IMAGING A Museum Made Digital
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UNDERNEATH THE GROUND
WENWEI ZENG
MSD - SEMESTER 1 2020
IMAGING - A MUSEUM MADE DIGITAL
CAPTURE TASKS Photocopy / Photogrammetry / Laser Scan RESEARCH 01 New Acropolis Museum / Bill Henson / Utagawa Hiroshige MID SEMESTER Real & Virtual Gallery / Composition Experiments RESEARCH 02 History of Buliding 136 / Site Selection / Glass Video Gallery / Structure and Materiality / Collection Selection and Arrangement / Image Trace and Surface Generation PROJECT DEVELOPMENT Experiments in Progress FINAL REPRESENTATIONS Curation / Virtual & Real Gallery
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THE ELEVATION OF IAN POTTER MUSEUM OF ART
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Cpature 01 _Photocopy _Elevation The scanner converts the image signal into a digital signal by using technology based on the reflection principle of light. Specifically, the optical component of the scanner captures the image and save it as an electronic file. The part of the image on the position of the light beam is being captured and converted. So, the result can be controlled by moving the image when the optical component moving in the process of scanning. About the process of reproduction. The first method is moving graphic with the scanner. This will cause the image to be stretched. The second method is moving image against the scanner. The original image will be compressed. Another method is rotating the picture when scanning. The distortion will happen in the scanned image. The last method is moving the photograph vertically relative scanner. The result will become fluctuating.
MSD - SEMESTER 1 2020
Wenwei Zeng
In the task, I did many experiments to explore the photocopy techniques and understand how the scanner works. I try to control the photocopy result and try to get a clean and pure result image. Hence, trying to avoid error, mistake and shadows, despite the scanner has the characteristic of accuracy.
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Wenwei Zeng
Wenwei Zeng
Wenwei Zeng
Wenwei Zeng
MSD - SEMESTER 1 2020
THE ELEVATION OF IAN POTTER MUSEUM OF ART
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Cpature 01 _Photocopy _Plan Speed is the key of photocopy art. Obviously, based on how the scanner works, moving the image in the same method, but at different speeds, can produce dramatically different results. For example, both of these two are moving with the scanner, but the degree of stretching of these two results are completely different.
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I also got some new understanding of the space in the process of reproduction. The well-designed space has a quality of certainty. This space was given the characteristic of occasionality. In the result of reproduction, the original space has become bigger or smaller, and more dynamic. The original linear space disappeared, replaced by a random curved line. So, there are many exciting moments of the accident when I doing these experiments with the machine. Although, I tried to contorl the result.
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TWO SCULPTURES BY PHOTOGRAMMETRY
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Cpature 02 _Photogrammetry Photogrammetry is a method that acquire spatial information through photography. In capture task 02, I explored the process of photogrammetry, scanning two sculptures collected by Ian Potter Museum. Then, Pay more attention on the analysis of the texture and landscape from the result of photogrammetry. As the result, I got a better understanding of these new techniques and spatial qualities in texture things.
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IMAGING - A MUSEUM MADE DIGITAL
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POINT CLOUD 01
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Cpature 03 _Laser Scan Capture Task 03 Lidar, a method that measuered distance to a target by illuminating the target with laser light and measuring the reflected light with a sensor. Scanning objects, the elevation of Ian Potter Museum of Art, convert to graphic. Then, the images generated by this method translated into the point cloud and animation. Through the laser sacn experiment, I got the better understanding how space can be generated in the technical process. Understanding this process facilities the arrangement of virtual spaces because of the understanding of the characteristics of laser scan.
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POINT CLOUD 02
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POINT CLOUD 03
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IMAGING - A MUSEUM MADE DIGITAL
Research 01 Research is a way to learn from the mature works. I mainly focus on a typical museum design, the New Acropolis Musuem designed by Bernard Tschumi, learning from the sequence made by this dynamic flows in the archiecture and spaces. It creats a narrative of local ancient culture in Athens, Greek. In addition, some outstanding photography and classical painting bring me inspirations. For example, artworks by Uatagawa Hiroshige and Bill Henson. I started to understand the aesthetics in the visual art from their philosophy of composition, such as colour and the depth of field.
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Framing 01 Photo: Katerina Biliouri
The Collections Arrangement Photo: Uncube magazine
Framing 02 Photo: Nikos Dani
iilidis
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The Acropolis Museum Bernard Tschumi Transparent glass ramp over archeological excavations in the Lobby of the New Acropolis Museum. Furthermore, the element of this project that interests me is the framing established on the entry where allows visitors to appreciate the ruins on the ground from above. In this situation, the interaction between the different levels is created by the section design. Visitors stand above the ruins for a better view to understand the texture of the landscape. The programs of this museum are organised by chronological sequence. Hence, the collections at the Parthenon Gallery are arranged in a straight linear sequence. These fragmentary sculptures are supported by gracile polished steel cylinders and placed on the pure white concrete rectangular platform. The exhibits are lighted by natural light from the glazing curtain wall. This arrangement restores the narrative as they once were.
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Detail Figure
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Ruins at New Acropolis Museum
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Texture from Photogrammetry
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IMAGING - A MUSEUM MADE DIGITAL
Image Analysis Asakusa Kinryuzan Temple in Snow, Utagawa Hiroshige, 1842. The woodblock print artwork, Asakusa Kinryuzan Temple was created by Edo Period Japenese artist Utagawa Hiroshige in 1842. It illustrates a scene of two ancient Japense style temples standing in a snowing winter day. From this artwork, Hiroshige uses bright colours to emphsise two temples on foreground and middle ground. By this method, the buildings on foreground, the building complex on middle ground and the forest on background are distinguished well. The composition of the two temples on the two sides of the picture conform to the rule of third, while emphasizing the close shot, the middle part of the picture is left to the negative space. Therefore, the sense of snowing winter day is illustrated by this woodblock print.
Untitled, Bill Henson, 2009. Bill Henson shooted this untitled photograph at the Hermitage Museum, Saint Petersburg in 2009. The photo presents the scenario of the crowd engage with the artwork. The bottom section of the photograph depicts visitors in natural state, talking or appreciating the collection, while the top section is Rembrandt’s painting - The Return of Prodigal Son. This photo employs an obvious depth of field to distinguish the visitors in the foreground from the artwork in the middle ground and background. Hence, the depth of field due to the aperture and focal distance set by the photographer creates a vague effect to the foreground as well as an effect of subject focuses. Therefore, audiences will be more easily attracted by the artwork in the background. Both the foreground and background follow the rule of third which further increase the balance of the picture. The bright red colour of the artwork alone with the relatively flat colour of the visitors strengths the contrast of colours, increases the subject focus, and creates a large area of darks as the negative space to strength the contrast.
MSD - SEMESTER 1 2020
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Virtual Exhibition Room This experiment attempts to create a virtual exhibition space with the interaction between different layers. It provides a vertical space which means more opportunities to interact with collections and virtual space in spatial dimension in the virtual gallery. It is based on the analysis of precedent and texture from photogrammetry. In the New Acropolis Museum, the slab with a hollow is designed on the entry. Therefore, visitors are allowed to appreciate the ruin underground. Visitors are able to get a full view of the historic objects from a bird-view. In the translation result from the texture of photogrammetry, the density of lines provides diverse spatial character which is similar to the landscape. Specifically, in a narrow strip of lines, there is a sense of canyon. The feelings of basin and plain are brought by the wide parts.
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Headset Plan
Controller Plan
HTC Vive Virtual Reality A
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rtual Reality Assets
Headset Section
Controller Section
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Real & Virtual Room Axonometric 1.Gallery Lighting 2.Glass Panel Floor 3.Space Tracking Frame Inserted Glass 4.HTC Vive Base Station 5.HTC Vive virtual Reality Headset
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Real & Virtual Room Plan 1.Glass Panel Floor 2.Gallery Lighting 3.HTC Vive Space Tracking Base Station 4.Space Tracking Boundary Frame Inserted Glass 5.Virtual Ruins & Sculputure on the Ground
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Real & Virtual Room Section The spatial scale of this virtual gallery design is based on the position tracking of VR equipments. Location tracking can be implemented in an 15 sqm tracked area based on the SteamVR tracking technology. The laser visual area of HTC Vive Base Station is 110 degrees and the tracked area of approximately is 3.5 x 3.5 meters.
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Real & Virtual Room Section Detail 1.Glass Panel Floor 2.HTC Vive Virtual Reality Headset 3.HTC Vive Space Tracking Base Station 4.Gallery Lighting 5.Field View from Visitor Wearing Headset 6.Frame Edge Lighting 7.Position Tracking Frame
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Scenes of Real Room
Scenes of Virtual Room
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Real & Virtual Room Render 01
Real & Virtual Room Render 02
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Research 02
The research work in the second half semester focuses on the utilisation of actural construction and virtual techniques. The topics includes Augemented Reality technology, 3D printing, image trace from digital texture, construction techiniques, materiality and archiectural tectonic. Hence, these result from research are used for collection arrangement, 3D printing contents generation and curation.
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Ruins The New Acropolis Museum / Bernard Tschumi
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3D Printed Topography Napa Quake / Doug McCune
Augmented Reality OperaLab Exhibition / Bridge Studio
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Ian Potter Museum of Art Wood Marsh Architecturee entrance design (expected to be completed in 2020)
History of Building 136 (Ian Potter Museum of Art Now) The building 136 of Melbourne Uni was established before 1970. It was built for physics annexe. The building was made of bricks. In 1998, the building 136 had been transformed into Ian Potter Museum. In this renovation project, the east elevation had been rebuilt a modern facade with metal panel and culture rubbel. The gallery spaces were extended. In 2020 the Potter continues its significant transformation. The new Ian Potter Museum of Art will also have a bold new entrance on the University’s campus, a café and outdoor area in the Museum’s forecourt, and an elegant new foyer designed specifically for opening events.
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Physics Annexe Photoed by Ray Ellis in 1970
Ian Potter Museum of Art (East Elevation) Own Source (2020)
MSD - SEMESTER 1 2020
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Site, at the Southern Elevation of Ian Potter Museum
The Selection of Site This old facade reflects the history of the Ian Potter Museum. This building, building 136 was built before 1970 as the physics annexe building. Then, in 1998, it was transformed into the New Ian Potter Museum, and the east elevation was renovated. So, we can see the two styles elevation there. Even in the near future, this year. A new entrance designed by Wood Marsh Architects will added to the South elevation. And the old facade has many windows which are the element about framing. It is good to play with. And there also has a wide space to explore.
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South Elevation
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Glass Video Gallery Designed by Bernard Tschumi Architects
Glass Video Gallery Bernard Tschumi This temporary gallery is made of glazing panels as enclosure, structural fins and beams. It is about the movement of the body as it travels through the exhibition space and about the enclosure, which is made entirely out of glass held by clips, including its vertical supports and horizontal beams. It utilises the transparent punched steel panel as the floor, which blur the space of real and virtual. The materials applied for the construction attempt to create a space without an actual beingness.
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Plan of Glass Video Gallery
Steel Stair Clear Glass Metal Clip Connections Clear Glass Steel Pipe Structure Clear Glass Fins
Punched Steel Plate
Concrete H-Shape Stell
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Section of Glass Video Gallery
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Happisburgh Footprint
Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
Relief in Terracotta Capua, Campania 250 BC-150 BC Clay
Sanxingdui Bronze Heads with Gold Mask
Sekhmet Head
Nasca Bird Vessel
Pre-Islamic Alabaster Lid
Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
Peru 600-100 BC (Nasca Period) Clay, 13.7×8.6×19.1 centimeters
Egypt 332 BC-115 BC Granodiorite, 33×27×38 centimeters
Sharjah, UAE 250 BC -150 BC (Pre-Islamic Period) Alabaster
Collections
Contents from Ian Potter Museum and Worldwide Digital Collections The arrangement of collections is in chronological sequence. I selected ten objects form Ian potter museum and twelve artifacts from worldwide archaeological organisations. These collections have complete information, they come from different period, culture and region. So, they can better describe the cross-cultural history. The collection is then divided into four parts according to four historical periods, such as stone age, bronze age and iron age.
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Jug Egypt 750-600 BC Ceramic
Jug with Red Slip
Jar with Pointed Base
Breccia Vessel with Lug Handles
Askos in Avian Form with Polychrome Decoration
Cast - Hippopotamus Figurine
Greco Roman Mummy Mask Egypt Early 1st century CE (Roman Period) Plaster
Shabti
Daunian 6th-5th century BC Terracotta, 17.0cm (H) x 21.0cm (W) x 16.5cm (D)
Cyprus 2300-2200 BC Ceramic, 46.7cm (H), 30.5cm (diam)
Unkown Location 20th century BC Plaster, 9.5cm (H) x 6.5cm (W) x 17.5cm (D)
Egypt 3000-2686 BC Clay, 27.0cm (H), 14.6cm (diam)
Unkown Location 3300-2900 BC Limestone Breccia, 8.3cm (H) x 18.0cm (W) x 12.5cm (D)
Unkown Location 715 BC-332 BC Limestone, Paint
Collections
Wavy Handled Jar Fragment
Predynastic Ceramic Vase
Predynastic Decorated Ware Vessel
Predynastic C-Ware Bowl with Hippos
Mummy Mask
Phoenician Ivory of Bull with Lowered Head
Dummy Jar Lid with Recumbent Calf and Uraei Around Base
Papyrus with Greek Inscription Egypt 77 CE Papyrus
Egypt 3500 – 3200 BC (Naqada II Period) Clay
Egypt 332-30 BC (Ptolemaic Period) Gold, Plaster, Linen, 51×25×37 centimeters
Egypt 4400-3000 BC (Naqada I Period) Clay
Nimrud, Assyria, Iraq 9 th-8 th century BC Ivory, 4.4cm (H) x 11.2cm (W) x 0.95cm (D)
Egypt 3300 - 3200 BC (Naqada II Period) Clay
Egypt 1388-1350 BC Limestone, 12.3cm (H) x 15.5cm (W) x 15.3cm (D)
Collections
Egypt 4400 BC-3000 BC (Predynastic Period) Ceramic
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Breccia Vessel with Lug Handles
Unkown Location 3300-2900 BC Limestone Breccia, 8.3cm (H) x 18.0cm (W) x 12.5cm (D)
Predynastic Decorated Ware Vessel
Dummy Jar Lid with Recumbent Calf and Uraei Around Base
Wavy Handled Jar Fragment
Cast - Hippopotamus Figurine
Predynastic Ceramic Vase
Jug with Red Slip
Predynastic C-Ware Bowl with Hippos
Sanxingdui Bronze Heads with Gold Mask
Happisburgh Footprint
Jar with Pointed Base
Egypt 3300 - 3200 BC (Naqada II Period) Clay
Egypt 1388-1350 BC Limestone, 12.3cm (H) x 15.5cm (W) x 15.3cm (D)
Egypt 3500 – 3200 BC (Naqada II Period) Clay
Unkown Location 20th century BC Plaster, 9.5cm (H) x 6.5cm (W) x 17.5cm (D)
Egypt 4400-3000 BC (Naqada I Period) Clay
Cyprus 2300-2200 BC Ceramic, 46.7cm (H), 30.5cm (diam)
Egypt 4400 BC-3000 BC (Predynastic Period) Ceramic
Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
Stone Age -3000 BC
Egypt 3000-2686 BC Clay, 27.0cm (H), 14.6cm (diam)
Bronze Age 3000-1200 BC
Categorisation in Chronological Sequence These contents were categorised by their period. Then locate them in chronological sequence at the different void of terrain. So, visitors can consider the characteristics of these contents in different times. For example, in stone age, ancient ancestor just use clay to make container, then, they utilised metal and pigment in bronze and iron age.
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Papyrus with Greek Inscription Egypt 77 CE Papyrus
Nasca Bird Vessel
Peru 600-100 BC (Nasca Period) Clay, 13.7×8.6×19.1 centimeters
Greco Roman Mummy Mask Egypt Early 1st century CE (Roman Period) Plaster
Askos in Avian Form with Polychrome Decoration
Relief in Terracotta
Shabti
Pre-Islamic Alabaster Lid
Jug Egypt 750-600 BC Ceramic
Mummy Mask
Phoenician Ivory of Bull with Lowered Head
Sekhmet Head
Daunian 6th-5th century BC Terracotta, 17.0cm (H) x 21.0cm (W) x 16.5cm (D)
Unkown Location 715 BC-332 BC Limestone, Paint
Nimrud, Assyria, Iraq 9 th-8 th century BC Ivory, 4.4cm (H) x 11.2cm (W) x 0.95cm (D)
Iron Age 1200-332 BC
Capua, Campania 250 BC-150 BC Clay
Sharjah, UAE 250 BC -150 BC (Pre-Islamic Period) Alabaster
Egypt 332-30 BC (Ptolemaic Period) Gold, Plaster, Linen, 51×25×37 centimeters
Egypt 332 BC-115 BC Granodiorite, 33×27×38 centimeters
Post-Iron Age 332 BC-CE
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3D Printed Topographical Surface
Image Trace from Roman Oast Ruins Texture The texture images are generated with the digital information of collections exporting process. It involves the spatial language which resemble the conditions of landscape such as negative space, void and narrow space. The map generated by the spatial analysis is able to
produce a topological surface as the exhibition
place. The surface and digital collections will be 3D printed as the pattern for AR scanning.
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Plain
Plain Void C
Canyon Void A Canyon
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Plain Canyon
Image Trace from Roman Oast Ruins Texture
MSD - SEMESTER 1 2020
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Project Development
The exploration depends on the researh in above mentioned. It pays attention to how these collections be curated in a specific way, and how visitors interact with real gallery and digital contents by the virtual reality technology. The strategy of real gallery design refers to the precedents, such as Tschumi's projects, information of collections and imaging technology. The display is based on AR technology, and the scanned contents are displayed on a 3d-printed terrain. The terrain is underneath the glass floor, so people can walk through the exhibition hall and see the 3d-printed surface underneath the floor.
MSD - SEMESTER 1 2020 Week-7 Project Development
The Spinario: Iteration Roman, Italy 1 st Century (Hellenistic) Marble, 69×40.5×35 centimeters
Statue of Priest Cyprus 450 BC-425 BC(Cypro-Classical I) Limestone, Height 104 centimeters
A Didyma Sculpture Aegean Region, Turkey 560 BC (East Greek Period) Marble, Height 131 centimeters
Sanxingdui Bronze Heads with Gold Mask Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
Colossal Marble Bust of Zeus Tivoli, Italy 130 BC - 150 BC (Roman Period) Marble, 110×77×22 centimeters
Kirk Serrated Projectile Point Stanly County, North Carolina 7000-6000 BC (Early Archaic) Metavolcanic Rock, 66.1×30.1×7.8 mm Marcus Aurelius Cyrenaica, Libya 160 BC -170 BC (Roman Period) Marble, Height 73.66 centimeters Asyrien Rider Statue Byblos, Lebanon 700 CE Terracotta
Happisburgh Footprint Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
Southern Old Facade VR Tracking Area
Entrance
Plan Plan
Happisburgh Footprint Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
Asyrien Rider Statue Byblos, Lebanon 700 CE Terracotta
Southern Old Facade
VR Tracking Area
Section
Section
Sanxingdui Bronze Heads with Gold Mask Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
The Spinario: Iteration Roman, Italy 1 st Century (Hellenistic) Marble, 69×40.5×35 centimeters
Statue of Priest Cyprus 450 BC-425 BC(Cypro-Classical I) Limestone, Height 104 centimeters
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Sediment Sampling Karin Lehmann
You Urs Fischer
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Exit
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Archaeological Excavation Field
VR Assets Station
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Render 02
MSD - SEMESTER 1 2020 Week-9 Project Development
Mummy Mask Egypt 332-30 BC (Ptolemaic Period) Gold, Plaster, Linen, 51×25×37 centimeters
Pre-Islamic Alabaster Lid Sharjah, UAE 250 BC -150 BC (Pre-Islamic Period) Alabaster
Sekhmet Head Egypt 332 BC-115 BC Granodiorite, 33×27×38 centimeters
Greco Roman Mummy Mask Egypt Early 1st century CE (Roman Period) Plaster Papyrus with Greek Inscription Egypt 77 CE Papyrus
Askos in Avian Form with Polychrome Decoration Daunian 6th-5th century BC Terracotta, 17.0cm (H) x 21.0cm (W) x 16.5cm (D)
Jar with Pointed Base Egypt 3000-2686 BC Clay, 27.0cm (H), 14.6cm (diam)
Cast - Hippopotamus Figurine Unkown Location 20th century BC Plaster, 9.5cm (H) x 6.5cm (W) x 17.5cm (D)
Relief in Terracotta Capua, Campania 250 BC-150 BC Clay
Post-Iron Age 332 BC-CE
Shabti Unkown Location 715 BC-332 BC Limestone, Paint
Sanxingdui Bronze Heads with Gold Mask Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
Dummy Jar Lid with Recumbent Calf and Uraei Around Base Egypt 1388-1350 BC Limestone, 12.3cm (H) x 15.5cm (W) x 15.3cm (D)
Jug with Red Slip Cyprus 2300-2200 BC Ceramic, 46.7cm (H), 30.5cm (diam)
Bronze Age 3000-1200 BC
Jug Egypt 750-600 BC Ceramic
Iron Age 1200-332 BC
Happisburgh Footprint Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
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Phoenician Ivory of Bull with Lowered Head Nimrud, Assyria, Iraq 9 th-8 th century BC Ivory, 4.4cm (H) x 11.2cm (W) x 0.95cm (D)
Stone Age -3000 BC
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Breccia Vessel with Lug Handles Unkown Location 3300-2900 BC Limestone Breccia, 8.3cm (H) x 18.0cm (W) x 12.5cm (D) Nasca Bird Vessel Peru 600-100 BC (Nasca Period) Clay, 13.7×8.6×19.1 centimeters
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Predynastic C-Ware Bowl with Hipposm Egypt 4400 BC-3000 BC (Predynastic Period) Ceramic
Predynastic Ceramic Vase Egypt 4400-3000 BC (Naqada I Period) Clay
Predynastic Decorated Ware Vessel Egypt 3300 - 3200 BC (Naqada II Period) Clay
Wavy Handled Jar Fragment Egypt 3500 – 3200 BC (Naqada II Period) Clay
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Render 03
MSD - SEMESTER 1 2020 Week-10 Project Development Pre-Islamic Alabaster Lid Sharjah, UAE 250 BC -150 BC (Pre-Islamic Period) Alabaster
Relief in Terracotta Capua, Campania 250 BC-150 BC Clay
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Sekhmet Head Egypt 332 BC-115 BC Granodiorite, 33×27×38 centimeters
Papyrus with Greek Inscription Egypt 77 CE Papyrus
Mummy Mask Egypt 332-30 BC (Ptolemaic Period) Gold, Plaster, Linen, 51×25×37 centimeters
Greco Roman Mummy Mask Egypt Early 1st century CE (Roman Period) Plaster
Post-Iron Age 332 BC-CE
Nasca Bird Vessel Peru 600-100 BC (Nasca Period) Clay, 13.7×8.6×19.1 centimeters
Shabti Unkown Location 715 BC-332 BC Limestone, Paint
Iron Age 1200-332 BC
B Jug Egypt 750-600 BC Ceramic
Limestone Breccia, 8.3cm
Predynastic Deco Phoenician Ivory of Bull with Lowered Head Nimrud, Assyria, Iraq 9 th-8 th century BC Ivory, 4.4cm (H) x 11.2cm (W) x 0.95cm (D)
Askos in Avian Form with Polychrome Decoration Daunian 6th-5th century BC Terracotta, 17.0cm (H) x 21.0cm (W) x 16.5cm (D)
3300 - 3200 BC (
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Cast - Hippopotamus Figurine Unkown Location 20th century BC Plaster, 9.5cm (H) x 6.5cm (W) x 17.5cm (D)
ummy Jar Lid with Recumbent Calf and Uraei Around Base Egypt 1388-1350 BC Limestone, 12.3cm (H) x 15.5cm (W) x 15.3cm (D)
Jug with Red Slip Cyprus 2300-2200 BC Ceramic, 46.7cm (H), 30.5cm (diam)
Sanxingdui Bronze Heads with Gold Mask Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
Jar with Pointed Base Egypt 3000-2686 BC Clay, 27.0cm (H), 14.6cm (diam)
Bronze Age 3000-1200 BC
Stone Age -3000 BC
Predynastic Ceramic Vase Egypt 4400-3000 BC (Naqada I Period) Clay
Breccia Vessel with Lug Handles Unkown Location 3300-2900 BC m (H) x 18.0cm (W) x 12.5cm (D)
orated Ware Vessel Egypt (Naqada II Period) Clay
Wavy Handled Jar Fragment Egypt 3500 – 3200 BC (Naqada II Period) Clay Predynastic C-Ware Bowl with Hippos Egypt 4400 BC-3000 BC (Predynastic Period) Ceramic
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Happisburgh Footprint Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
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Final Representations
This temporary real gallery provides a place with the characteristics of archaeological excavation field. It allows people to journey into their own discovery. The display is based on Augemented Reality technology, people are able to explore the artifacts buried on the terrain which were converted into the format of 3d printing model from digital data. They can utilise mobile AR devices such as smartphone, tablet and AR headset to scan the pattern which is composed of 3d printed objects. Then, the displayed contents are able to interact with, as pull it to come up with their front, scale or roate.
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Nasca Bird Vessel Peru 600-100 BC (Nasca Period) Clay, 13.7×8.6×19.1 centimeters
Dumm
Jug Egypt 750-600 BC Ceramic
Shabti Unkown Location 715 BC-332 BC Limestone, Paint
Phoenician Ivory of Bull with Lowered Head Nimrud, Assyria, Iraq 9 th-8 th century BC Ivory, 4.4cm (H) x 11.2cm (W) x 0.95cm (D)
Askos in Avian Form with Polychrome Decoration Daunian 6th-5th century BC Terracotta, 17.0cm (H) x 21.0cm (W) x 16.5cm (D)
Iron Age 1200-332 BC
Virtual Ruins Boundary
Site-Southern Elevation of Ian Potter Museum 3D-Printed Surface from Roman Roast Ruins with Collections as AR Scanning Pattern 7
Iron Age 1200 - 332 BC
5 A
6
Post-Iron Age 332 BC - CE
Pre-Islamic Alabaster Lid Sharjah, UAE 250 BC -150 BC (Pre-Islamic Period) Alabaster
Post-Iron Age 332 BC-CE
Relief in Terracotta Capua, Campania 250 BC-150 BC Clay
Bre
Limestone Breccia, 8.3cm (H
Papyrus with Greek Inscription Egypt 77 CE Papyrus
Greco Roman Mummy Mask Egypt Early 1st century CE (Roman Period) Plaster
Sekhmet Head Egypt 332 BC-115 BC
Granodiorite, 33×27×38 centimeters 1 Entry 2 Tablets and Smartphone for AR Scanning 3 Floor Lamp for Chiaroscuro Lighting 4 3D-Printed Collections as AR Scanning Pattern 5 Screen - Screen Mirroring the AR Scanning Result on Mobile Devices 6 3D-Printed Surface from Roman Roast Ruins Texture 7 Exit
Mummy Mask Egypt 332-30 BC (Ptolemaic Period) Gold, Plaster, Linen, 51×25×37 centimeters
Predynastic Decorat
3300 - 3200 BC (Na
IMAGING - A MUSEUM MADE DIGITAL
Cast - Hippopotamus Figurine Unkown Location 20th century BC Plaster, 9.5cm (H) x 6.5cm (W) x 17.5cm (D)
my Jar Lid with Recumbent Calf and Uraei Around Base Egypt 1388-1350 BC Limestone, 12.3cm (H) x 15.5cm (W) x 15.3cm (D)
Jug with Red Slip Cyprus 2300-2200 BC Ceramic, 46.7cm (H), 30.5cm (diam)
Sanxingdui Bronze Heads with Gold Mask Guanghan, China 2471-2209 BC (Old Shu Period) Bronze, Gold
Jar with Pointed Base Egypt 3000-2686 BC Clay, 27.0cm (H), 14.6cm (diam)
Bronze Age 3000-1200 BC
Stone Age - 3200 BC 3
4 1
Bronze Age 3200 - 1200 BC
A
2 3D-Printed Surface from Roman Roast Ruins with Collections as AR Scanning Pattern 1 Entry 2 Tablets and Smartphone for AR Scanning 3 Floor Lamp for Chiaroscuro Lighting 4 3D-Printed Collections as AR Scanning Pattern 5 Screen - Screen Mirroring the AR Scanning Result on Mobile Devices 6 3D-Printed Surface from Roman Roast Ruins Texture 7 Exit
Virtual Ruins Boundary
Predynastic Ceramic Vase Egypt 4400-3000 BC (Naqada I Period) Clay
Stone Age -3000 BC
eccia Vessel with Lug Handles Unkown Location 3300-2900 BC H) x 18.0cm (W) x 12.5cm (D)
ted Ware Vessel Egypt aqada II Period) Clay
0
Wavy Handled Jar Fragment 5 2 10 Egypt 3500 – 3200 BC (Naqada II Period) m Clay Predynastic C-Ware Bowl with Hippos Egypt 4400 BC-3000 BC (Predynastic Period) Ceramic
0
2
Happisburgh Footprint Happisburg, England over 800,000 years ago (Early Pleistocene) Sediment Layer
5
10 m
MSD - SEMESTER 1 2020
7
Post-Iron Age 332 BC - CE
Iron Age 1200 - 332 BC
1 Entry 2 Mobile Device for AR Scanning 3 Floor Lamp for Chiaroscuro Lighting 4 3D-Printed Collections as AR Scanning Pattern
5 Screen - Screen Mirroring the AR Scanning Result of Mobile Devices
6 3D-Printed Surface from Roman Roast Ruins Texture 7 Exit
IMAGING - A MUSEUM MADE DIGITAL
5 2
3
4
6
Bronze Age 3200 - 1200 BC
1
Stone Age - 3200 BC
1
2
Detail
0
2
Detail
5
10 m
MSD - SEMESTER 1 2020
Breccia Vessel with Lug Handles Unkown Location 3300-2900 BC Limestone, Breccia 8.3cm (H) × 18.0cm (W) × 12.5 cm (D)
Mobile Device for AR Scanning, Screen Mirroring the Result
Floor Lamp Chiaroscuro Ligh
3D-Printed Collections as AR Scanning Pattern
3D-Printed S Roman Roast Ru
Detail Section _01
IMAGING - A MUSEUM MADE DIGITAL
Steel Clip Connection Clear Glass Fins Steel L-Shape and T-Shape Bracket Fixed by Bolts
Steel Pipe for Supporting Glass Wall
Clear Glass Fins
Clear Glass Wall
p for hting
Glass Panel Floor
Steel Pipe as Balustrade
Surface from uins Texture
Steel Plate Treads and Risers Steel Plate Steel Square Hollow Beam
Steel Pedestal Support
Detail Section _02 0
500
1000
2000 mm
MSD - SEMESTER 1 2020
3D Printed Topography And Objects
IMAGING - A MUSEUM MADE DIGITAL
Screen - Screen Mirroring the AR Scanning Result
MSD - SEMESTER 1 2020
Real Gallery 01
IMAGING - A MUSEUM MADE DIGITAL
AR Interface 01
MSD - SEMESTER 1 2020
Real Gallery 02
IMAGING - A MUSEUM MADE DIGITAL
AR Interface 02
MSD - SEMESTER 1 2020
Real Gallery 03
IMAGING - A MUSEUM MADE DIGITAL
AR Interface 03