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Designing a Smart Museum: When Cultural Heritage Joins IoT
Conference Paper · September 2014
DOI: 10.1109/NGMAST.2014.21
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Designing a smart museum: when Cultural Heritage
joins IoT
Angelo Chianese1 and Francesco Piccialli2
1
2
Department of electrical engineering and information technologies
Department of mathematics and applications ”Renato Caccioppoli”
University of Naples Federico II
Naples, ITALY
Email: {angchian, francesco.piccialli}@unina.it
Abstract—The adoption of the Internet of Things (IoT)
paradigm constitutes the basic building block to progress towards
unified ICT platforms for a variety of applications within the
large framework of the smart cities. Unfortunately, designing a
general architecture for IoT is still a very complex challenge,
since in such system may be involved several devices, link
layer technologies and services. Cultural Heritage represents a
worldwide resource of inestimable value and it gains more and
more importance when embedded into the digital ecosystem of
a smart city. In this paper we focus specifically to design a IoT
architecture that is able to support the designing of a smart
museum, a static cultural space that becomes intelligent thanks
to the definition of an innovative model of sensors and services.
Furthermore, the paper will present and discuss a real case of
study, placed in a temporary art exhibition of sculptures in the
Maschio Angioino Castle, located in Naples, Italy.
I.
I NTRODUCTION
The feasibility of equipping everyday objects of a ”digital”
identity and to connect them to each other on a network, opens
up many opportunities, such as to arouse in the recent past,
a growing interest from governments, international research
centers and companies. The Internet of Things paradigm
supports the transition from a closed world, in which an object
is characterized by a descriptor, to a open world, in which that
object interacts with the surrounding environment, because it
has become ”intelligent”. Accordingly, not only people will
be connected to the internet, objects such as cars, fridges,
televisions, water management systems, buildings, monuments
and so on will be connected as well. Combined with sensor
technologies, this allows for remote management of the objects
and remote monitoring of conditions and changes, which in the
future might improve preservation, valorization and fruition of
culture heritage. Indeed, thanks to recent advances in miniaturization and lower cost of RFID, Bluetooth Low Energy,
sensor networks, NFC, wireless communications, technologies
and applications, IoT is gradually acquiring an important role
in several research fields. In the recent years, Cultural Heritage
has turned out to be one of the most suitable domains in
which such achievements can be profitably exploited, since
it characterizes a domain where several aspects have to be
considered at the same time: logistics, economy, tourism,
entertainment, tutelage, and so on. Many areas of interest of
the Cultural Heritage can be considered as environments where
people come into contact with a reality of objects capable
of arousing interest and excitement because they are offered
a direct perception or their knowledge or a combination of
perception and knowledge. In this paper, we focus specifically
to design a IoT architecture that is able to support the smartness
of indoor cultural environments like museums or art exhibitions, within DATABENC 1 , the high technology district for
Cultural Heritage management founded in Regione Campania,
Italy. The purpose of the authors is to design an intelligent
cultural space where an innovative model of technological
sensors and services can support the smartness of such space.
Moreover, we present and discuss an useful case of study of the
proposed architecture, immersed in a temporary art exhibition
of sculptures in the Maschio Angioino castle rooms located
in Naples, Italy. The paper is organized as follows: Section
2 explains the motivating example and the state of art in the
Cultural Heritage applications, Section 3 describes the smart
museum architecure, Section 4 reports a cases of study aimed
to assess the proposed approach. Finally, Section 5 concludes
the paper with some considerations and future works.
II.
M OTIVATING EXAMPLE AND STATE OF ART
In order to better understand motivations behind the design of
the proposed IoT architecture supporting the development of a
smart indoor cultural space, it is important to deeply analyze
the kind of relation that exists between such spaces and people:
usually the purpose of a person, when he is inside this kind
of environment, is to see and learn more and not to explicitly
use the technology. The behaviour of a person/visitor, when
immersed inside a space and consequently among several
objects, has to be analyzed in order to design the most appropriate architecture and to estabilish the relationship between
people and technological tools that have to be non-invasive.
For this reason and to better appraise and promote the Cultural
Heritage, it should be preferable to provide cultural objects
with the capability to interact with people, environments, other
objects and transmitting the related knowledge to users through
multimedia facilities. We can image a situation in which a user
is walking within a museum among a number of art objects and
when he is particularly close to one of them, its mobile device
(e.g a smartphone or a tablet) is detected by the object. This
detection phase can be possible thanks to the deployment of
particular sensors inside the area and near the cultural objects.
Once such person has been detected, the object begins to talk
about itself, its story and its status by means of multimedia
content and facilities. Hence, these smart objects have the dual
function, from one side the generation of a new fruition and
1 http://www.databenc.it,
http://www.databenclab.unina.it
enjoyment of the user cultura experience, from the other side
to collect the environmental information in order to monitor
and thus preserve the environment itself.
A. Related work
The modern ICT technologies and services, especially that
of sensors and smartphone, have the purpose to facilitate
the integration between the digital and real dimension in an
environment which has to become smart [1]. In an intelligent
cultural space, technologies must be able to connect the physical world with the world of information in order to amplify the
knowledge but also and especially the fruition, involving the
visitors as active playesrwhich offer the pleasure of perception
and the charm of the discovery of a new knowledge. The
development of such technology and the connected advanced
services for the Internet of Things (IoT) paradigm is still
complicated by the high dynamism of the system, which has to
deliver meaningful information to users in real-time, depending
on their movements in the physical space, on their interaction
with sensors, etc.
In the last months, the authors of this paper have experienced
the design and the application of location-based services and
technological tools applied to Cultural Heritage environments
(especially indoor), in [2], [4], [5], [3]. These presented prototypes aimed to transfer a smartness to cultural sities, applying
different communication technologies and sensors. In addition,
several papers and projects have been proposed, by using technological and multimedia facilities to enhance cultural items;
since the valorization and the fruition of cultural heritage
are probably the most interesting and useful applications of
modern technologies. Accordingly, the authors in [6] stated
that technology can play a crucial role in supporting museum
visitors and enhancing their overall museum visit experiences;
content and delivery must provide relevant information and at
the same time allow visitors to get the level of detail and
the perspectives in which they are interested. The authors
in [7] propose a mobile recommender system for the Web
of Data, and its application to information needs of tourists
in context-aware on-site access to cultural heritage. In [8]
the initial steps of a project aimed at creating mobile apps
to facilitate the usability of museum visits for differentlyabled and special-needs users are discussed. DALICA [9] is
another agent-based Ambient Intelligence for outdoor culturalheritage scenarios that it sends information about nearby
points of interest from sensors, while in [10] the authors
propose a general architecture of a SNOPS (Social Network
of Object and PersonS) Platform and present a specific smart
environment related to the archeological site of Herculaneum.
In [11] a system, called SMART VILLA, based on a set of
mobile applets, each interfaced with a NFC based subsystem,
related to particular sites (SMART BIBLIO for ancient books,
SMART ROOM for particular rooms and SMART GARDEN
for surrounding historical gardens) is presented. From a point
of view of the preservation of the Cultural Heritage, the authors
in [12] analyze some preservation technologies and solutions,
and describe existing problems.
The diversity of the mentioned methods and applications,
whether for indoor or outdoor cultural spaces, highlights that
in most cases, they remain isolated ”exercises” and do not
arouse effective interest due to the lack applicability and
difficulty of reuse in different environments and scenarios. It is
Fig. 1.
A representation of the IoT architecture for a cultural space.
evident that, for a whole fruition, enjoyment and valorization
of cultural spaces, in all its forms and needs, there is the
necessity of designing an integrated architecture following the
IoT paradigm, that can be exploited and adapted to the different
scenarios.
III.
A MUSEUM OF SMART OBJECTS
In this section, the architecture of an intelligent museum, the
technological sensors immersed in the environment and the
communication framework are presented. The sensors aimed
to transform cultural items in smart objects, that now are able
to communicate with each other, the visitors and the network;
this acquired identity plays a crucial role for the smartness
of a cultural space. Indeed, as stated in [13], [14], smart
objects represent an important step on an evolutionary process
that is affecting modern communication devices and has been
triggered by the advent of IoT. Accordingly, in order that these
sensors can perform their role and interact with the end-users
transferring multimedia content, a mobile application (App) for
smartphone and tablet has been designed; in this way people
have the opportunity to enjoy the cultural experience and be
more at ease simply using their own mobile device, without
the need of having to equip itself with other devices.
A. The IoT architecture
To describe the proposed system we resort on the three-layer
architectural model for IoT presented in [15].
It consists of: (i) the sensing layer, which is devoted to the data
transfer and acquisition, and nodes collaboration in short-range
and local networks; (ii) the network layer, which is aimed at
transferring data across different networks and applications;
and (iii) the application layer, where the IoT applications are
deployed together with the middleware functionalities. Figure
1 shows the resulting three-layer architecture. The three basic
elements of the proposed system are: the CHIS (Cultural
Heritage Information System) server, the gateway, and the
sensor.
1) CHIS Server: As depicted in Figure 1, the Cultural
Heritage Information System server is composed by the Network and the Application layers. The Application Layer is
modeled by three sublayers. The first sublayer includes (i)
the knowledge base for the storage and management of the
content, (ii) the ontologies used to represent a semantic view
of the cultural heritage domain and (iii) the semantic engines
used to provide a framework for representing functional and
non-functional attributes and operations of the IoT objects.
The second sublayer includes the instruments that implement
the core functionalities of the CHIS system. The profiling is
aimed at configuring manually and automatically a (static or
dynamic) information about the objects and people. The recommendations module enables a user-customized multimedia
delivery during the cultural experiences. The Events manager
is a fundamental component which is aimed at finding which
person can enjoy the content about the cultural items, when
he is near an artwork. The Access manager enables the interaction between user mobile devices, sensors and the network.
The Sensors manager is a key module since it manages the
deployed sensors inside a cultural space; main task of this
component is to allow sensors to start, update and terminate
their relationships with visitors, other sensors and the network.
Finally, the Context Manager provides the management of the
environmental awareness, including the parameters monitoring
of the spaces and the visitors behaviours.
2) Gateway and Sensor: As to the gateway and sensors
systems, the combination of functionalities may vary mainly
depending on the environment characteristics. The Gateway
module is enabled to manage the overall communication
between the sensors and the CHIS server; moreover it is responsible to adapt and deliver the environmental data captured
by the sensors. The Sensor module is aimed to provide the
connectivity interfaces that enable the sensors functionalities
according to the different types of sensor nodes.
B. The sensor nodes hierarchy
According to the IoT requirements, two types of sensor nodes
are designed in order to make smart the cultural items inside
a museum or an art exhibition.
In Databenc research laboratory a prototypal set of these
sensors, with the aim to cover all the possibile contexts of use,
has been designed and developed starting from the BeagleBone
Black board, an open hardware product offered by BeagleBone
2
. The choice of this board has been made after a careful
analysis; it’s a complete open hardware and software board
with a very active community that support the developers and
several expansion capes. Moreover, the embedded Unix-based
operating system allows a full and effective control of this
board.
It is important to underline that although the current realization
costs of a single sensor node might seem slightly expensive
(about $40), production costs in large scale would decrease
drastically and it would allow a widespread application in museums with a high number of objects. It is clear that, especially
in indoor environments such as museums, the invasiveness
of a technological item can be an obstacle in its installation
and deployment. In this scenario, the goal to be pursued is
2 http://beagleboard.org
to strongly reduce both size and power consumption of the
sensor nodes as low as possible, in order to make this sensors
applicable in most contexts. The district DATABENC and its
research laboratory DatabencLAB, in collaboration with the
Department of Physics of the University of Naples ”Federico
II”, is currently re-engineering the Beaglebone black board,
eliminating unnecessary hardware components according to
the above mentioned type of node. The feasibility model
designed and developed in this research article represents the
first step towards the realization and diffusion of these sensors
in large-scale.
These sensor nodes can be configured in the following
modalities according to the environment needs and restrictions,
setting up nodes of a different types; in the follow we detail the
main designed configurations (Server node and Slave node).
•
SERVER node: this type of node stores on board the
content related to the items where it is placed and
creates a Wi-Fi coverage area; the App automatically
connects to this network and retrieve the content.
Moreover, in absence of connectivity, this node can
be equipped with a UMTS/GSM module, in order to
manage the status of this node and communicate with
the CHIS server.
•
SLAVE node: this type of node can placed (i) near or
on a single artwork, (ii) near a set of artworks very
close together; the user mobile device can be sensed
by this node, since it creates a Bluetooth Low Energy
surrouding area, and requests to the SERVER node
transferring to the App the related multimedia content.
The SERVER node can be equipped with supplementary
functionalities to monitor the environmental status (e.g. temperature, humidity, etc.), that we have already deployed in our
laboratory. All types of nodes can be equipped with an e-ink
display 3 with the purpose from one side to replace the caption
of an artwork and from the other side to provide information
about the sensor status. Hence, a key feature of the proposed
approach is certainly to be able to configure a node in hybrid
mode, for example, in such a way that it can be at the same
time both the SERVER and SLAVE node.
From a point of view of communication and interaction, the
sensor nodes are equipped with the following features:
•
Discover the neighbors: A sensor node, thanks to the
proximity algorithm, is able to sense the neighbors
SLAVE nodes; this feature allows any node to contextualize itself inside the space and enable mechanisms
of content recommendations or visiting paths inside
the cultural space.
•
Discover the visitors: A sensor node, thanks to a
proximity algorithm, is able to sense the visitors inside
the surrounding area; this feature allows any node to
present itself to an user and deliver to him multimedia
content.
These functionalities enable a smartness of the objects
equipped with a sensor node; indeed an object is now capable
3 http://www.pervasivedisplays.com
Fig. 2.
A simple schematic layout of a museum.
to sense the environment, the presence of others objects and
people, in order to start the mechanisms of enjoyment, fruition
and safeguard of cultural spaces.
C. Deploying the sensors
In Figure 2 a layout of a museum environment, where the
sensor nodes can be deployed, is presented. This example
layout shows deliberately a limited number of artworks in to
ensure that the proposed feature are as clear as possible. The
SERVER nodes create a Wireless area that covers the entire
environment; they also store the content related to the cultural
items inside the space. Each object or group of objects can be
equipped with a SLAVE node, which (i) create a Bluetooth
Low Energy area that surrounds it/them and (ii) is connected
to the SERVER nodes. A group of object is a set of artworks
that are very close to each other; in this situation a SLAVE
node represents this group. A visitor that is walking inside the
space, equipped with its mobile device and the App installed,
is automatically connected to the Wireless network, and its
mac address is stored in the SERVER node associated with
its IP address. When the visitor is inside the BLE surrounding
area of an object, (i) it detects the mobile device mac address,
(ii) notifies to the SERVER node this address and (iii) the
SERVER node delivers the multimedia content to the App of
that mobile device. Obviously, it may happen that two or more
BLE surrounding areas can overlap (see the yellow circle in
Figure 2); in this case, both cultural items are proposed to the
visitor on the App (see top-left screen in Figure 4) and he
can choice between them. As mentioned, the SLAVE nodes
are equipped with a localization algorithm aimed to detect the
closest mobile devices and objects; this algorithm is explained
in [2] and adapted to be embedded on the sensors. In each
area will be a SLAVE node equipped with temperature and
humidity sensor; it collects these parameters at selected time
intervals. The SERVER nodes store a LOG file where are
archived all visitor requests of multimedia content, temperature
and humidity sent by each responsible SLAVE node.
D. The sensor nodes configuration interface
A web-based interface is designed in order to easily configure the sensor nodes; it is composed by a number of software
modules that are shown (the main ones) in figure 3: the topleft shows the home of the application where a functionalities
menu is displayed; the top-right shows the multimedia content
management page where the administrator can add/edit/delete
images, audio, video files of the cultural object associated
to the cricket; the down-left shows the artworks management
page where the administrator can add/edit/delete cultural objects carrying out the content retrieval from the knowledge
base, and finally, the down-right shows the connectivity management page where the adminstrator can manage the BLE
and Wi-Fi networks created by the node.
IV.
E XPERIMENTS
In this section a case of study of the proposed architecture is
presented and discussed; as real scenario, the temporary art
exhibition of sculptures within the Maschio Angioino castle,
in Naples (Italy) (see figure 5). The multimedia content (texts,
audios, videos and images) of the cultural items related to
the case of study are stored in the knowledge database of
the district DATABENC. The cultural space is composed
by several sculptures of Francesco Jerace and other minor
artists, equipped with a set of SLAVE sensor nodes; in the
environment are placed two SERVER sensor nodes that create
a Wi-Fi network. This testing scenario has been devised
with the aim of giving a proof of concept of the smartness
principle underlying the design of the architecture. During
the testing phase, a number of visitors were enrolled and
equipped with a smartphone (if they had not one), with the App
installed. At this step, the visitors can benefit of the following
functionalities:
•
Event details: retrieve the details (title, description,
images, etc.) and the cultural items list that composed
the art event where they are located;
Fig. 3.
•
The sensor nodes configuration interface main panels
Discover the Artwork: walking among the cultural
items and discover the multimedia content related to a
specific artwork when they are in its surrounding area.
A. Implementation details
The App runs on Android and iOS based smarthphones,
with a Wi-Fi connection to the SERVER sensor nodes and
expose a easy-to-use Graphical User Interface, as shown in
Figure 4. The knowledge base consists in a workstation with
a local PostgreSQL DBMS that stores the multimedia content
about the artworks collection. The Multimedia data have been
collected and organized from several archives (digital and
not) of the department of humanities studies at the University
of Naples ”Federico II”. Each object is associated with a set
of metadata, in according to the CIDOC-CRM model. All
the data are managed by the Multimedia Data Management
Engine that is based on the Windsurf library 4 .
All the server nodes have been configured and tested during
the experimental scenarios; in particular several nodes have
been equipped with a e-ink display with the dual functionality
of showing the status of the node and displaying the artwork
caption (see Figure 5). Moreover, two SLAVE nodes have
been equipped with an Analog Temperature and humidity
sensors, in order to capture environmental parameters in
some critical areas where changes in temperature and thermal
shocks can cause damage to the artworks exhibited.
B. Usability, usefulness and satisfaction
A number of trials have been performed to assess the
behaviour, the users’ satisfaction and, consequently, the
feasibility of the proposed approach. In all, 40 volunteers
were recruited. These participants were attendees at the
4 http://www-db.deis.unibo.it/Windsurf/
Fig. 4. The main screen of the App. From left to right: (i) the discovery
page showing at the top the artwork nearest to visitor, (ii) By clicking on the
image, the detail page where the user can enjoy multimedia content is shown,
(iii) the images gallery related to the proposed artwork.
entrance of the exhibition, before they start the visit and were
enrolled first given a 10-minute presentation about the system.
In order to investigate the usability of the proposed model,
with specific regard to the ease of use, usefulness and users’
satisfaction dimensions mentioned by the literature in [16],
post-visit questionnaires was submitted to the participants
after the trials. These questionnaires stimulated volunteers
to express their level of agreement with a set of statements,
using a 10-point Likert scale, or to make choices between
options.
The Table I summarizes the post-questionnaries results and
reports the most relevant questions related to the three
dimension of our usability framework and their average
ratings. The overall degree of satisfaction manifested by
volunteers towards our infrastructure was positive with an
average rating of 7.43 (SAT4). Multimedia features such as
photo-galleries (SAT1), texts (SAT2) and audio (SAT3), were
TABLE II.
I NDICATORS COMPARISON .
Indicator
Average total duration of the visit (minutes)
Average number of artworks on which a
visitor focalized his attention.
Fig. 5.
Some sensor nodes prototyped with the Beaglebone black board.
rated 7.77, 7.64 and 7.14, respectively. As for the usefulness
dimension, users agreed that the application was useful overall
(USN1, 7.88), facilitating to a certain degree the acquisition of
a better knowledge (USN2, 7.45) and a deeper insight (USN3,
7.65) on the artwork on display. Additionally, the analysis of
the ease of use dimension pointed out that participants found
the information access about the artworks quite easy (EoU1,
8.11) and the multimedia content browsing (EoU2, 7.52).
Before the deploying of our infrastructure, this art exhibition
was equipped with a standard system of audioguide and some
papers backing material aimed to assist in a static mode
the visitors. If a visitor choose to adopt this audioguide
system, he can listen a voice that explains several features
of the exhibition and some details about the main artworks
17.3
10.2
C ONCLUSION
IoT constitute a powerful tool to address the design of the
complex connection between new technologies, knowledge to
be transmitted and visitors of Cultural Heritage environments.
As an effort in this direction, this paper define an architecture
to represent and manage the smartness inside cultural spaces,
adopting the IoT paradigm and supporting this direction with
the design of a set of sensor nodes that are able to transfor
cultural spaces, in an indispensable dynamic instrument for
valorization, knowledge diffusion, fruition and growth for
all the people. The technologies cover the fundamental role
of connector between the physical world and the world of
information, in order to amplify the knowledge but also and
especially the enjoyment. For these reasons, our research has
been primarily focused on the design of IoT architecture for
Cultural Heritage spaces. Moreover, the designing of a set of
sensors, configurable starting from a common core and adapted
to different needs are presented. These sensor nodes have the
capability to observe the environment and characterize, for
example, the health status of the inside cultural objects and
are able to support the people fruition process, establishing
multiple connections among the end-users through which convey information, stories and multimedia content. A case of
study, the art exhibition at Maschio Angioino castle in Naples,
has been devised as a feasibility test of our architecture, the
related sensor nodes and the users’ satisfaction. The research
contribution is currently concentrated to design a real working
physical communication model, based on IoT and to deploy
an architecture that implements a smart cultural environment.
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C. Comparison with the pre-existing system
Pre-existing system
38.5
in the environment; this traditional audioguide system does
not take into account the user’s position. With the aim to
further measure the effectiveness of the proposed architecture,
two indicators of the users’ behaviour were analyzed, both
of the enrolled visitors that used our architecture and of a
same number of visitors that used the pre-existing system
of audioguide. The two indicators are: (i) total duration of
the visit, (ii) average number of artworks on which a visitor
focalized his attention.
Table II reports the comparison results that emphasize the
increase of the average duration of the users’ visits (using
our architecture) and the increased dwell on the presented artworks, thus allowing a more in-depth cultural and consequent
diffusion of knowledge.
V.
Fig. 6. The Maschio Angioino rooms with Jerace sculptures where we have
deployed the architecture.
Our system
48.7
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ID
[4]
[5]
[6]
[7]
[8]
[9]
[10]
[11]
[12]
[13]
[14]
[15]
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Question
EoU1
It was easy to access information about the exhibition artworks.
8.11
EoU2
It was easy to browse multimedia content.
7.52
USN1
The system was overall useful.
7.88
USN2
Using the system was useful to gain knowledge about the exhibit artworks.
7.45
USN3
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7.65
SAT1
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SAT2
Using the system contribuited to increase my will to visit other art exhibitions.
7.64
SAT3
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7.64
SAT4
I overall appreciated the system.
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