The digital archive of the future
May 11th, 2015The 3D Digital Archive of the Future is a VUW Summer Scholarship collaboration between Victoria University of Wellington and the National Library of New Zealand, exploring the role of 3D media within the context of libraries.
The summer scholars for this project were Ryan Achten and Dylan Hughes-Ward alongside Ruth Barnard contributing as a Research Assistant.
Download the team's final presentation and report (pdf, 14MB)
Our research showed that 3D media is more effective in a library when it is used to aid learning, enhance narratives, and encourage interactive engagement with existing archives.
We found that the most successful interactions with 3D printers were those that connect the user with digital media. These include augmented reality, gesture interaction and other user interactive media, which enable visitors to engage playfully within the library space while discovering and learning.
Based on our findings, we’ve produced four scenarios showing how 3D printers can take on a pivotal role in the National Library experience. The scenarios are based on two current exhibitions and one Library collection.
Scenario 1: A contemporary conversation
World War One: A Contemporary Conversation commemorates the Great War’s centenary by encouraging the public to reflect on the First World War and think about their connection with war today. In this scenario three exhibits have been brought to life for the visitor through 3D animation, augmented reality, and 3D printing. Each demonstrates a unique way to engage the audience.
This photo of ‘An Alsatian prisoner of war, World War I’, Jules Gominet, has been brought to life through 3D animation, enabling him to introduce himself to the viewer and explain his situation.
Scenario 2: A child’s war
In A Child’s War 3D models act as signposts for exhibits visitors can interact with. The interaction takes place via a smart device, using the 3D print as a reference image for accessing a variety of educational and contextual media. Characters within the exhibited text can be can be printed to enhance the learning experience, and can be used to promote play as a form of learning.
We tried two different approaches to using smart replicas, 3D prints housing electronics and information overlaid using external devices and software. One exhibit used an interactive song book and another gave visitors a tangible topographic map.
Scenario 3: Paul Jenden
Paul Jenden (1955-2013) was a writer, director, choreographer, set and costume designer. The National Library has a collection of his costume and set designs, which we have used to demonstrate how 3D prints are interactive and engaging. Although our target audience is children, the simple layout and colourful prints could also appeal to other groups.
The image above shows two modelling processes used within the project; the top sequence shows the workflow used to create a colour 3D print from a base model produced in Rhino, and the bottom sequence shows the animation workflow starting with the base model, through to texturing, and assigning the skeleton to the model so it can be animated.
We explored four approaches to colour printing:
My National Library
My National Library is a proposed online system, linked with the National Library’s existing website. It is a space for the user to collect information in a variety of media, including photos, written text, paintings, audio recordings and 3D files.
The 3D prints are connected to information that links the user to the 3D model’s relevant research and stored information. This connected meaning combined with physical interaction with the model helps to evoke a meaningful experience between the person and the artefact.
In this example, the user can scan and print their heirloom, attach information to the print and link the information they find to their My National Library profile to contextualise the model.
Through augmented reality on the user’s phone, a new layer of information is added to the model. This information can be shared, which enables the augmented reality to be accessed and viewed by others.
Acknowledgements
Summer Scholars: Ryan Achten, Dylan Hughes-Ward
Research Assistant: Ruth Barnard
Supervisors: Simon Fraser, Walter Langelaar, Tim Miller, Rhazes Spell
National Library Liaison: Peter Rowlands
Exhibition Curation: Simon Fraser
Exhibition Graphics: Liane McGee (Fortyfive Design Studio)
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