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Frequently Asked Questions

The FAQ page provides quick answers to the most common questions, facilitating access to information and improving the user experience.



What is the name of the project?

The name of the project is PATRIMÓNIO CULTURAL 360®.

Does the project have a visual identity?

Yes. PATRIMÓNIO CULTURAL 360® is a registered trade mark with its own visual identity.

What is the PATRIMÓNIO CULTURAL 360® project?

PATRIMÓNIO CULTURAL 360® is a public project whose aim is to provide universal, free online access to Portuguese cultural heritage in digital format, including documentary films, 2D and 3D digitisation of movable cultural assets and virtual tours of museums, monuments, palaces and archaeological sites. Promoted by Património Cultural, I.P. and funded by the European Union through the Recovery and Resilience Plan, the project uses advanced digital technologies and multidisciplinary teams, ensuring high levels of detail, technical accuracy and scientific rigour.

What is the objective of PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® aims to help modernise the technological infrastructure of public cultural venues and promote their digital transition, contributing to safeguarding Portugal’s cultural heritage, expanding access and improving the quality of public enjoyment, increasing participation in cultural activities and reaching new audiences—understanding culture as an essential individual and collective value, of identity, belonging and citizenship.

Who promotes PATRIMÓNIO CULTURAL 360®?

The promoter of PATRIMÓNIO CULTURAL 360® is Património Cultural, I.P., a public institute of the Ministry of Culture, Youth and Sport, responsible for preserving, enhancing and promoting cultural heritage in Portugal. The project is coordinated by its Department of Digital Transition.

Who are the partners of PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® has institutional partners, including public and private entities, regional coordination and development commissions, municipalities, public companies, religious entities and archives.

Who funds PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® began with European Union funding through the measure “Digitisation of Arts and Heritage” under the investment “Cultural Networks and Digital Transition” within the “Culture” component of the Recovery and Resilience Plan. Once the initial RRP?funded phase was completed, the project has been sustained by the promoter and partners.

What is the value of the investment in PATRIMÓNIO CULTURAL 360®?

European funding for PATRIMÓNIO CULTURAL 360® totalled €14,486,017.50, supplemented by Património Cultural, I.P.’s own investment.

How many venues are included in PATRIMÓNIO CULTURAL 360®?

In its initial phase, PATRIMÓNIO CULTURAL 360® covered 83 museums, monuments, palaces and archaeological sites across mainland Portugal, with the intention of continuously expanding this number.

If the average visit time to each of the 83 museums, monuments, palaces and archaeological sites were 1 hour and 30 minutes, and an average travel time between venues were considered, it would take around 125 hours of visiting and approximately 82 hours of travelling to visit them all in person.

What types of venues are included in PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® includes museums, palaces, monuments and archaeological sites.

Have you ever noticed that, if you try to name a museum, monument, palace or archaeological site in Portugal, it will very likely be part of PATRIMÓNIO CULTURAL 360®!

Does PATRIMÓNIO CULTURAL 360® only include cultural venues?

No. PATRIMÓNIO CULTURAL 360® also includes other realities, such as the State Contemporary Art Collection, in addition to assets associated with museums, monuments, palaces and archaeological sites.

Does PATRIMÓNIO CULTURAL 360® only include tangible cultural heritage?

No. PATRIMÓNIO CULTURAL 360® also includes content dedicated to intangible aspects of Portuguese culture, such as traditions, customs and know?how, through documentary films.

What types of digitisation are included in PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® includes 2D digitisation, 3D digitisation and virtual tours, complemented by the production of documentary films.

What is digitised in PATRIMÓNIO CULTURAL 360®?

Digitisation within PATRIMÓNIO CULTURAL 360® focuses mainly on movable cultural assets that form part of museum collections, are integrated in monuments or constitute assemblages from archaeological sites, spanning very diverse typologies.

Who decides what is digitised under PATRIMÓNIO CULTURAL 360®?

The movable cultural assets to be digitised under PATRIMÓNIO CULTURAL 360® are selected by the teams of each museum, monument, palace or archaeological site to which they belong.

How many digitisations were planned in the initial phase?

In the initial phase, PATRIMÓNIO CULTURAL 360® planned the digitisation of 59,500 objects, 65 virtual tours and 7 documentary films.

Have you ever imagined that registering a 2D object requires, on average, 8 photographs, which, multiplied by 59,500 objects, would result in the production of more than 476,000 high-resolution photographs?

How can I access the digitisations produced by PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® digitisations are stored in arquiv@—the online archive of Património Cultural, I.P.—and made available online on the PATRIMÓNIO CULTURAL 360® PORTAL as they are produced.

Who can access the digitisations produced by PATRIMÓNIO CULTURAL 360®?

Access to PATRIMÓNIO CULTURAL 360® digitisations is open, universal and free of charge, and is subject to prior authorisation only when for commercial purposes.

Can the documentary films produced under PATRIMÓNIO CULTURAL 360® be broadcast on television?

Yes. Documentary films included in PATRIMÓNIO CULTURAL 360® are produced in formats compatible with online, television and cinema.

Can the documentary films produced by the PATRIMÓNIO CULTURAL 360® project be screened in cinemas?

Yes. The documentary films included in PATRIMÓNIO CULTURAL 360® are produced in formats compatible with online platforms, television, and cinema screenings.

Who are the target audiences of PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® is intended for all citizens, with a special focus on culture and cultural tourism professionals, researchers, teachers, students and anyone interested in art, history and culture.

Does PATRIMÓNIO CULTURAL 360® include children’s formats?

Yes. Although the initial phase still includes few final formats specifically aimed at children, the digitisations produced will in future allow the creation of products aimed at that audience, including gaming and augmented reality formats.

Does PATRIMÓNIO CULTURAL 360® include formats aimed at audiences with special needs?

In the initial phase, the project does not include final formats specifically aimed at audiences with special needs; however, the digitisations produced will in future allow solutions such as 3D printing for tactile perception by blind and partially sighted audiences.

Where can I find more information about the technical component of the project?

The progress of PATRIMÓNIO CULTURAL 360® can be followed on the “Making Of” subpage, dedicated to sharing the process, with a focus on teams, professionals and technologies.

How many professionals are involved in PATRIMÓNIO CULTURAL 360®?

PATRIMÓNIO CULTURAL 360® involves several multidisciplinary teams, and the number of professionals varies across phases depending on the nature and intensity of ongoing activities. This includes specialists dedicated to technical, scientific and technological areas, as well as the teams of the museums, monuments, palaces and archaeological sites included in the project.

Imagine that the number of specialised professionals directly involved in the initial phase of PATRIMÓNIO CULTURAL 360® was over 50, involving more than a dozen private companies, and that the estimated number of professionals working daily in museums, monuments, palaces and archaeological sites in Portugal is around 5,000—PATRIMÓNIO CULTURAL 360® involved, from the outset, more than 5,000 professionals!

Which professional areas are involved in PATRIMÓNIO CULTURAL 360®?

The teams include professionals from information technology, conservation and restoration, photography, modelling and graphic design, with collaboration from social sciences and humanities researchers and participation by university specialists.

Which technologies are used in PATRIMÓNIO CULTURAL 360®?

Digitisation under PATRIMÓNIO CULTURAL 360® uses technologies such as high?resolution photography, photogrammetry, laser scanning and 3D modelling.

Despite major technological advances in 3D modelling, glass objects remain among the greatest challenges for digitisation professionals, often requiring hybrid solutions combining more than one technology!

Are the technologies used in PATRIMÓNIO CULTURAL 360® innovative?

The technologies used are among the most advanced. It is also highlighted that the most innovative aspect of the project lies in the working methodologies, hybrid solutions and management model that enable mass digitisation on an unprecedented scale in Portugal.

Imagine the complexity of relating thousands of digitisations of thousands of objects produced simultaneously by several digitisation teams across the country to their descriptive information—inventory number, material and technique, chronology, authorship, dimensions, etc.!

Where are the digitisations produced by PATRIMÓNIO CULTURAL 360® stored?

PATRIMÓNIO CULTURAL 360® digitisations are preserved in arquiv@—the online archive of Património Cultural, I.P.—with backups and redundant operation, within digital preservation policies.

arquiv@ is based on an open‑source software called AtoM—Access to Memory, promoted by the International Council on Archives (ICA). The use of open‑source software is recommended by the UN and international reference organisations such as the Open Preservation Foundation, OSI, FSF, ENISA, NIST and the World Bank, promoting transparency, sustainability and technological independence for public archives. Some of the largest users include NATO, the Archives of the European Union, the UK National Archives, the City of Vancouver Archives and the University of Brasília, among others!

Where is digitisation storage carried out?

Storage is carried out on physical servers in national territory, distributed across different geographical locations, duplicated for security reasons, with automatic backups and redundant operation.

How much storage space is expected to be / has been occupied by the digitisations?

Considering only its first phase, the digitisations produced by PATRIMÓNIO CULTURAL 360® reach around 500 TB.

If a DVD holds around 4.7 GB and is approximately 1.2 cm thick, to reach 500 TB you would need around 106,382 DVDs; stacked, they would reach 1,277 metres. The tallest historic monument in Portugal, the Clérigos Tower, is 76 metres tall—17 Clérigos Towers would be needed to reach that height!

When did PATRIMÓNIO CULTURAL 360® begin?

Digitisation work began in October 2023 and, on 16 January 2025, the project was publicly presented; since then it has used the name PATRIMÓNIO CULTURAL 360®.

Does PATRIMÓNIO CULTURAL 360® have an end date?

No. The European start?up investment for PATRIMÓNIO CULTURAL 360®, under the Recovery and Resilience Plan (RRP), ended on 31 March 2026; however, continuity is ensured by Património Cultural, I.P.

How will PATRIMÓNIO CULTURAL 360® evolve?

PATRIMÓNIO CULTURAL 360® will continue to evolve to include not only more digitisations, but also more partners, expanding to the greatest possible number of museums, monuments, palaces and archaeological sites, progressively becoming a collaborative, shared and benchmark project in safeguarding and disseminating Portugal’s cultural heritage.

Has anything like this ever been attempted?

One of the most innovative aspects of PATRIMÓNIO CULTURAL 360® is its scale; at that level, it is one of the largest digitisation projects ever attempted.

What stands out most about PATRIMÓNIO CULTURAL 360®?

What stands out most is the ambition to provide universal online access to such a large amount of information, using the most advanced digitisation technologies.

What impact will PATRIMÓNIO CULTURAL 360® have on promoting Portuguese culture?

By making available online—on an unprecedented scale—objects, buildings and places, traditions, customs and know?how that are testimony, repository, symbol and reference of Portugal’s cultural heritage, PATRIMÓNIO CULTURAL 360® contributes uniquely to promoting Portugal’s history, culture and identity, not only in Portugal but worldwide.

Imagine anyone in the world being able to “see” in 3D, at any time and anywhere, the sculpture “O Desterrado”, carved in 1872 by António Soares dos Reis and now on display at the Museu Nacional Soares dos Reis!

What impact does PATRIMÓNIO CULTURAL 360® have in terms of public engagement?

PATRIMÓNIO CULTURAL 360® enables new ways of seeing, feeling and experiencing thousands of objects, buildings and places, traditions, customs and know?how that are testimony, repository, symbol and reference of Portugal’s cultural heritage, helping to reach new audiences through almost unlimited access for anyone, anytime, anywhere.

Imagine telling your friends you visited Elvas Castle and being able to show them what you saw!

What impact does PATRIMÓNIO CULTURAL 360® have on research?

PATRIMÓNIO CULTURAL 360® transforms research by enabling researchers to search, view, manipulate, zoom, save, print and share objects that previously they might not even have known existed. The ability to zoom into high?resolution digitisations is, in itself, a powerful study tool. The possibility of visiting virtually, at any time and from anywhere, any of the museums, monuments, palaces and archaeological sites available makes work easier and faster.

Imagine a researcher being able to turn a 3D digitisation of Chinese porcelain and discover that the potter left their name written on the base!

What impact does PATRIMÓNIO CULTURAL 360® have on education?

Making PATRIMÓNIO CULTURAL 360® digitisations available online gives teachers and students new ways of seeing, feeling and experiencing thousands of objects, buildings, places, traditions, customs and know?how that testify to Portugal’s cultural heritage, providing a powerful pedagogical tool to support teaching at all levels and contributing to more democratised, equitable and inclusive education.

Imagine a teacher setting students the homework of “visiting” the Monastery of São Martinho de Tibães and writing a composition, with the deadline… tomorrow!

What impact does PATRIMÓNIO CULTURAL 360® have on safeguarding Portugal’s cultural heritage?

PATRIMÓNIO CULTURAL 360® digitisations are a powerful everyday working tool for professionals responsible for safeguarding, preserving, conserving and restoring movable and immovable cultural heritage in Portugal—supporting decision?making, planning, monitoring and maintenance, and enabling new possibilities such as the creation of digital twins.

Disasters such as the fire at Brazil’s National Museum in 2018 or Notre‑Dame de Paris in 2019 made safeguarding through digitisation especially urgent!

What impact does PATRIMÓNIO CULTURAL 360® have on combating illicit trafficking of cultural property?

Through mass digitisation of movable cultural assets integrated in historic monuments, museum collections or originating from archaeological excavations, PATRIMÓNIO CULTURAL 360® contributes to greater protection of Portuguese cultural heritage, enabling the development of automatic recognition tools and integration into international collaborative projects to combat illicit trafficking of cultural property and works of art.

In 2021 INTERPOL launched a mobile application called ID‑Art to combat illicit trafficking of cultural property and works of art, which already includes 52,000 stolen objects across 134 countries. With visual records, geolocation and recognition technology, it allows any citizen to identify and report stolen works of art.

Does PATRIMÓNIO CULTURAL 360® push audiences away from museums, monuments, palaces and archaeological sites in Portugal?

No. Experience shows that making content available online not only does not reduce in?person audiences, but contributes to their growth, serving as a powerful tool for promotion, mediation and audience development, as a complementary and non?competing product.

Studies by organisations such as Google Arts & Culture and the Smithsonian Institution have concluded that cultural venues that digitise their collections and offer online experiences tend to record an increase in in‑person visitors, especially among young people and international tourists.

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