Enhance visitor experience of archaeological monuments and value of 3D.
5Dculture will develop reuse scenarios for archaeological 3D content to explore how it enhances visitors’ experience of archaeological monuments and evaluate the creation of different 3D surrogates and the value these have for different sectors (tourism, education, gaming, the arts, conservation and heritage management). By utilising 3D technology in archaeological heritage the project will digitally reconstruct archaeological sites, artefacts, and structures, offering researchers and archaeologists a virtual platform for analysis, interpretation, and preservation. This approach opens up new avenues for understanding and studying our collective past while ensuring the long-term conservation of valuable archaeological treasures.
Archaeological 3D content from the Brú na Bóinne World Hertiage site in Ireland and from the Iberian culture near Jaén, Spain, are the use-cases to demonstrate and explore the re-use of 3D content.They will be explained in more detail below.
In this project, approximately 130 existing 3D models in Europeana will be enhanced and a number of new ones added.
Τhe UNESCO World Heritage Site of Brú na Bóinne
Within the 5D Culture project, one of the archaeological case studies focuses upon the UNESCO World Heritage Site of Brú na Bóinne, a significant archaeological and historical site in Ireland. It is renowned for its Neolithic burial mounds, including Newgrange, Knowth, and Dowth, which date back over 5,000 years. These sites are some of the world's oldest and most well-preserved megalithic structures and highlight the advanced engineering and architectural skills of Neolithic populations. Newgrange, in particular, is famous for its winter solstice phenomenon when on the shortest day of the year, sunlight enters the passage tomb and illuminates its inner chamber.
The site receives around 250,000 visitors each year. Several of the passages within this site are off limits for the public due to conservation and health and safety issues, so the provision of virtual access through the use of 3D models is extremely valuable to understand and appreciate these globally significant sites.
Megalithic art at Newgrange, Knowth and Dowth consists of intricate carvings, primarily on the kerbstones that encircle the mounds and within the passageways. These carvings feature geometric shapes, spirals, concentric circles, and other symbols. The meaning of these symbols is still debated, but they likely held deep cultural and possibly religious significance potentially being used for storytelling or community rituals. The art showcases the advanced craftsmanship of Neolithic peoples with the precision and detail in the carvings are impressive and demonstrate a high level of skill in working with Neolithic tools (Figure 1).
Figure 1. 3D model of the Entrance Stone at Newgrange, approximately 3m in length. Originally recorded in 2012 as part of the 3D-ICONS Project with the Artec Eva handheld scanner.
Improving quality
Over the past decade as part of previous EU funded projects (3D-ICONS) or through direct support for the National Monuments Service in Ireland, the Discovery Programme has employed a range of techniques and methods to digitally document in 3D many of these important monuments and artworks at Brú na Bóinne (Figure 2). Since their original capture, both recording, modelling and presentation technology has improved significantly. Within the 5D Culture project several areas of quality improvement were implemented including:
Reprocessing of legacy data to achieve increased model resolution and accuracy
Production of higher resolution textures (8k & 16K) based on photogrammetric and procedurally generated processes have for different sectors (tourism, education, gaming, the arts, conservation and heritage management)
Improvement in photo texturing through delighting and cross polarisation techniques
Improving the metadata and paradata associated with each model
More, additional digital documentation was achieved through the 3D capture of artefacts associated with the monuments and of comparable passage grave sites at Loughcrew and Fourknocks.
Figure 2. Surveyors for the Discovery Programme digitally recording one of the interior chambers at Knowth using a Faro terrestrial laser scanner.
Read more about developing enhanced and enriched 3D models of cultural heritage assets here.
Read more about pre-processing images for photogrammetry here.
Reusing 3D Archaeological Data: Exploring New Possibilities
With the availability of 3D content of considerable cultural significance, several use cases were explored to enable the most efficient and effective use of this resource. Within the project we demonstrated the innovative reuse of 3D archaeological data across multiple domains, enhancing tourism, accessibility, conservation, and creative applications.
Tourism Applications
Brú na Bóinne Postcards & Micro Stories: To extend visitor engagement beyond the site visit, interactive 3D content was developed as a post-visit experience. Five micro stories, featuring 3D models, holograms, and video renderings, offer deeper insights into Brú na Bóinne's megalithic art, passage tombs, kerbstones, and artefacts. These are accessed via QR codes on distributed postcards, allowing visitors to explore inaccessible areas and artifacts housed in museums.
Figure 3: Photograph of the interactive postcard set available for Brú na Bóinne.
3D Prints for Visually Impaired Tourists: To enhance accessibility, 3D-printed models of heritage sites were created for blind and visually impaired visitors. Tactile models of monuments like high crosses and monastic structures enabled a hands-on exploration, complemented by audio guides. This initiative, tested with a tour group in Ireland, provided an immersive alternative to visual site interpretation.
Figure 4: Example of 3D prints for one of the decorated high crosses at Clonmacnoise. Here the full monument and a detailed panel from the cross were utilised.
Figure 5: Two examples of 3D prints being used at Glendalough Monastic sites St. Kevin’s Kitchen (left) and The Gateway (right). In the image the audio guide device used to provide audio commentary can be observed.
Conservation Applications
Creating Conservation Plans: A new workflow was developed to generate formalized visualizations, such as scaled plans, elevations, and sections, using high-resolution 3D data. These outputs assist conservation specialists by integrating detailed site documentation into architectural workflows, overcoming software limitations in handling complex archaeological models.
Figure 6: Example of formal plans and sections derived for Newgrange Passage tomb derived from terrestrial scan data.
HBIM & 3D-Heritage Viewer: Collaboration with INCEPTION tested the integration of 3D heritage data into HBIM (Historic Building Information Modeling) environments. The project explored how archaeological structures, often irregular in shape, could be incorporated into BIM workflows. Additionally, 3D models of heritage sites were tested within the 3D-Heritage.eu viewer to enhance accessibility and usability for researchers and the public.
Figure 7: Screen grab of the Newgrange passage tomb within the ICE engine.
Conservation Applications
Experiments with 3D Prints: The project explored the potential of 3D-printed cultural heritage objects for commercial and educational use. Using data from a survey of Dublin’s Custom House, models were printed in various materials, including plaster, wax, and even chocolate. These reproductions highlight new possibilities for heritage-inspired souvenirs and artistic interpretations.
Figure 8: Example of two chocolates created using two moulds from different 3D prints from Dublin’s Customs House River Heads
Gaming Applications: A student game developer incorporated Newgrange’s 3D data into an Unreal Engine environment, experimenting with photogrammetry-based game design. The project provided insights into integrating real-world archaeological data into immersive gaming experiences. See the initial scene here.
Artistic Collaborations:
In the final creative sector demonstrator, the Discovery Programme reached out to two established artists who have interacted with their 3D content during the process of creating new artworks:
Róisín FitzPatrick used prehistoric motifs from Brú na Bóinne in multimedia installations featuring silk and crystal
Ottmar Hörl utilized 3D scans of a Celtic warrior statue for a large-scale sculptural installation in Germany, raising public awareness of cultural heritage.
Through these diverse reuse scenarios, the project showcases the transformative potential of 3D archaeological data, bridging heritage with technology, accessibility, and creative expression.
Iberian Culture Unveiled through 3D Models
Embark on a captivating journey into the rich tapestry of Iberian culture with this use-case scenario led by the University Research Institute for Iberian Archaeology at the University of Jaén, Spain. Delving into the vibrant history of the Iberians, a prominent group inhabiting the southern and eastern regions of the Iberian Peninsula during the Iron Age (6th-1st century BC), this project promises an immersive exploration.
The focal point of this endeavour is a carefully curated collection of 3D models representing archaeological objects tied to the Iberian culture. These models are not just artifacts; they serve as educational tools spanning various levels—primary, secondary, and university education. What makes this initiative even more remarkable is its commitment to inclusivity, catering to individuals with visual and intellectual impairments.
In refining and enhancing these 3D models, our goal is to create a diverse, inclusive, and engaging experience for users. By leveraging cutting-edge ICT technologies, we aim to present aspects of Iberian life, including religion, ritual, death, society, gender, clothing, and daily life, in a novel and entertaining manner.
Henk Alkemade, CARARE's Deputy Operations Manager, expresses the vision:
"The models, previously accessible on Europeana in pdf format, have undergone a transformation into more user-friendly formats. Through metadata enrichment and reintegration into Europeana (Figure 1), we have made them more discoverable, accessible, interoperable, and retrievable.
Figure 1. Schema for Europeana as educational tool and example with the 3D models of the Sanctuary Cueva de La Lobera
Currently, 75 3D models are already available in Europeana (Figura 2). This collection includes the sculptures of Cerrillo Blanco, El Pajarillo, the Lady of Cerro Alcalá and the Goddess of Puerta del Sol; votive offerings from Torrebenzalá, Cueva de la Lobera, Haza del Rayo, Giribaile and La Bobadilla; projectile points from Cerro de la Muela; funerary boxes from Piquía and Los Chorrillos; and the sanctuaries of Puerta del Sol and Cueva de La Lobera. All 3D models are complemented with descriptions, photos and videos subtitled in Spanish and English. In this way, the collection is made more inclusive by making it accessible to people with some type of disability.
Figure 2. 3D model of Iberian warrior from Cerrillo Blanco in Europeana
The collection of 3D models can be seen in Europeana at this link
Secondary education students (14-16 years old) can participate in workshops held during Science Week 2023-2024, Meetings-UJA, Explora-IES and in the International day of Woman and Girl in Science organized by the University of Jaén. See: Iberian 3D models in the Science Week 2023
University-level students (18-21 years old) in disciplines such as Archaeology, Geography and History, and Computer Science can benefit from lectures, seminars, and practical sessions.
Figure 3. Educational events using Iberian 3D models. Up-left: workshop with children (6-10 years old). Up-right: workshop with secondary school students (14-16 years old). Down-left: workshop with secondary school students (14-16 years old) (IUIAI-UJA).Down-right: workshop with University students (18-24 years old)
These educational events aim to highlight various dimensions through 3D models, covering history with iconographic analysis, methodology explaining the 3D modeling and ageing process, conservation emphasizing the effectiveness of 3D models, and dissemination stressing the role of 3D models in understanding the past and promoting social inclusivity.
Figure 4. Left: 3D model of Iberian ex-voto printed using bronze filament. Right: Tridimensional puzzle of an Iberian sculpture representing a wolf (IUIAI-UJA)
Empowering Through Inclusivity: Iberian 3D Models for People with Visual and Intellectual Impairments
In a groundbreaking initiative, our second field of action centers on making Iberian heritage accessible to people with visual and intellectual impairments. Collaborating with the Iberian Museum of Jaén, we are developing activities that utilize 3D models to disseminate Iberian heritage in a tactile and auditory manner.
The endeavor to enhance access to Cultural Heritage for groups with varying degrees of disability, has transcended individual and national boundaries. In 2021, the European Union unveiled the Strategy for the Rights of Persons with Disabilities 2021-2030, signaling a commitment to substantial improvements in the lives of individuals with disabilities. This strategy envisions empowering them to actively contribute to an inclusive, green, and digital economy, reinforcing the core values of the EU.
Emphasizing education and culture as fundamental rights, the strategy urges Member States to champion the arts of persons with disabilities. It calls for increased visibility through exhibitions and performances and advocates for the accessibility of art collections and museums. Notably, the role of 3D models in disseminating archaeological heritage among people with visual impairments is underscored. Museums are evolving by creating inclusive spaces, organizing exhibitions tailored to this user group, and incorporating spatial accessibility, tactile models, 3D printed replicas, braille texts, and explanatory audio files (Figure 5 & 6).
Figure 5. Left: models of Iberian pottery (Archaeological and History Museum of Elche, Spain). Centre: model of the Iberian sculpture Lady of Elche (ONCE Typhlological Museum, Madrid, Spain). Right: model of Greek krater (Museum of Villajollosa, Spain)
Figure 6. Basic schema in museums with rooms for people with visual impairments (IUIAI-UJA/5DCulture)
Looking through the lens of providing valuable historical information to individuals with impairments, the 3D models, along with accompanying text and sound files, aim to convey basic knowledge about object types, iconography, and the meanings behind scenes depicted in archaeological material. This holistic approach, exemplified by projects like the Iberians in the 5DCulture project, seeks to offer insights into aspects such as way of life, landscape perception, gender relations, religion, and ritual.
The result of this proposal has been the design of the inclusive experience inaugurated at the Ibero Museum in Jaén (Spain) entitled TOUCH, SEE, HEAR. AN INCLUSIVE EXPERIENCE WITH IBERIAN HERITAGE IN 3D and aimed at people with visual, auditory, and intellectual impairments, as well as children. In this experience, 12 3D printed models have been used with textures that imitate the feel of stone. To make them more inclusive, they have been completed with easy-to-read texts, Braille texts, and Navilens codes that lead to subtitled audio video files.
Figure 7. Inclusive experience in the Iberian Museum of Jaén (IUIAI-UJA)
From a technical standpoint, 3D printing is far from a simple process. Careful consideration of settings, including size, orientation, filament type, bed levelling, nozzle diameter and temperature, layer height, adhesion assistants, supports, speed of cooling fan, infill density, shell thickness and more, is essential to strike the right balance between time and model quality (Figure 8).
Figure 8. Printing of the 3D model of the Iberian sculpture grifomaquia using PLA filament and at a scale of 15% (Height: 13.5 cm, Width: 12 cm, Thickness: 9 cm) (IUIAI-UJA/5DCulture)
For individuals with visual impairments, controlling the size and scale of the model is crucial for a tactile experience. Choosing the right filament type and the best treatment surface to achieve an optimal roughness/smoothness level for shape perception is vita (Figure 9).
Figure 9. 3D models (20 cm height) of an ex-voto from Torrebenzalá using PLA and PLA with a surface treatment
After two years of international cooperation, the 5Dculture project has achieved a remarkable transformation in how European cultural heritage is preserved, shared, and reimagined through the power of 3D technologies. Looking back, the project has delivered tangible results that ...
On November 28, 2024, the Ibero Museum of Jaén (Spain) and 5Dculture inaugurated an inclusive experience titled TOUCH, SEE, HEAR. AN INCLUSIVE EXPERIENCE WITH IBERIAN HERITAGE IN 3D. The exhibition presents the novelty of being aimed at diverse audiences: people with visual, audi...
From 25 to 29 November, the Europeana Initiative invited the community to join an extensive online event highlighting the efforts and expertise of the data space consortium active in diverse and innovative projects enriching the common European data space for cultural heritage. ...
