The short career of the Philadelphia-built transatlantic steamship S.S. Lewis (1851–1853) offers an instructive look at speculation, financing, and operating a steamer in the mid-19th century United States. S.S. Lewis was built as an American entry into the highly competitive arena of the transatlantic steam packet service. An early propeller steamer, it was heralded as an exemplar of American technology and shipbuilding prowess. It was also cleverly marketed, and named for Samuel Shaw (S.S.) Lewis, the Boston-based agent for Cunard. Following the failure of the transatlantic partnership that operated S.S. Lewis, the vessel entered the isthmian service from Nicaragua to San Francisco during the California Gold Rush. It wrecked, without loss of life, in April 1853 north of the Golden Gate. The wreck site, known to pioneering wreck divers for decades, is now archaeologically described and assessed for the first time. The post-wreck saga of the site is an important part of the story of the evolution of maritime archaeology in California.

This work examines how digital technologies, particularly 3D imaging, additive man-ufacturing, and digital twins, contribute to a more interactive and process-oriented understanding of cultural preservation. Building on practical experience with museum scanning and 3D reproduction, the study introduces the Heritage 4.0 Cycle, a conceptual framework that structures digital heritage management into four iterative phases: Capture, Curate, Connect, and Co-create. The model integrates technological, ethical, and social aspects of preservation, describing how cultural heritage operates as a living system supported by data, interpretation, and participation. Findings indicate that 3D technologies function as mediators between tangible and intangible heritage, promoting inclusivity, collaborative learning, and sustainable engagement. The framework aligns digital preservation practices with broader objectives of education, innovation, and community development. By formalizing Heritage 4.0 into a structured and iterative framework, this study contributes a transferable model that supports sustainable and smart cultural ecosystems by aligning digital documentation, ethical curation, participatory engagement, and digital twin-enabled connectivity within a coherent heritage management strategy

Water towers are historically significant hydraulic infrastructures that evolved from simple masonry structures to technologically advanced and architecturally expressive forms. This study presents a typological and material analysis of water towers, focusing on their construction techniques, durability, and potential for adaptive reuse. The research combines visual inspection, archival and bibliographic research, and photographic documentation, of selected European and Italian examples for comparative insights on design and materials choices. Data were collected and organized according to parameters such as construction materials, structural type, tank and roof form, access system, and current function. Assessments were conducted following the UNI EN 16096, providing a structured framework to evaluate heritage value, material conditions, and adaptive reuse potential. Main results demonstrate that water towers, beyond their original hydraulic function, retain significant technical, architectural, and cultural value, offering opportunities for adaptive reuse as cultural, educational, residential, or community spaces. Key findings identify material vulnerabilities, structural challenges (including wind, seismic, and thermo-hygrometric effects), and possibilities for sustainable interventions that respect historical authenticity. The study highlights how systematic typological assessment and documentation can guide evidence-based conservation and support innovative reuse strategies, integrating heritage preservation with urban regeneration and community engagement. Water towers exemplify the intersection of engineering, architecture, and cultural heritage, and their conservation requires a multidisciplinary approach between technical performance, material preservation, and socio-cultural significance. Finally, the implemented procedure is proposed as a methodological framework replicable and scalable for assessing similar infrastructures in other contexts.

Romania joined the UNESCO Convention in 1990. The fortified church of Biertan was inscribed on the World Heritage List in 1993, followed by six additional Transylvanian fortified church villages in 1999. An interesting feature of this heritage landscape is that settlements with different demographic and development trajectories share the same World Heritage designation. In our research, we collected demographic and tourism data from these seven municipalities. Subsequently, a standard questionnaire was sent to municipal decision-makers (mayors) in 2023 to map tourism development in their municipalities. The communication activities of the municipalities were analysed using a content analysis method, which was observation-based and based only on online content. In our experience, there is no common strategy to turn this heritage into a tourist attraction; each of the seven municipalities has faced this challenge separately. The main result of the research was to explore how heritage tourism works in municipalities with different demographic, linguistic-cultural heritage and with different levels of management.

Conventional approaches to Intangible Cultural Heritage (ICH) preservation, such as static documentation and superficial commercialization, frequently undermine its vitality by reifying it as a fixed artifact detached from its evolving socio-cultural context. This study challenges this object-centric paradigm by proposing an ecosystem-centric framework that reconceptualizes ICH as a dynamic, self-organizing cultural ecosystem. Our framework integrates Complex Adaptive Systems (CAS) theory to provide a macro-level ecological perspective, with Emotional Design theory offering a micro-level mechanism for fostering public engagement. We theoretically instantiate this framework through the Yangliuqing Narrative Ecosystem, a design case applied to Tianjin Yangliuqing New Year Paintings. This system combines tangible, modular cultural gene carriers with a digital co-creation platform that guides users through visceral, behavioral, and reflective levels of engagement, aiming to transform them from passive consumers into active co-creators. This process is designed to cultivate a community of practice that drives the heritage’s adaptive evolution. The study contributes a novel theoretical framework and a transferable design methodology, presenting a robust model for reactivating the intrinsic vitality of cultural traditions in the digital age.

The Cândești necropolis is currently the largest excavated Bronze Age necropolis in Romania, with approximately 800 graves. Notably, one grave from an earlier phase of the Monteoru culture (c. 2200–1850 BC) contained a remarkable necklace composed of 22 perforated gastropod shells and a metal pendant. Our investigation adopted an integrated approach, including taxonomic identification, taphonomic, technological and functional analyses, experimental studies, and physico-chemical investigations (Fourier Transform Infrared Spectroscopy and Raman spectroscopy) of the pigment traces present on the shells’s surface. For the metal pendant, X-Ray Fluorescence analysis was conducted to ascertain its elemental composition. The combined analysis yielded unexpected insights: the shells, belonging to the genus Conus, originated from the Mediterranean region. The perforations were not the result of anthropic intervention; rather, they were the result of natural processes, indicating that the shells were collected from thanatocoenoses. The shells were assembled into the necklace using a thread colored with a red pigment. The perforations show signs of prolonged use, suggesting that the necklace was not only a funerary offering. In conclusion, our study indicated that these exotic shells were collected post-mortem already perforated through a rubbing process in the seashore sediments, transported to the site from a distance, and prior to the death of the owner, had been previously worn as personal adornment before being deposited as grave goods.

Detecting surface potsherds using low-altitude remote sensing is challenging due to severe class imbalance and limited training data. This study develops and validates a semi-automatic detection methodology that adapts threshold-optimized boosting classifiers (AdaBoost, XGBoost) to maximize ceramic detection recall under extreme class imbalance in the Western Megaris archeological landscape, Greece. Models were trained on only 15% of the available data to simulate realistic field conditions. Evaluation emphasized recall-oriented metrics (precision, recall, F1-score, AUC) for the minority class, addressing the accuracy paradox where high overall accuracy masks poor rare-class performance. Threshold optimization enabled AdaBoost and XGBoost to achieve substantially improved recall compared to baseline methods, with detection-to-ground-truth ratios of 2.5 and 3.2, respectively, reflecting deliberate prioritization of recall over precision for exploratory survey purposes. The results demonstrate that this methodological framework provides archeologically interpretable screening tools for identifying high-probability ceramic locations, supporting more efficient field survey design and heritage documentation workflows in Mediterranean landscapes.

This research establishes a high-fidelity documentation framework utilizing multi-sensor 3D data to support critical decisions regarding the conservation and preservation of monuments in urban environments. Focus is placed on the Morosini Fountain, Heraklion, Crete, a 17th-century monument facing significant deterioration due to environmental stressors, material-specific decay of limestone and marble, and cumulative historical interventions. Placed within the context of contemporary cultural heritage management, the research establishes a high-fidelity 3D digital representative to support interdisciplinary documentation and a decision-support framework for restoration. The methodology employs handheld structured light scanning for high geometric accuracy with close-range digital photogrammetry to ensure high-fidelity color acquisition. Strategic semantic segmentation of the monument into architectural components—such as lobes, lions, and basins—facilitated large scale dataset management and optimized alignment procedures under challenging urban conditions, including intense direct sunlight and active water flow. Results include the delivery of metrically accurate multi-resolution models and 2D orthographic products. Quantitative pathology mapping successfully identified extensive affected surface areas on specific panels, while multi-scale geometric morphological analysis effectively identified high-complexity surface areas, which were subsequently classified as either intentional artistic form or active decay through expert visual assessment between intentional artistic form and active alveolar erosion or exogenous accretions. The study concludes that this enhanced digital model serves as an indispensable tool for sustainable management, transforming passive records into active predictive simulations. The implementation of multi-sensor 3D data provides the essential evidentiary basis for high-stakes conservation decisions, demonstrating that comprehensive digital recording is vital for the resilience of urban heritage landmarks.

Understanding the carbonation behavior of lime-based mortars is essential for ensuring material compatibility and long-term durability in architectural restoration. This study presents a comparative spectroscopic and mineralogical analysis of eleven mortar samples collected from both the original (11th–12th century) and modern extension walls of a historic structure. X-ray diffraction (XRD) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR) were employed to assess the mineralogical composition and carbonation maturity. The results indicate that the historic mortars have undergone complete carbonation, as evidenced by sharp and well-defined calcite bands, whereas the modern repair mortars display broader carbonate peaks, suggesting ongoing carbonation processes. XRD analysis confirmed the dominance of calcite and gypsum, along with the presence of illite, albite, and microcline, indicating mineralogical signatures of both binder transformations (such as carbonation and sulfate formation) and aggregate contributions. The weak water absorption bands and limited sulfate signals observed in the spectra further suggest advanced aging and mineral stabilization in the historic mortars. These findings highlight the differing carbonation kinetics between historic and modern lime mortars and emphasize the importance of selecting repair materials with compatible chemical and physical aging characteristics. The combined use of XRD and ATR-FTIR proves to be an effective diagnostic approach to guide restoration material selection and support the long-term integrity of masonry structures.

This article examines the critical role of archival exploration in decoding the painting practice of a modern Singaporean artist Liu Kang (1911–2004). Given Liu Kang’s undocumented artistic process and the absence of preserved paint tubes or technical notes, the research methodology combined a wide range of primary and secondary archival records with previous analytical investigations of his paintings. By examining works from the National Gallery Singapore and the Liu family collections created between 1927 and 1999, the research deduced the brands and types of materials he used. Hence, this article highlights the crucial and complementary role of diverse archival sources in technical art research. Consequently, primary archival sources, such as interviews with the artist, studio photographs and a TV documentary, provided evidence of his tools and methods. These were cross-referenced with secondary sources, including colourmen printed advertisements, trade directories and colourmen catalogues, which established the availability of art supplies in Shanghai, Paris, and Singapore throughout his career. Ultimately, these diverse archival sources enriched our understanding of Liu Kang’s painting practice. They connected the historical context of his artistic activities with the technical data, allowing the research to piece together narratives that might otherwise have remained obscured.