3D printing doesn't necessarily change the world, but it can definitely change the museum

A few years ago, the media and scientists promised that 3D printing would change the world: in 2011, the cover of the Economist was a 3D printed Stradivari violin, claiming that 3D printing "can have an impact on the world." The birth of the factory is as far-reaching as possible." The great hope that digital manufacturing brings to people (especially 3D printing) may be exaggerated. But maybe these effects will eventually become a reality.

In the past few years, 3D printing has undergone a stable test period and has made many technological advances. Manufacturers realize that 3D printing has to consider many of its inherent limitations in order to successfully promote its application. In addition, the public’s initial excitement about it seems to be overstated. But despite this, the enthusiasm for this technology should not be slammed into the cold. The technology and its everyday applications require testing and evaluation, which is only a matter of time.

In the past decade, museums and cultural institutions around the world have become one of the most exciting test sites for 3D printing. This may be due to the nature of the objects that the museum studies, collects, and displays: the artifacts are fragile and historically important, and they cannot be touched. Usually, we need to see the full picture of the artifact through a closed glass showroom.

Please touch it

But this situation is changing. One of the most famous digital production projects is a replica of the Tomb of Tutankhamun in the Valley of the Kings of Egypt, produced by Factum Arte. The company called it a “replica” that allows visitors to observe the interior of the Tutankhamun tomb without damaging the original site.

At the same time, the American Museum of Natural History has a project that allows students to digitize dinosaur bone fossils, 3D print, assemble them, and identify biological species like paleontologists. The Media Lab at the Metropolitan Museum of Art chose another way to print museum artifacts from edible materials, such as chocolate, cheese, rice, etc. Visitors can enjoy replicas of artifacts while still enjoying a good meal. .

In January, the Arts and Culture institute, the non-profit organization CyArk and the US 3D printing manufacturer Stratasys announced that they would expand their cooperation on the Open Heritage project. Their goal is to revitalize important monuments and artifacts around the world through 3D printing and other cultural heritage.

The above examples demonstrate the widespread use of 3D printing in cultural heritage. Some projects may seem unusual, but there are some that may lead to an original discussion of artwork, and may also allow people to think about the right to acquire and widely disseminate 3D printed models of museum art online. In any case, they all seem to pursue the same vision: to let people learn, enjoy and better appreciate cultural heritage through multi-sensory experiences.

The power of the reproduction

Of course, making replicas of cultural relics has a constant history. For centuries, people have been using traditional methods to create replicas of artifacts that are specifically used to touch visitors. After all, we perceive and understand the world not only through the eyes, but also the material properties of the objects. Being able to touch, explore the shape of a cultural relic, feel its weight, and even smell it, it is possible to change the cultural heritage experience. In fact, these experiences are the closest moments to our ordinary people and cultural relics.

The innovation of digital copying technology is that they use a high-tech laser scanner to accurately depict the shape of the original artifacts. The power of digital reproduction lies in their digital nature – they can be easily stored, edited and shared around the world.

Those who are interested in cultural heritage can easily access these digital copies, they can download the drawings from the museum website and print them out at home or nearby Fabula with a desktop 3D printer. Most importantly, we are also able to customize digital copies based on the different audience needs in different interpretation scenarios.

3D printing doesn't necessarily change the world, but it can definitely change the museum

Pottery, Iron Age, 3D print pieces are assembled. Image source: Brighton Museum and Art Gallery, author's photo

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Given the diversity of application scenarios and the popularity of technology, which approach is the best way for people to perceive replicas and link them to replicas? This has become even more important. In our research, we tried to explain the connection between the viewer and the physical characteristics of the replica. Only by analyzing these connections can we design and produce better replicas and activities to better meet the needs of our audience.

Our research examines the potential of replicas to appeal to different audiences. For example, people with impaired vision can now experience custom-made replicas of artifacts.

At the Booth Museum in Brighton, England, we invited visually impaired visitors to test a 3D printed relief displayed in a Victorian environment. We found that they needed special guidance in determining the direction of the relief and the independent relief. They also believe that complex forms are difficult to understand. Visitors also discussed the concept of realism, saying that they want to feel realism when they touch, and can use materials that complement realism, such as feathers. According to reports, the existence of sound is also very important to the integrity of the experience.

In addition, in the newly opened archaeological gallery of the Brighton Museum, we observed the interaction of visitors with 3D printed art and found that they were hesitant to touch artifacts or play them. Interestingly, it seems that the “untouchable” nature of the original text is also copied to the replica. In these cases, museums should have clear guidelines, thoughtful design and encouragement to allow replicas and the environments in which they are presented to engage visitors as much as possible.

Despite the many efforts made by the cultural heritage sector, the physical barrier between museum artifacts and people still seems to exist. Perhaps people learn more psychological barriers than physical barriers. But research and practice can find ways to overcome this legacy problem: copy one at a time.