In this article we analyse 3D models of cultural heritage with the aim of answering three main questions: what processes can be put in place to create a FAIR-by-design digital twin of a temporary exhibition? What are the main challenges in applying FAIR principles to 3D data in cultural heritage studies and how are they different from other types of data (e.g. images) from a data management perspective? We begin with a comprehensive literature review touching on: FAIR principles applied to cultural heritage data; representation models; both Object Provenance Information (OPI) and Metadata Record Provenance Information (MRPI), respectively meant as, on the one hand, the detailed history and origin of an object, and - on the other hand - the detailed history and origin of the metadata itself, which describes the primary object (whether physical or digital); 3D models as cultural heritage research data and their creation, selection, publication, archival and preservation. We then describe the process of creating the Aldrovandi Digital Twin, by collecting, storing and modelling data about cultural heritage objects and processes. We detail the many steps from the acquisition of the Digital Cultural Heritage Objects (DCHO), through to the upload of the optimised DCHO onto a web-based framework (ATON), with a focus on open technologies and standards for interoperability and preservation. Using the FAIR Principles for Heritage Library, Archive and Museum Collections as a framework, we look in detail at how the Digital Twin implements FAIR principles at the object and metadata level. We then describe the main challenges we encountered and we summarise what seem to be the peculiarities of 3D cultural heritage data and the possible directions for further research in this field.

翻译：本文通过分析文化遗产三维模型，旨在回答三个核心问题：为临时展览构建FAIR-by-design数字孪生体需建立何种流程？在文化遗产研究中应用FAIR原则于三维数据面临哪些主要挑战？从数据管理视角看，这些挑战与其他数据类型（如图像）有何差异？我们首先进行了系统的文献综述，涵盖以下方面：FAIR原则在文化遗产数据中的应用；表征模型；对象溯源信息（OPI）与元数据记录溯源信息（MRPI）——前者指物件详细的历史与来源，后者指描述原始物件（物理或数字）的元数据自身的历史与来源；作为研究数据的文化遗产三维模型及其创建、筛选、发布、归档与保存流程。随后，我们通过收集、存储与建模文化遗产物件及流程数据，详细阐述了阿尔德罗万迪数字孪生体的构建过程。具体说明了从数字文化遗产物件（DCHO）采集到优化后DCHO上传至网络框架（ATON）的多阶段工作，重点关注实现互操作性与保存的开放技术与标准。以《文化遗产图书馆、档案馆与博物馆馆藏的FAIR原则》为框架，我们深入探讨了该数字孪生体如何在物件与元数据层面实践FAIR原则。最后，我们总结了面临的主要挑战，归纳了三维文化遗产数据的特殊性，并指出该领域未来研究的可能方向。