# Studying Marseille's citadel: a multiple perspectives strategy

Jean-Yves Blaise, Iwona Dudek, Anthony Pamart, Laurent Bergerot, Isabelle Fasse

► To cite this version:

Jean-Yves Blaise, Iwona Dudek, Anthony Pamart, Laurent Bergerot, Isabelle Fasse. Studying Marseille's citadel: a multiple perspectives strategy. FORTMED 2025 - International Conference on Modern Age Fortifications of the Mediterranean coast, Università della Campania 'Luigi Vanvitelli', Apr 2025, Caserta, Italy. pp.909-917, 10.4995/Fortmed2025.2025.20340. halshs-04823650v2

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# Studying Marseille's citadel : a *multiple perspectives* strategy

Jean-Yves Blaiseª, Iwona Dudekᵇ, Anthony Pamartᶜ, Laurent Bergerotᵈ, Isabelle Fasseᵇ

ªa-b-c-d UPR 2002 MAP CNRS, Marseille, France, map@map.cnrs.fr, ᵈENSAM, Marseille, France

## Abstract

The MAP laboratory develops its research and training activities within a circle often referred to as “heritage sciences”, but which in reality covers a wide range of scientific questions, technical know-hows and specialities – encompassing *observations* (object materiality) and *diachronic analysis* (reasoning on historical clues). The result of this diversity of investigations is often disjointed research partnerships or programmes, and a feeling of not achieving a global understanding of the heritage assets under scrutiny. It was against this backdrop of dispersion that MAP decided to experiment with a refocusing approach around a common object of study, Marseille’s Citadel. Thus, a multi-faceted collaboration started with the actor in charge of its restoration and reconversion. This contribution illustrates the approach, placing side by side heterogeneous works (chronography, digitization strategies, extended realities). Its main aim is to contribute to a debate on disciplinary decompartmentalisation and, in a sense, the concept of slow science.

**Keywords:** time-oriented data, 2D/3D digitization, VR, 360-degree panoramas, interdisciplinarity.

## 1. Introduction to Marseille's citadel

The name *citadelle de Marseille* or *Fort Saint-Nicolas* refers to a quite extensive defensive structure (6 hectares) constructed in the mid-17th century, at the mouth of the port of Marseilles. Fort Saint-Nicolas is the counterpart of an earlier defensive structure, built on the north shore of the port, Fort Saint-Jean, which was enlarged shortly after the building of Fort Saint-Nicolas.

The decision to build the citadel was taken in 1660 by King Louis XIV with a dual objective: to defend the entrance to the port, and to calm the city's rebellious tendencies. Fort Saint-Nicolas was a fairly complex structure, comprising a major stronghold (*haut-fort*) built on a natural promontory, and another structure (*bas-fort*) built on the very shore of the port. Until the mid-19th century, these two components were united behind a single defensive enclosure. Most of the construction was completed in five years, (1660 - 1665) - the keep with five redans (four bastions

and a half-moon), the first belt of ramparts with seven redans, barracks and a parade ground in the lower part. Restored after the French Revolution, it was then modified to adapt to artillery developments throughout the first half of the 19th century. Fort Saint Nicolas underwent a major transformation between 1862 and 1864, with the construction of an urban boulevard between the haut-fort and the bas-fort, which interrupted all operational continuity between the sub-units of the original structure. Both parts remained property of the French army. They were renamed in 1887: the former “Fort d'Entrecasteaux” and the latter “Fort Ganteaume”. These two spatial entities would evolve quite independently of each other for over a century, accommodating a wide variety of functions (e.g. barracks, prison, listening services, archives, host to army veterinary services). In 1969 the citadel was listed as a historic monument. In 1992, a process was launched that aimed at transferring Fort
d'Entrecasteaux to a new owner, the city of Marseilles. This process ultimately lead to its transfer to a Non-Governmental Organisation (NGO) named "Citadelle de Marseille", acting now as site operator. The NGO was given a mission to restore the site's heritage, with a broader ambition to re-articulate the upper part of the structure with its surroundings and with the city at large. The site aims to become host to creation and research activities. The bas-fort remains the property of the French army to this day, with no further functional or physical links to the upper part of the original structure.

<figure><img src="image_2.png" /><figcaption>Fig. 1- Marseille's citadel, seen from the port's north shore. In dark grey, Fort Ganteaume (photo by MAP 2024).</figcaption></figure>

Fort d'Entrecasteaux, converted for civilian use, is now often simply called 'The Citadel', for convenience, and it is by this name that it is referred to in the rest of our contribution. The citadel can be read as a historical object (object of study for the historiographer), but also in many other ways: as a remarkable architectural ensemble, as a training site for the teaching of restoration techniques, a place for cultural and artistic encounters, a place where memories can be read in the object itself (endangered engraved graffiti), a maze of underground spaces not suitable for general public use, a venue for researchers or artists in residence, for training courses ... It is precisely this wide range of open issues - societal, cultural, scientific - embodied in a single object that has led our laboratory to set up, in 2023, a series of actions with the "Citadelle de Marseille". Our aim is to use the citadel as a focus point not only for diverse science and technology issues, but also for activities that run parallel to scientific research (e.g. training and dissemination typically). This article aims at illustrating our attempt to combine heterogeneous expertise around one single object.

## 2. The citadel, seen as a historical object

The Citadel is first and foremost a historical object, i.e. one whose evolution over time we wish to investigate, may this evolution be still visible in the object's materiality today, or not.

To this end, we apply a specific, formal method of diachronic analysis dedicated to heritage architecture, which we have conceived as a means for the human analyst to type (characterise formally, beyond expressing it in natural language) the information he compiles, and then translate it visually into a synthetic form that we call *chronographs* (Blaise & Dudek, 2010).

The approach has been one of the laboratory's core research lines for over 20 years. It can be summarized as intersecting historical sciences (i.e. working on hints, partial data sets, uncertainty and time) and InfoVis (Information Visualisation) - a sub-discipline of information sciences (Spence, 2001). Our diachronic analysis method can be summed up as follows:

- A theoretical model supporting the analyst in his/her effort to differentiate between events, consequences, context and so on. This formal model is based on the opposition between states (moments of stability) and transformations (moments of change). It defines a grid of eighteen states and transformations, to be combined along the building's life cycle (e.g. abandonment, decay, hibernation, modification).

- A graphic language and visual tools that exploit the theoretical model in order to highlight different aspects of the interpretations made by the analyst. This graphic language translates (or maps, in the terms often used in the InfoVis community) the interpretations made during the course of the analysis into different glyphs and graphic entities - some aimed at differentiating transitions and states, others providing an indication of the quality (reliability) of the dating (Fig. 2).

- A context assessment component that allows analysts to report on facts that are exogenous to the building, but which the analysts consider likely to have impacted its evolution. Contextual elements are typed (around ten categories - epidemics, laws, etc.) (Fig. 3).
This method, which originated fifteen years ago
in the context of a research on the city of Krakow,
has been re-examined over time in a number of
other cases (Dudek & Blaise, 2020) - we won't
describe it in detail here for the sake of brevity.

<figure><img src="image_3.png" /></figure>

Fig. 2- Partial view of Fort Saint-Nicolas’s chronograph. Chronographs combine two visual formalisms: (1) a variogram which conveys information on the scope of changes (morphological, structural and functional) and on their intensity, and (2) a diachrogram which details the types of changes (top glyphs), types of states (colour of the main rectangles), and the quality of the dating (circles on the bottom line). a) differences in the quality of the dating (shade of grey of circle); b) a functional change that introduces no change in the object’s size; c) destructive transformation identified by a red glyph (here looting); d) a “decay” transformation that runs for several years (graphic elaboration by authors 2024).

Chronographs are not intended to provide an
assertive, definitive, and exhaustive account of
the building's lifeline. The approach aims at
visualising a human expert's analysis of a set of
documentary material. Their role, as visual
reasoning tools, is to assist the analyst in his or
her reflective effort (visual synthesis of one's
own study) and to facilitate exchange and
discussion (visual clarification of an individual
path of interpretation, which the graph highlights
for others). The experiment we report here is
aimed at testing how chronographs do express
multivocality. The idea is to compare the way
different analysts read and interpret the same
hints, and ultimately select a given set of
transformations, states, associated with temporal
slots and their assessments of uncertainty.

To set up this experiment, we asked several
persons (six trainees and two researchers) to
analyse a single source: the heritage diagnosis
report drawn up by heritage architect I. Guérin

and associates between 2015 and 2022. The
report goes quite down in details concerning the
Citadel's evolution; and contains extracts from
primary sources (texts and graphics), a verbal
description of the building's genesis and of the
transformations it has undergone over time, as
well as contextualization (whether in relation to
the neighbourhood or major historical events).

<figure><img src="image_4.png" /></figure>

Fig. 3- Partial view of a chronograph with context assessment component activated. A distinction is made between (1) global context displayed in the top part (changes of rulers, wars at national level, etc) and (2) local context (in the vicinity of the edifice) displayed in the bottom part. Colours correspond to the predefined categories of context (graphic elaboration by authors 2024).

The experiment showed that interpretation and
synthesis of clues lead to choices and then
produces narratives that are not identical. There
are, of course, a vast majority of points of
convergence between analyses, but there are also
differences that allow us to re-interrogate
ourselves, and to better isolate points of
ambivalence in the documentary material.

We view these small differences in interpretation,
which chronographs highlight, as a richness of
historical sciences. It invites us to be cautious
about hasty adoption of approaches based on
artificial intelligence (an interesting debate to
open). The question before us maybe is this: do
we want to produce as quickly as possible and
without human intervention, an assertive
narrative of a building's evolution? Or do we
want to form our own idea, then communicate it
in such a way as to make it a subject for
discussions, if not as a means to feed a collective
intelligence process? The approach we are
experimenting with is clearly tailored to this
second line of thinking.

Experiments we launched in 2024 on
chronographs also include addressing the issue of
spatial granularity, in other words, the idea of
conducting an independent analysis for each of
the different “spatial blocks” making up the
citadel, (haut-fort, first enclosure, second
enclosure, etc.) in order to highlight divergences
or concurrent events in their life courses. On a
technical level, this work has led to the re-
implementation of an experimental web interface,
the *chronographer*, enabling students to produce
their own analyses. We are now exploring the life
histories of other citadels in Provence, with a
view to foster visual comparisons.

## 3. The Citadel, seen as a complex site to develop thrifty digitization strategies

Considering its size, the complexity of the
architectural space and the numerous historic
points of interest the Citadel represents a great
opportunity to challenge and renew 2D/3D CH
(Cultural Heritage) digitization strategies. A
while ago, from a scientific perspective, the
approach would have been a long but
straightforward data acquisition campaign
followed by hours of data processing, cleaning
etc. This workflow would have led to more or less
complete digital model made of billions of 3D
coordinates obtained from terrestrial laser-
scanning and aerial photogrammetry, or likely.
This model would have been useful for
valorisation purposes, but would also have
constituted a weak scientific matter. The
partnership and the on-going work with the
Citadelle de Marseille are the opportunity to think
and act differently.

### 3.1. Toward priority and purpose-driven digitization

The Citadel is too vast for being scanned all at
once in order to obtain a snapshot of its current
state. Moreover, it is still under restoration hence
some parts cannot be surveyed or, since it is a
permanent worksite, in sub-optimal conditions
 workers, machinery, materials deposit,
scaffoldings). Since the first discussion with the
site operator those conditions have been
expressed as well the principal points of interest
or concerns. Firstly, the Citadel's labyrinthine
architecture is difficult to understand from
scattered documentation because of the complex

connectivity of spatial relationships and the
specificity of military construction guided with
strong technical constraints (dimension of
structural elements, angle of sights, orientation).
Secondly, some parts of the Citadel would
remain, even after restoration conditionally or
strictly inaccessible, for conservation and or
security purposes. Those two issues pointed by
the site operator present some challenges that
intersect with expertise and research aims of our
laboratory, and act as focus points for our
experiments on new documentation approaches.
In all actions so far, the survey is motivated by
several objectives for both partners, the
laboratory and the "Citadel de Marseille",
"killing two birds with one stone".

Indeed, documenting a complex site with reality-
based modelling requires tailored methods
opening salient scientific prospects. Being able to
anticipate the connection between the surveys
implies a renewal of data acquisition protocol.
Surveying more efficiently difficult zones often
leads to develop new protocols or instrumental
set-ups (Pamart et al, 2024). Finally having a
strategic approach of digitization that could serve
different objectives is a trigger to innovation.

<figure><img src="image_5.png" /><figcaption>Fig. 4- Sparse point cloud and camera network for the complete digitization of the High Court (graphic elaboration by authors, 2024).</figcaption></figure>

### 3.2. Interlinking multimodal digitizations

Ad-hoc and lightweight protocols mixing laser-
scanning, close range and panoramic
photogrammetry have been applied on the
following parts of the Citadel:

- Powder magazine interior and exterior, with its surrounding in Villeroy's bastion.

- High Court and its upper corridor (Fig 4)

- Mazarin's bastion, indoor only.

- The prison-cells

- The west and north wing of the High Court
  underground
All the digitisation campaigns we have carried
out in the Citadel, have been processed in
anticipation of the necessary overlaps to enable a
fine multi-scale spatial registration.

It remains work in progress also on the
georeferencing side. In addition, a special care is
being paid to metadata and paradata, using a
provenance-inspired scheme (Pamart et al, 2020)
to keep trace of digitization activities (Fig. 5).

<figure><img src="image_6.png" /><figcaption>Fig. 5- Example of JSON based documentation for tracing digitization activities (graphic elaboration by authors 2024).</figcaption></figure>

3.3. Multiple roles of digitization

At the research level, the Citadel acts as a
scientific ‘playground’ to experiment with
various digitization approaches and will serve as
a ‘sandbox’ for Digital Sobriety (DG) and Open-
Data (OD) management. All the outputs of
digitization activities or training experiences (see
section 4) are derived and reused within mixed-
reality (see section 5). From the site operator side,
digitization will be used to promote the Citadel
developing various digital-born content,
scenarios and events.

3.4. 3D digitization at the cross-road of
technical platform and research protocols

For years, the MAP laboratory has been involved
in Cultural Heritage (CH) 2D/3D digitization and
have therefore a long experience and strong
expertise in this field. The equipment fleet has
grown and evolved with the advancement of
technologies and is composed of devices to
deploy image-based and range-modelling in
various context CH context (from object to space
scales). However, our research has been focusing
recently on lightweight, corpus-driven and
tailored digitization strategies. Several
experimental protocols or set-ups have been
developed including multimodal (Blaise et al.,
2020) and massive approaches (Comte et al.,

2024), interrogating the role of instrumentation in
current digitization practices. Past and recent
experiences have revealed that digitization
schemes are unreasonably increasing in matter of
time and data management while a semantic gap
is remaining. Our capacity of digitization is
uncorrelated to our ability to exploit and learn
from digital resources. In addition, digitization
practices and scientific driven CH documentation
at the same time must be oriented toward OD and
DG practices requiring to renew digital survey
protocols.

4. VR exploration of the Citadel: the MYRTE experiment

Lightweight in terms of development, multi-
platform, DIY, free, and scalable according to the
needs of the cultural heritage field in terms of
virtual tour applications: these are the guiding
concepts behind the design of MYRTE prototype
(MY viRtual tour for archiTecture and cultural
heritagE), an application that enables users to
create, edit, and view virtual tours for the cultural
heritage sector.

Collaboration with the citadel has enabled us to
compare these specifications with initial case
studies, described in the following section.

4.1 Why MYRTE?

Started in August 2022, the development of
MYRTE is inspired by apartment tours, such as
those offered by Matterport™. Existing
commercial solutions, such as Virtuatour™ and
3DVista™, did provide the inspiration for this
venture, however, the need to create an in-house
solution proved essential, to ensure full control
over its development and tailoring to CH needs.

The application allows non-IT experts to create,
edit, and visualise a VR (Virtual Reality) scenario
on a theme of their choice. In this regard, the
concept is similar to the other works (Coelho and
al., 2018, Adão and al., 2018), offering an
interface for creating virtual tours accessible to
non-experts. This is where the DIY aspect takes
on its full meaning. The prototype offers the
possibility to easily create a virtual tour with
custom information, through a simple action (e.g.
drag-and-drop, double-clicking for creation of
access points or points of interests (POIs) on
panoramic images.

The difference, however, from the two
aforementioned works is that the tours are not
based on 360-degree videos but on multiple 360-
degree photos based on 360-degree videos but on multiple 360-degree photos, linked together by access points (as shown in Fig. 6). Moreover, the exploratory aspect of the MYRTE prototype distinguishes it from the VMust concept (Reuter et al., 2014)) - in the sense that it's an application

<figure><img src="image_7.png" /></figure>

Fig. 6- Links between panoramas. In blue, access points; in green, points of interest (POI). When hovering over a POI, a label with a title, a thumbnail image and a description is displayed (top right) (graphic elaboration by authors 2024).

for research and educational purposes rather than for museums or the general public, although this was the case during two events described later in this article.

## 4.2 Development: data and software

In order to offer a quickly usable and accessible application for non-experts, the option of using only 360-degree panoramas was chosen instead of complex manually modelled 3D scenes. However, the easy, semi-automatic integration of 3D content into MYRTE for non-experts is currently underway. This content will consist of point clouds and spatialized camera positions from an ad hoc acquisition system, as described later in this article. To ensure rapid deployment within a few months and considering the rapid obsolescence of virtual reality equipment, especially headsets, we chose to use existing web technologies. In addition to HTML, PHP, and CSS, the use of JavaScript via the Three.js library allowed us to fully exploit the 3D/VR capabilities of a browser-based application.

## 4.3 Uses of MYRTE at the Citadel

Three use scenarios have been explored at the Citadel: education, dissemination, and research.

- Education

The first use of MYRTE, in a teaching context, took place during two summer schools organized at the Citadel in 2023 and 2024 (Fig. 7). Participants were tasked with creating their own

virtual tour scenario for a specific area of the Citadel on a theme of their choice (architecture, history, ventilation systems, etc.). This led to the creation of various themed tours, covering different areas of the Citadel (powder magazine and Mazarin bastion), with different viewpoints

<figure><img src="image_8.png" /></figure>

Fig. 7- Virtual tour editing system where users can easily create and modify their tours (graphic elaboration by authors 2024).

depending on the participants respective specialities. In this context, the creation/editing aspect was informally tested.

- Dissemination

The second use of MYRTE, for dissemination purposes, involved testing the prototype's 360° panoramic viewing interface in a public setting, using Meta Quest 3 headsets and a video projection system. Around a hundred people, aged from 5 to 77, were able to experience it at two public events linked to the Citadel of Marseille: The Xplore Festival and the European Heritage Days (EHD) 2024. User feedback was very positive regarding the immersive and informative aspects of the virtual tours. The operational limitations noted were the limited battery life of the VR headsets and browser instability (e.g. network connection issues).

<figure><img src="image_9.png" /></figure>

Fig. 8- First look of point clouds integration in MYRTE (graphic elaboration by authors 2024).

- Research: point cloud integration

In order to extend the functionalities of the MYRTE application, we are also working on a multi-layered version that integrates 3D point clouds (Fig. 8). This exploration was initiated as
part of a final-year internship aimed at digitizing
and representing narrow and dark spaces using
photogrammetry and has been submitted for
publication at ISPRS (Pamart et al., 2024).

MYRTE can here act as a technological and
methodological exploration tool, enabling us to
develop the application as we see fit, according to
our research needs, and without any external
contributors. To this end, an instrumental
prototype for hybrid photogrammetry and virtual
tour capture called SQUILLIDAE, has been
realized.

The automation of the integration of multi-layer
data (360 photos and point clouds) is underway
and will be available in MYRTE.

5. From research to a pedagogical experience

Introducing students or professionals to research
through hands-on practice and training them in
future technologies is one of the key objectives of
our laboratory. This involves adapting scientific
research and training to new teaching methods,
such as workshops or summer courses that
explore specific case studies or sectors
emblematic of the characteristics of a territory.
Through visits and meetings with professionals
and researchers within the field of built heritage,
along with various practical digital learning
experiences, these educational events allow
participants to enhance their critical thinking and
expertise in using digital tools.

5.1. A pedagogical experiment based on the
restoration of the Citadel.

The first year of this workshop focused on the
Villeroy district powder magazine, a restored site
where the military-specific characteristics of the
building are expressed through its materiality and
building envelope. The second year focused on
the Mazarin bastion, which has not yet been
restored and presents many traces of various
historical periods, with architectural and
structural elements that were not yet analysed.

5.2.1. Digitalization and annotation
techniques to support Citadel's analyses

As we saw in the previous chapters, the use of
digital photography as a means of gathering
three-dimensional information opens the door
and opportunity to capitalize a wealth of
knowledge around collaborative approaches such
as architectural, archaeological and historical
analysis, at several scales of investigation.

In this context, learning photogrammetry is at the
heart of teaching 3D acquisition techniques.
Thus, our workshop began with a theoretical
understanding of the stages in the
photogrammetric process, followed by practical
experience of shooting and acquiring digital
images directly on site in the presence of the
various people involved in the restoration of the
fort. Once the digital acquisitions were made, the
pictures and 3D point clouds were processed on
site using various software solutions.

The integration of all photographs taken on site
using a point cloud generated through
photogrammetry techniques facilitated the
dissemination of information. Annotations
derived from analyses and observations are
transferred from one viewpoint to another via the
point cloud. The online AIOLI prototype
(Abergel et al., 2023), developed within the
laboratory, allowed the workshop candidates to
create a visual diagnostic of the elements studied
in the citadel, providing support for a semantic
reading or professional analysis.

<figure><img src="image_10.png" /><figcaption>Fig. 9- Second Edition of the summer workshop “A l’assaut de la Citadelle” June (photo by authors 2024).</figcaption></figure>

5.2.2. Visualisation of historical indices

The massive production of digital data (resulting
from digitization processes, along with the actual
documentation of the Citadel), raises important
heterogeneity issues in terms of nature and
temporal distribution. Visualization tools allow
for the organization of these vast datasets and the
creation of abstract graphical representations that
can reveal aspects not always easily discernible in
the form, image, or representation of built-
heritage. With the support of these methods,
knowledge of architectural heritage expands to
encompass both synchronic and diachronic
approaches. During the second edition of the
workshop, graphical and textual documents
related were analysed and structured by
participants, who were then able to address more
precisely the main historical parameters and
indicators associated with the evolution of the
Citadel.
### 5.2.3. Immersive 3D scenes and knowledge transmission through virtual visits.

The promotion of knowledge and the communication of architectural heritage are subjects of great interest due to their relevance to issues of representation in the design, restoration, or renovation of projects in architecture and for the built heritage. Consequently, the contribution of digital tools, particularly those involving virtual, augmented, or mixed reality, poses significant concerns for the workshop candidates as well as the heritage stakeholders. To express this thematic, workshop candidates are invited to investigate the immersive production tool based on panoramic 360°pictures MYRTE.

## 5.2. Feedbacks of the summer workshops

The participants spent two and a half full days training at the Citadel, surrounded by various professionals involved in the restoration and safeguarding of the fort. These days on-site were followed by two days in our laboratory, where participants aimed to engage more closely with the platforms and tools. In the second edition of this workshop, professionals engaged in built heritage and university lecturers requested to join the students to train themselves on tools presented

in this paper. The digital approach was highly appreciated: it allowed close interaction with architectural elements and provided opportunities to explore the past and future of the Citadel.

## 6. Conclusions

In this contribution, we briefly presented three experiments (and one training course) focused on the citadel of Marseille, a complex and fairly extensive defensive structure currently being converted, under the leadership of an NGO. Each could have been the subject of an independent, more detailed paper, presented within its usual disciplinary silo. But the approach we have initiated with the citadel aims precisely to counter this clustering effect. By focusing on a single object, we aim to make it a means of sharing experiences and points of view.

## Acknowledgments

Authors wish to thank the citadelle de Marseille team (https://citadelledemarseille.org/en) whose support in carrying out the activities reported in this contribution has been crucial, as well as Heritage Architects I. Guérin and associates, and our MAP colleagues A. Manuel and R. Roussel.

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