Muzeum im. Adama Mickiewicza w Śmiełowie - w stronę współczesnej koncepcji muzeum z wykorzystaniem technologii digital twin

Barbara Świt-Jankowska

doi:10.37190/arc240307

Streszczenie

Współczesne wymagania i dynamiczny rozwój technologiczny, szczególnie w obszarze sztucznej inteligencji i metod maszynowego uczenia, stawiają przed nauką konieczność adaptacji i weryfikacji dotychczasowych metod. Obejmuje to również dziedziny związane z historią architektury oraz ochroną dziedzictwa kulturowego. Coraz większą popularność zdobywa koncepcja digital twin – wirtualnej kopii obiektu zabytkowego, która umożliwia głębsze zrozumienie jego struktury i optymalizację procesu ochrony oraz eksploatacji. Celem autorki artykułu była analiza potencjału digital twin w kontekście zabytkowych obiektów muzealnych, gdzie zbiorom muzealnym często przysługują odrębne zasady ochrony. W pracy omówiła ona aktualny stan badań nad cyfrowymi bliźniakami, w tym wyzwania związane z tworzeniem dokumentacji HBIM oraz problemy, z jakimi mierzą się współczesne muzea. Przedstawiła także wyniki przeprowadzonych w latach 2022–2024 badań nad pałacem w Śmiełowie, będącym siedzibą Muzeum im. Adama Mickiewicza. Tradycyjna dokumentacja techniczna posłużyła jako podstawa do prac badawczych, konserwatorskich oraz planowania dalszej rozbudowy muzeum, a także stworzenia nowej cyfrowej ścieżki wystawienniczej. W konkluzji podkreśliła perspektywy rozwoju w kontekście koncepcji „muzeum w zabytku” jako innowacyjnej formy prezentacji dziedzictwa kulturowego. Współczesne muzeum w zabytku powinno łączyć tradycję z nowoczesnością, a „cyfrowy bliźniak” może stanowić pomost pomiędzy przeszłością i teraźniejszością, dostarczając zwiedzającym niepowtarzalnych wrażeń.

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2024

3(79)

Barbara Świt-Jankowska*

Adam Mickiewicz Museum in Śmiełów

– towards a contemporary museum concept

using digital twin technology

Introduction

The requirements of the modern world and extremely

rapid technological development in recent years (especial-

ly in the eld of articial intelligence (AI) and machine

learning methods), as well as increasing access to high-per-

formance equipment, mean that almost every eld of sci-

ence must verify previous methods and adapt to the chang-

ing environment. It also applies to research in the eld of

history of architecture and (especially) heritage protection.

The use of a virtual copy of a historic object, the so-called

digital twin, in order to better understand its structure and

plan the appropriate protection and exploitation process

has appeared in the subject literature relatively recently,

DOI: 10.37190/arc240307

Published in open access. CC BY NC ND license

but it has aroused great interest, both among researchers,

decision-makers and owners of historic monuments. The

point of view most often taken by specialists concerns the

analysis of the possibilities oered by the creation of a dig-

ital twin for the protection of a historic object (preserving

its existing condition), conducting research and increasing

the eciency of activities aimed at its conservation or res-

toration. The purpose of this study is to attempt to analyse

the possibilities oered by the digital twin concept in the

case of a historic building housing museum collections,

which are usually subject to their own principles of pro-

tection and exploitation. Additionally, in some cases, the

exhibition may itself become a pretext for creating a virtu-

al representation of reality, thus expanding the main issue

to include the relations between two separate databases.

Creating a digital twin in the case of a historic building

that simultaneously performs museum functions allows for

increasing the eciency of planned activities which brings

* ORCID: 0000-0003-0683-7584. Faculty of Architecture, Poznan

University of Technology, Poland, e-mail: barbara.swit-jankowska@put.

poznan.pl

Abstract

Modern demands and dynamic technological development, especially in the eld of articial intelligence (AI) and machine learning methods,

require science to adapt and verify the existing methods. It also includes the elds related to the history of architecture and the cultural heritage pro-

tection. The concept of the digital twin – a virtual copy of a historic object which enables a deeper understanding of its structure and the optimization

of the protection/preservation and exploitation process, is gaining popularity.

The aim of the paper was to analyse the potential of the digital twin in the context of historic museum building, where museum collections are

often subject to separate protection principles. The current state of research on digital twins, as well as the challenges associated with creating HBIM

documentation and the problems faced by contemporary museums, was presented. The results of research carried out in 2022–2024 on the palace

in Śmiełów, a branch of the Adam Mickiewicz Museum were also presented. Traditional technical documentation served as the basis for research,

conservation work and the plans of the further expansion of the museum, as well as the creation of a new digital exhibition path.

The conclusion highlights the prospects for developing the concept of a “museum in a monument” as an innovative form of presenting cultural

heritage. A contemporary museum in a monument should combine tradition with modernity, and the “digital twin” can become a bridge between the

past and the present, providing visitors with unique experiences.

Key words: digital twin, HBIM, heritage protection, museum in a monument

66 Barbara Świt-Jankowska

mutual benets, both for the historic building and the ex-

hibition. The additional introduction of advanced solutions

related to virtual reality (VR) and augmented reality (AR)

may contribute to increasing the cultural heritage protec-

tion and greater social acceptance of activities undertaken

for this purpose.

The reason for undertaking the research topic was the

establishment of cooperation between the Faculty of Archi-

tecture of the Poznan University of Technology (WA PP)

and the National Museum in Poznań in 2022, concerning

the inventory of the historic palace in Śmiełów, currently

housing the Adam Mickiewicz Museum. Technical docu-

mentation prepared in the traditional way was to be the basis

for further activities in the facility – research, conservation

or restoration work and preparation of plans for the possi-

ble expansion of the museum with additional exhibition and

storage space, as well as, ultimately, the creation of a new

exhibition path based on digital technologies. In the sub-

quent years, WA PP has taken steps to prepare full digi-

tal documentation, including elements of creating a digital

twin of the palace and creating a database of the facility

(Historic Building Information Modelling – HBIM). This

work is being continued, and its progress depends on nan-

cial capacity and access to modern software and equipment.

The article presents the current state of research on the

creation of digital twin, also in the eld of historic build-

ings, and indicates the most important aspects related to

the creation of HBIM studies, as well as the challenges

faced by contemporary museums. The work undertaken

by WA PP at the palace in Śmiełów is also discussed. The

last part presents the conclusions from the conducted re-

search and research plans.

State of research

The integration of advanced digital technologies in

he ritage protection, such as digital twin or historic build-

ing information modelling (HBIM), has led to signicant

prog ress in the management, documentation and conserva-

tion of historic monuments. Interest in such approach and

methods of creating virtual copies has grown rapidly in re-

cent years: in 2016, there were only 29 scientic studies on

the topic, while by 2021 there were already 2997 (Kukush-

kin et al. 2022). Several factors have undoubtedly contrib-

uted to this progression – a huge role has been played by

rapidly developing technology and, above all, increasing

access to modern inventory methods such as LIDAR, pho-

togrammetry and TLS (Terrestrial Laser Scanning), drones

or 3D scanning (point cloud). The growing interest in the

virtual world is also a reection of general trends that have

dominated the modern scientic world – articial intelli-

gence (AI) and machine learning have raised the existing

possibilities of analysing collected data to a completely

new level, and allowed for easier and more pictorial (in-

tuitive) access to the information contained therein. One

sign of change in this regard may be the introduction of the

concept of “digital preservation” by the World Intellectual

Property Organization in 1996 and the Charter on the Pres-

ervation of the Digital Heritage published by the United

Nations Educational, Scientic and Cultural Organization

in 2003 (UNESCO 2003), which takes into account the

use of digital technologies to preserve cultural and histor-

ical values. Digital preservation is characterized by three

valuable features for heritage: it is non-invasive, relatively

simple and convenient. It also allows for the preservation

of the authenticity of experiences (preservation of form,

structure, materials and decoration).

Digital twin

The basic concept of the digital twin model, which in-

volves creating an exact digital replica of a physical object,

was created in 2002 and remains relevant despite the pas-

sage of time and the development of technology. Ac cording

to the denition developed by Michael Grieves and John

Vickers, a digital twin […] is a set of virtual infor mation

constructs that fully describes a potential or actual phys-

ical manufactured product from the micro atomic level to

the macro geometrical level (2017, 11). Based on the de-

nition presented above, it can be stated that there are two

models of digital twins – a prototypical physical artifact

(made before the construction of a given object) and a vir-

tual equivalent of a physical product (an existing object).

For the purposes of heritage protection, the latter model –

a virtual equivalent of an existing building, understood as

its copy – seems relevant

. This technology is increasingly

used to create dynamic models of monuments and arti-

facts, enabling real-time “exploration” of the model. Calin

Boje et al. (2020) emphasized that creating a digital twin

allows for active protection of cultural heritage sites, e.g.,

by simulating the impact of various environmental con-

ditions on their structural layout. A similar approach was

presented by Marco F. Funari et al. (2021), who examined

the benets of creating a digital representation of a historic

building for predicting and quickly counteracting poten-

tial construction disasters. Also of interest seems to be the

combination of digital twin with IoT sensors

that allow

for collecting data on the condition of the building in real

time, which further improves the accuracy of the model

and supports conservation eorts (advanced data analysis,

planning of conservation actions, response to threats). This

possibility seems particularly valuable when placing a mu-

seum collection in a historic building because it provides

the opportunity to take a comprehensive approach to the

monument and plan the exhibition at the same time.

HBIM

HBIM is a specialized form of building information

modelling (BIM) adapted to the needs of historic build-

ings. It consists in combining the 3D model with source

Some potential for heritage preservation is also provided by the

rst option – in the case of unbuilt objects, for which, for example, tech-

nical documentation or a detailed description has survived.

Internet of Things (IoT) – the concept of connecting all elements

that can transmit data (e.g., household appliances, sensors, embedded

systems, sensor networks, measuring equipment) within a single net-

work so that they can communicate, process and analyse collected data,

detect or prevent failures.

 AdamMickiewiczMuseuminŚmiełów–towardsacontemporarymuseumconceptusingdigitaltwintechnology 67

data that includes: the history of the facility, the transfor-

mation of its form over time, structural details, construc-

tion technology, data on the building materials used, con-

servation interventions, equipment and current use. This

combination allows the historical model to be enriched

with visualizations presenting the variability of the build-

ing over time (Götz et al. 2023). HBIM models are valu-

able repositories of historical knowledge supporting the

work of conservators and researchers – especially in the

case of monuments where direct survey is not possible

for various reasons (e.g., poor technical condition of the

building, possibility of irreparable damage, need for dem-

olition). Maurice Murphy et al. additionally emphasizes

the advantages of HBIM in documenting complex archi-

tectural details and supporting renovation projects (2011),

indicating that such an approach allows for better visual-

ization and analysis of construction problems and, in the

long term, facilitates making conservation decisions. An

important topic often discussed in the above context is the

need to integrate dierent methods of obtaining data on

the existing object. It was conrmed by Facundo J. López

et al. (2018), discussing the combination of laser scanning

and photogrammetry with HBIM, and Steven Götz et al.

(2023) in a detailed study showing the inventory process

of a historic villa in Sorrento, during which environmental

conditions (lack of access to a permanent power source,

partial submergence of structural elements) inuenced the

need for a creative approach to combining dierent mea-

surement and inventory methods.

The signicant advantages of applying HBIM technol-

ogy to heritage protection were also highlighted by Pierre

Jouan and Pierre Hallot (2019), especially in terms of the

ability to reconstruct buildings with irregular geometry

while maintaining the properties, attributes and interrela-

tions of structural objects, as well as the relationship be-

tween the physical object and digital data. According to

the authors, the main goal of HBIM is to improve the ef-

ciency of data management among various stakeholders

involved in heritage protection in order to increase its ef-

fectiveness while taking a cost-eective approach to the -

nancial resources involved in the process. Data integration

in HBIM is crucial for developing mitigation programs and

protection plans at each stage of the monument’s life cycle.

Most of current research emphasizes the need to manage

the entire life cycle of historic buildings – from their doc-

umentation, through condition monitoring, to conservation

and restoration projects. For this purpose, the use of digital

platforms for data management and cooperation between

various stakeholders involved in heritage protection is

preferred. The integration of modern tools and techniques

can enable more eective protection and preservation of

monuments, which is particularly important in the view of

growing dangers related to natural disasters and climate

change (Li et al. 2023). In this context, creating digital

twins can support key decisions regarding both conserva-

tion and management – exploitation of a historic building.

Digital models can be used for a variety of simulations and

analysis of various scenarios – from construction disasters

and climate protection requirements to planning the future

exhibition – both of the facility and its equipment, which

can be extremely important in the case of a museum locat-

ed in a historic building.

Contemporary museum in a historic building

in the context of digital twin technology

The application of digital twin and HBIM technology

to historic buildings housing museum exhibitions has re-

vo lutionized the approach to both the management of im-

movable resources (monument) and movable resources

(ex hibition). However, the specicity of this combination

requires understanding and cooperation of both stakehold-

ers. Here, we can refer to the title of the article by Franco

Niccolucci et al. The heritage digital twin: a bicycle made

for two (2023) – a tandem, a bicycle for two, on which

riding requires close cooperation between cyclists and set-

ting a common destination that is best for both of them.

The digital museum is both an opportunity to introduce

interactive and immersive experiences for visitors, as well

as support in the management, monitoring and mainte-

nance of exhibitions, especially in terms of event predic-

tion. The inclusion of integrated information about the ob-

ject and IoT sensors in this process allows for advanced

analysis of various protection options and nding solutions

that comprehensively address the often disparate needs of

both elements (monument + collections) simultaneously.

However, for this to be possible, it is necessary to take into

account the bidirectional data ow – some research works

on the creation of digital twins distinguish between three

types of them, emphasizing precisely the issues related to

the direction of data ow: the concept of the digital model

(no automated data ow between physical and virtual

counterparts), the digital shadow (automated one-way data

ow from physical to virtual counterparts) and the “true”

digital twin, which, according to Werner Kritzinger et al.,

is characterized by automated data ow in both directions

(2018). In the case discussed in this article, only the latter

version allows for full use of all the possibilities oered by

the digital twin concept. It should also be remembered that

a modern museum is not only buildings, collections, data

and their digitization. Over two thousand years of museum

history show how the purpose for which they operated has

changed: from ethereal inspirations of the Muses, to a place

of research on the past, centres of concentration, knowl-

edge and education, as well as meeting places and spaces

for narratives – stories about what memory has preserved.

Their contemporary role oscillates between two opposing

experiences from the past – storage of collections (a trea-

sury of artifacts) and a place of meetings and social inter-

actions combined with educational activities. By combin-

ing these two extremes, the museum becomes a space

where visitors can experience diverse emotions and specif-

ic, neuronal responses (Folga-Januszewska 2022). Modern

technologies, including widespread access to the Internet

and museum collections on the websites of individual in-

stitutions, paradoxically increase viewers’ interest in the

real exhibition. Research on this phenomenon (cybermuse-

ology) includes not only technical aspects related to the

use of modern methods of collection inventory, but also

discourse related to the changing needs of users, including

68 Barbara Świt-Jankowska

attractiveness of the museum. It should be noted at this

point that usually the elements of an exhibition are digi-

tized: individual artifacts, documents, etc. – less frequently

the places where they are exhibited. An intermediate ver-

sion can be created by the so-called virtual tour, based on

the technology of combining 360-degree panoramas – an

example of such a solution is, among others, the Louvre

(Musée du Louvre “Virtual tour”), the Vatican Museum

(Musei Vaticani “Virtual tours”), but a similar possibility is

also provided by the National Museum in Poznań, branch

in Śmiełów (National Museum in Poznań, Śmiełów “Vir-

tual tour”). The above solution allows to get acquainted

with the structure of the building only to a limited extent

– depending on the number of photos and the intentions of

the creator. Making a full digital model (point cloud, pho-

togrammetry, etc.) is denitely more labour – and cost-in-

tensive, but its advantage is full freedom in exploring the

object. This type of work is usually performed for a histor-

ic building, often requiring virtual reconstruction (Götz

et al. 2023). In the case of museum objects, we usually deal

with buildings in relatively good technical condition, but

the possibility of combining a digital model with gaming

software opens up entirely new possibilities of exploration

(Campanaro, Landeschi 2022). The combination of a digi-

tal model (in this case a Roman villa) with eye-tracking

technology (VR) allowed to record the body position, head

and eyeballs movements of virtual “guests” which can be

useful in a museum facility, for example, when planning

a new exhibition. Considering that 3D scanning technolo-

gies, photogrammetry and LIDAR are becoming more and

more common and available, it can be expected that the use

of digital twin for this type of application will increase. In

view of the above, WA PP started cooperation with the Na-

tional Museum in Poznań, aimed at creating a digital model

of the Adam Mickiewicz Museum in Śmiełów (a branch of

the National Museum in Poznań) and exploring the possi-

bilities and potential of various inventory methods, as well

as determining their potential for planning further expan-

sion of the museum and the virtual tour path.

Adam Mickiewicz Museum, Palace in Śmiełów

The palace in Śmiełów was built around 1797 on the

order of Andrzej Gorzeński, regent of Poznań municipal

government. He commissioned the construction to a well-

known Warsaw architect, Stanisław Zawadzki, who cre-

ated a classicist palace with two quarter-circular galleries

connected to the side in the Palladian style – a motif char-

acteristic of the residential architecture of Greater Poland

(Wielkopolska region) at that time (Fig. 1). The residence

in Śmiełów, surrounded by a picturesque landscape park,

forms a viewing axis with the complex of the classicist

church in Brzóstków. The stucco work in the palace inte-

riors was done by Michał Ceptowski, and the wall paint-

ings by two brothers: Antoni and Franciszek Smuglewicz.

Despite visible stylistic references to other realizations of

this type, e.g., in Racot or Sierniki, the palace in Śmiełów

is distinguished by original solutions in the decoration of

the façade of the main body of the palace, as well as in

the interior design – the lack of connection of the living

aspects of philosophical nature and conceptual foresight

(Leshchenko 2020). An increasing number of institutions

are establishing departments responsible for digital asset

management, and the rapid development of this eld is be-

ing discussed at conferences and in scientic publications,

covering a wide range of activities: from multimedia ele-

ments complementing traditional exhibitions, to mobile

tours and virtual exhibitions on websites, as well as meth-

ods of collecting information on collections and their dis-

semination (tablets, 3D prints, digital narratives). More

and more often, articial intelligence algorithms are being

used to present the collections, allowing for an increasing-

ly individualized visitor’s program, as well as augmented

reality, mobile applications, and social media interactions.

It allows for the creation of a platform on which a dialogue

between the museum and its guests is possible. In addition,

the sense of belonging and the ability to participate in dig-

ital narratives, interact with original artifacts in augmented

reality or communicate via mobile devices and digital plat-

forms creates a new dimension of the museum – a parallel

world in which digital twin technology, applied to its

premises, can be particularly helpful, especially if we are

dealing with a historic monument. In 2015, Danuta Fol-

ga-Januszewska wrote: The nature of the collections does

notdeterminepopularityandisnotafactorinuencingthe

interest of recipients. The way of interpreting the collec-

tions, creating an appropriate narrative, is of fundamental

importance (Folga-Januszewska 2015, 135). It shows the

importance of the way of presenting collections and the

ability to hit the users’ needs with the message

. In this

context, the museum becomes a setting for individual ex-

perience of visitors, who, supported by technology, can

customize the experience to their individual needs – and

the place where it happens begins to play a signicant

role

. The trend can be observed primarily during the cre-

ation of new facilities, in which the space closely interacts

with the exhibition and becomes its part, increasing its at-

tractiveness (e.g. the Warsaw Uprising Museum, the Mu-

seum of the Second World War in Gdańsk or the Silesian

Museum in Katowice). However, this approach is inher-

ently almost impossible if we are dealing with an existing

building – often a monument per se. In such a situation, the

possibility of creating a parallel, virtual model of the mu-

seum can, on the one hand, allow to change the way of

display in augmented reality, and, on the other hand, can

help to nd an optimal solution that does not negatively

aect the historic fabric of the building and harmonizes

with the needs of artifacts. Combining the needs of both

approaches allows for greater integration of the collections

with the place where they are presented and enhances the

An excellent example of this approach is the series on the history

of the servant Stefcia, carried out by the Zamoyski Museum on their so-

cial media. The series was created to bring the realities of servant life in

the 19

and 20

centuries closer. Joanna Adamek is responsible for the

script and direction; the actors are: Aneta Ćmiek and Michał Rudnicki

(Muzeum Zamoyskich “A series of short lms…”).

An example of this approach is the Groninger Museum in the

Netherlands – created by Frans Haks and Alessandro and Francesco

Mendini, opened in 1986.

 AdamMickiewiczMuseuminŚmiełów–towardsacontemporarymuseumconceptusingdigitaltwintechnology 69

room (occupying the middle of the garden path) with the

entrance part. In the years 1886–1939, the Chełkowski

family resided in Śmiełów and on the initiative of the last

owner, the body of the palace was expanded. One-storey

annexes were added to the side elevations of the main

body, the resulting rooms were connected to the older part

by doors in accordance with the existing enlade. A sec-

ond, lower terrace, lled with earth and owers, was also

added on the garden side. After World War II, the palace,

together with the farm, devastated and deprived of equip-

ment, was taken over by the State Treasury and used by the

local PGR (State Agricultural Farm). In its rooms, primary

school and apartments for teachers were located. The need

to adapt the interiors to new needs resulted in bricking up

of several openings and painting over the stucco as well as

its partial destruction (zabytek.pl “Zespół pałacowo-par-

kowy w Śmiełowie”).

In the following years, the palace underwent partial ren-

ovations (e.g., changing the roof tiles, partial replacement

of the rotten roof truss), and the preserved polychromes

(1955, 1967), the façade of the building (1956) and the

parquets (1956/1957) were also subject to conservation. In

1972, the building, in a condition requiring immediate pro-

tection of the its structure, was ocially taken over by the

National Museum in Poznań. Conservation work carried

out in the following years allowed the palace in Śmiełów

to slowly regain its former glory. The exhibition contains

valuable collections related to the poet Adam Mickiewicz

and his stay in Śmiełów in August and September 1831.

Additionally, there are also memorabilia related to Juliusz

Słowacki, Cyprian Kamil Norwid and the Chełkowski

family (zabytek.pl “Zespół pałacowo-parkowy w Śmie ło-

wie”).

In 2022, the Department of History, Theory and Heri-

tage Protection, headed by prof. dr hab. inż. arch. Piotr

Marciniak, undertook to carry out an inventory of the pal-

ace. Measurement work using traditional methods (range-

nders, tape measures, laser and water levels, photographic

inventory) was carried out partly as part of eld inventory

classes (RA 2021-22, 2

cycle studies, 1

semester, eld

of study: architecture).

During the preparation of technical documentation,

there were many problems related to the determination

of the correct geometry of individual parts of the palace,

which modern technology was harnessed to solve. LIDAR

technology made it possible to perform scans of problemat-

ic areas (Fig. 2), both from the interior and exterior. BIMba

Scientic Club under the supervision of Borys Siewczyń-

ski made a photogrammetric inventory of the front part

of the palace. Unfortunately, due to the large amount of

greenery adjacent directly to the walls of the outbuildings,

it was dicult to make a full photogrammetry of the pal-

ace body. The missing data was partially completed in the

autumn-winter season.

The collected information and the technical documenta-

tion previously prepared in 2023–2024 academic year were

used to create two digital versions of the building struc-

ture in Sketchup and Archicad, respectively. The work on

Fig. 1. Palace in Śmiełów – front elevation, 2022 (photo by B. Świt-Jankowska)

Il. 1. Pałac w Śmiełowie – elewacja frontowa, 2022 (fot. B. Świt-Jankowska)

70 Barbara Świt-Jankowska

the creation of the digital twins was conducted as part of

the conservation design classes (2

cycle studies, the fac-

ulty of architecture, 2

semester), in three student groups.

In addition to making digital models, students also famil-

iarized themselves with the collected historical information

and conducted their own source research and analyses of

the entire palace complex. In consultation with the head of

the museum, Dr. Emilian Prałat, a functional program was

created to expand the exhibition and to adapt the historic

palace building for contemporary needs (with particular

emphasis on the new educational and storage base and ac-

cessibility for people with disabilities). The proposals for

the reconstruction projects were presented during a joint

review of the works on 25.02.2024 and then forwarded to

the National Museum for further presentation and use.

In the summer semester of 2023/2024, as part of the

research studio classes (2

cycle of studies, faculty of ar-

chitecture), there was a science camp the aim of which was

to perform in-depth architectural research on the eective-

ness of partitions and the degree of moisture in the build-

ing structure, 3D scanning of the basement level and the

front of the building (Fig. 3). Based on the collected mate-

rials, a model of the basement interiors was made, which

will ultimately allow for the eective design of a new part

Fig. 2. The effects of using LIDAR technology during the measurement inventory of the palace in Śmiełów (elaborated by B. Świt-Jankowska)

Il. 2. Efekty wykorzystania technologii LIDAR podczas wykonywania inwentaryzacji pomiarowej pałacu w Śmiełowie (oprac. B. Świt-Jankowska)

 AdamMickiewiczMuseuminŚmiełów–towardsacontemporarymuseumconceptusingdigitaltwintechnology 71

of the exhibition, using modern technologies such as AI or

VR. The aim of the actions taken is to create a full digital

representation of the palace in Śmiełów, which will allow

for the connection of digital data with the historical data-

base and will support the operation of the building as well

as the organization of the exhibition placed in it.

Conclusions

Taking measurements using traditional methods (tape

measure, laser rangender, laser level/water scale) is as-

sociated with many problems resulting primarily from the

large number of tasks during work (the time spent in the

building) as well as the need for properly interpretation of

the obtained data and its multiple verication. The use of

the triangle method to determine the geometry of individual

rooms requires, on the one hand, high accuracy and experi-

ence from employees, as well as creativity when overcom-

ing diculties (existing permanent development, large-size

exhibits or lack of access to certain rooms). At the same

time, traditional measurements are subject to a high risk of

making small errors due to, for example, improper stretch-

ing of the tape measure or non-parallel laser measurement

– which means that when determining the geometry of the

building in the CAD system, it is necessary to make cer-

tain generalizations and adjustments. Traditional construc-

tion drawings (plans, sections, elevations) do not always

allow for a perfect representation of the complex building

structure, especially with regard to vaults, arches, staircas-

es, subtle dierences in oor levels, roof trusses or base-

ment layouts. It can be dicult to maintain the legibility of

drawings with a very large amount of additional informa-

tion. The solution adopted during the work was to divide

the key information and split it into two versions of the

drawings (room dimensioning separately, information on

vaults and heights separately), which obviously increased

the volume of documentation. In the case of the parts of

the building with simpler geometry, traditional methods

proved to be quite eective at a relatively low cost. More

demanding sections (semicircular galleries) required a dif-

ferent approach. Traditional methods of delineating tri-

angles from the inside and outside of the building led to

contradictory conclusions. The use of LIDAR technology

allowed the optimum solution to be found more quickly.

When carrying out the inventory based on laser scan-

ning (LEICA scanner, BLK360, Cyclone REGISTER 360

software), data acquisition (point cloud) took considerably

less time than traditional measurements, the data was more

accurate, but the result (basement model) required addi-

tional processing with specialized software (additional cost

and work time) and removal of unnecessary information

(labour input), and in addition, the size of obtained materi-

al was very large, which generated problems with storage,

dissemination and use of the collected data. A signicant

gain was information that could would not have been pos-

sible to obtain by traditional means (installation course,

minor dierences in oor heights, detailed representation

of irregularities in foundation walls, etc.). An additional

problem that unexpectedly occurred during measurement

work was the range – the BLK360 scanner connects to

Fig. 3. Point cloud – basements of the palace in Śmiełów. Cyclone REGISTER 360 (elaborated by B. Świt-Jankowska)

Il. 3. Chmura punktów – piwnice pałacu w Śmiełowie. Cyclone REGISTER 360 (oprac. B. Świt-Jankowska)

72 Barbara Świt-Jankowska

problems. Additionally, the use of learning algorithms and

articial intelligence provides an opportunity to select opti-

mal solutions, taking into account the dierences between

the needs of the collections and the monument. Appropri-

ate control of parameters such as humidity, temperature or

lighting allows for dynamic adaptation to a given situation

and ensuring appropriate protection. However, it should be

taken into account that the implementation of the above

technologies (purchase of IoT sensors, 3D scanning, pro-

fessional software or qualied employees) is usually asso-

ciated with high initial costs, and the creation process, from

data collection to modelling and integration, can be very

time-consuming. This is particularly important due to the

fact of the constant underinvestment in culture in Poland

and the frequent need to make decisions in a relatively short

time. Additionally, maintaining a 3D model at an appropri-

ate level of complexity and its operation require advanced

technical skills, which may require personnel changes or

training and including their costs in the museum’s budget.

Another issue worth considering before implementation is

the compatibility of new solutions with existing ones as

well as the integration of data from dierent platforms and

the need to store large amounts of data, as well as depen-

dence on specic technological solutions which is espe-

cially important in the context of long-term maintenance

and availability of software and software components.

The ability to simulate various scenarios for both reno-

vation and exhibition allows for better cost prediction, pre-

vention of unnecessary damage (both to the collection and

the monument) and obtaining acceptance for the proposed

changes by advisory groups (the board, conservator, deci-

sion-makers, sponsors). In addition, appropriate arrange-

ment of exhibitions and access to information as well as its

interactive nature increase attractiveness and better respond

to the contemporary needs of users. Dynamic 3D models

enriched with historical, architectural and material data are

in themselves a valuable research resource and can comple-

ment the museum’s existing didactic oer – especially that

the use of modern technologies makes the knowledge

which

is usually dicult to understand available also to non-pro-

fessionals. This approach facilitates research and educa-

tion. It also promotes understanding and respect for cultural

heritage in society. Digital twins can also be used to create

interactive, immersive experiences for visitors. They can

be combined with digital copies of the collected artifacts

in order to explore the collections in the virtual world (for

example, through the use of VR technology), making the

space in question more appealing and making cultural heri-

tage accessible to a wide audience, including online. Some

concern in this context is the possibility of excessive laici-

zation of knowledge and attening the historical perspec-

tive by reducing it to irrelevant but attractive curiosities

or peculiarities. Broad access to data may also raise con-

cerns about potential threats and cybercrime. There is a risk

that shared information, used inappropriately or modied,

will be lost which may lead to data falsication. Potential

damage to servers or problems with the power supply may

temporarily prevent or hinder visiting. Therefore, it is es-

sential to properly secure digital collections and constantly

improve the systems responsible for security.

the tablet via its own Wi-Fi network, but the thickness of

the walls in the palace’s basements repeatedly interrupted

the connection, requiring the devices to be paired again.

The experience gained from the inventory work carried

out at the palace in Śmiełów indicate the need for an inter-

disciplinary approach to the issue of data acquisition, inter-

pretation and recording. Creating a fully functional digital

twin of a historic building requires a lot of work, nancial

resources and skills, and above all – proper coordination of

various methods and selecting optimal solutions, adequate

to current needs and possibilities, including aspects such

as: access to a power source, network coverage, Internet

access, elements that hinder data collection (greenery, lack

of access, existing buildings, rubbish). Proper coordination

of various activities allows obtaining the necessary data,

and their combination gives a broad and complete picture

of the historic building, which can be used in various elds

– from historical analysis and planning of conservation ac-

tivities to various concepts of room arrangement and the

use of the model as an element of augmented reality. At the

same time, it should be remembered that creating a perfect

representation, even the help of advanced technology, is

usually impossible and unnecessary. However, after com-

pleting this process, the information and digital representa-

tions, even imperfect ones, signicantly accelerate the de-

cision-making process and provide an excellent platform

for discussion for various stakeholders. The measurement

work and digital models of the palace in Śmiełów signi-

cantly inuenced the pace and level of the subsequent con-

ceptual and design work.

Summary

The implementation of digital twin and HBIM in his-

toric buildings with museum functions brings signicant

benets, both in terms of heritage protection and museum

management. Modern technologies improve the ecien-

cy of conservation, but also enrich the visitors’ experience

and promote cultural education. The high price of their im-

plementation in the long term can be balanced by the ben-

ets resulting from the possibility of non-invasive testing

of various renovation scenarios and exhibition changes

well as the selection of the best possible solution, also in

economic terms. It is also of great importance for heritage

conservation to be able to respond early to emerging threats

and to take into account the needs of the heritage site, often

treated as less valuable than the artefact collections housed

within it, in the process of using the museum facility.

Digital twin in the case of historically valuable mon-

uments allows for the expansion of their protection pos-

sibilities and appropriate planning of activities, including

interventions related to the related to climate protection

requirements or the need to adapt the building to modern

requirements. The use of modern technologies in historic

buildings housing museums increases the eciency of the

facility maintenance and exhibition management. The in-

stallation of IoT sensors provides an opportunity to collect

data and monitor both the historic structure of the building

and the exhibits in real time, which allows for a quick re-

sponse to potential threats or structural or environmental

 AdamMickiewiczMuseuminŚmiełów–towardsacontemporarymuseumconceptusingdigitaltwintechnology 73

The virtual museum allows for a completely new ex-

perience of the exhibition space. The demands of modern

times regarding the role that museums should play in soci-

ety are very broad. In addition to the educational function,

increasing emphasis is being placed on the individual ex-

perience of the recipient and on the culture-forming and

social role of such facilities. Ongoing research indicates

that the digitization of collections not only does not reduce

the interest of potential recipients, but often provides them

with an additional incentive to visit the museum. The op-

portunity to get acquainted with collections (e.g., to see the

paintings in macro photographs) allows for a more personal

attitude to the exhibition. Digital twin technology extends

this experience to the building in which the collections

are displayed which allows for supplementing knowledge

about it and showing the broader context of a given place.

The beginning of the 21

century requires a redenition

of the museum space. Therefore, it is necessary to contin-

ue research, especially due to the dynamic development

of new technologies and taking on new challenges posed

to historic buildings that serve as museums, such as en-

suring accessibility for people with disabilities or energy

eciency and climate protection. Appropriately planned

and optimised activities are necessary so that, returning to

the tandem analogy, each party can benet from this coop-

eration and work together towards one goal – better pro-

tection of historic buildings and collections, increasing the

attractiveness of exhibitions and social acceptance as well

as understanding of issues related to heritage protection.

Translated by

Paulina Kowalczyk

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Streszczenie

Muzeum im. Adama Mickiewicza w Śmiełowie

– w stronę współczesnej koncepcji muzeum z wykorzystaniem technologii digital twin

Współczesne wymagania i dynamiczny rozwój technologiczny, szczególnie w obszarze sztucznej inteligencji i metod maszynowego uczenia,

stawiają przed nauką konieczność adaptacji i werykacji dotychczasowych metod. Obejmuje to również dziedziny związane z historią architektury

oraz ochroną dziedzictwa kulturowego. Coraz większą popularność zdobywa koncepcja digital twin – wirtualnej kopii obiektu zabytkowego, która

umożliwia głębsze zrozumienie jego struktury i optymalizację procesu ochrony oraz eksploatacji.

Celem autorki artykułu była analiza potencjału digital twin w kontekście zabytkowych obiektów muzealnych, gdzie zbiorom muzealnym często

przysługują odrębne zasady ochrony. W pracy omówiła ona aktualny stan badań nad cyfrowymi bliźniakami, w tym wyzwania związane z tworze-

niem dokumentacji HBIM oraz problemy, z jakimi mierzą się współczesne muzea. Przedstawiła także wyniki przeprowadzonych w latach 2022–2024

badań nad pałacem w Śmiełowie, będącym siedzibą Muzeum im. Adama Mickiewicza. Tradycyjna dokumentacja techniczna posłużyła jako podsta-

wa do prac badawczych, konserwatorskich oraz planowania dalszej rozbudowy muzeum, a także stworzenia nowej cyfrowej ścieżki wystawienniczej.

W konkluzji podkreśliła perspektywy rozwoju w kontekście koncepcji „muzeum w zabytku” jako innowacyjnej formy prezentacji dziedzictwa

kulturowego. Współczesne muzeum w zabytku powinno łączyć tradycję z nowoczesnością, a „cyfrowy bliźniak” może stanowić pomost pomiędzy

przeszłością i teraźniejszością, dostarczając zwiedzającym niepowtarzalnych wrażeń.

Słowa kluczowe: cyfrowy bliźniak, HBIM, ochrona dziedzictwa, muzeum w zabytku