The purpose of this article is to study the Romanian Orthodox place of worship of Lunghezza in Rome, utilizing the expression ‘shared religious place’ and thus referring to the shift from secular to religious and asserting that it is now a camouflaged religious place. Using GIS mapping and Digital Humanities methods and tools, the paper analyses the geographical presence of Orthodox Romanians in the Metropolitan City of Rome territory and the architectural typologies of their places of worship. The history and geography of the church in Lunghezza, a former stable converted into a house of worship, reveals the form of the resilience of the Romanian Orthodox parishes, forced to find various and compelling solutions in order to survive as places of worship.

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Digital visualisation technologies including 3D modelling and virtual/augmented reality have revolutionised our critical engagement with the visual arts. The possibility of virtually [re]constructing highly fragmented contexts has opened infinite possibilities and new agendas for research. While the sustainability of Digital Humanities research is at the forefront of current debates, through specific case studies, with a particular focus on medieval historical heritage, this paper aims to critically engage with methodological aspects employed in the creation of digital reconstructions. These models need to balance the need for accuracy and academic certitude with the aesthetic quality of the objects themselves. Through an interdisciplinary and multifaceted approach, it will offer a commentary and a reassessment of the common notion that digital conservation as a discipline needs to offer a curative response in the fields of historical preservation, cultural heritage and archaeology.

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