navigated remotely, as they allow the user to view the entire conventual complex or parts of it without constraints or following a guided path.

Figure 1 :
Figure 1: Multiscale applications of digital survey for Cultural Heritage.The graph shows some results of two multiscale research projects.The European project F-ATLAS (under territorial systems) dealt with documenting the heritage of the Franciscan Observance in Italy, Portugal and Spain, elaborating GIS maps linked with the data collected during archive research and digital surveys.The research project on the UNESCO Historical Centre of Florence has investigated different realities, addressing the theme of tangible and intangible cultural heritage, in particular by deepening the theme of historic shops, ranging from the know-how of production techniques to the shop as an architectural structure up to its relationship with the urban surroundings.Credits: Federico Cioli.

Figure 3 :
Figure 3: GIS map and database structure of documentation project to enhance Florentine historical shops and traditional commercial activities.Credits: Federico Cioli.

Figure 4 :
Figure 4: Digital reconstruction of 1937 Othello's historical scenographies preserved in the historical archive of Maggio Musicale Fiorentino.Credits: Enrica Cosentino.

Figure 5 :
Figure 5: Mockup of a portal for touristic purpose, with an interactive map of the Observant convents in Umbria, with connection routes and 3D models visualisation.Credits: Anastasia Cottini.