Now (27&28th of August) on show at DROOG Amsterdam: True Replicas

foto: Jantien Roozenburg

The two projects presented here examine how 3D prototyping and virtual techniques can be utilised to bring the stories of our heritage back into daily life.

3D prototyping are emerging technologies that offer new possibilities to render physical objects into digital data and vise versa, such as 3D-scanning and -printing. With Augmented Reality one can add virtual layers of contextual information on to an object, that can than be discovered using an application on a smartphone or tablet.  With Augmented Reality, objects are enriched and transformed into information carriers that can enrich the story of an object beyond the walls of a museum, archive or a library. Bringing the story of our heritage to our kitchen tables.

The underlying questions we seek to answer with these projects are; What is the meaning stored  in  all these historical objects? How does the story behind an object change our perception and appreciation of that object? What is the relevance of these objects in our increasingly digital and virtual society? How are these stories relevant to us today? Augmented Reality and 3D prototyping offer opportunities to investigate answers to these questions.

foto: Jantien Roozenburg

foto: Jantien Roozenburg

foto: Jantien Roozenburg

True Replicas @ DROOG

True Replicas

The two projects presented here examine how 3D prototyping and virtual techniques can be utilised to bring the stories of our heritage back into daily life.

3D prototyping are emerging technologies that offer new possibilities to render physical objects into digital data and vise versa, such as 3D-scanning and -printing. With Augmented Reality one can add virtual layers of contextual information on to an object, that can than be discovered using an application on a smartphone or tablet.  With Augmented Reality, objects are enriched and transformed into information carriers that can enrich the story of an object beyond the walls of a museum, archive or a library. Bringing the story of our heritage to our kitchen tables.

The underlying questions we seek to answer with these projects are; What is the meaning stored  in  all these historical objects? How does the story behind an object change our perception and appreciation of that object? What is the relevance of these objects in our increasingly digital and virtual society? How are these stories relevant to us today? Augmented Reality and 3D prototyping offer opportunities to investigate answers to these questions.

Smart Replicas

Smart Replicas is a research project pivoted on the junction of design, heritage and technology.  'Smart Replicas' are replicas of historical objects made useable again by combining 3D scanning and printing techniques with ‘traditional’ ceramic techniques. Smart Replicas are not just copies though. Smart refers to intelligent  enrichedment of objects with innovative virtual technologies that enable the object to carry information, so that outside of the museum they provide stories about its origin and history. And of course still serve their original intent.

In this show we present the initial prototype of a Smart Replica based on a seventeenth-century teacup from the collection of Museum Boijmans Van Beuningen.  This object was chosen not only for its great beauty but also because we have a wealth of contextual data about its history. The replica can be scanned with an iPad on the table to discover its history.  These stories are shown through the tablets camera in 3D animations placed around the object. One can navigate through the animations by moving the camera around the object and by tapping and swiping the timeline shown in the animation.

Smart Replicas is a project of Studio Maaike Roozenburg in collaboration with Museum Boijmans Van Beuningen, Delft Technical University and digital agency LikeFriends.

Smart Replicas is supported by  the Rijks Museum, Amsterdam Museum, Zeeuwsmuseum, Van Gogh Museum, Victoria & Albert Museum, Mareco Prototyping, InEdition|Grafic Design, Prins Bernard Cultuurfonds, Sunday Morning at EKWC, Atlas of Mutual Heritage and Stichting DOEN.

Exploring Replicas

With Exploring Replicas, we are researching these technologies, aiming to stretch the boundaries of traditional notions of the replica as an autonomous object based on a historical source. The goal of the project is not to make the most literal copy of the original, but to analyze, communicate and enhance those qualities of the historical source that are most meaningful for us now. These replicas allow us to articulate specific qualities of the historical source, and to isolate and communicate them through their reproduction.

Exploring Replicas is a project in collaboration with Monuments & Archaeology Department City of Amsterdam, Delft University of Technology and the Royal Academy of Art with the support of Amsterdam Fund for the Arts.

With special thanks to: Prof.dr. Jerzy Gawronski, Ron Tousain, Dr.Ir. Jouke Verlinden, Yvo van Os, Bart Vissers, Lotte de Reus, Kotryna Valečkaitė, Sander Pliakis, Irene Neels en Jorinde Smitser.

 

True Replicas @ DROOG: Invitation

We invite you to 'True Replicas' an exhibition of Studio Maaike Roozenburg at Hotel Droog at Saturday 27th and Sunday 28th of august. Here two projects will be presented pivoted on the junction of design, heritage and technology. Projects examining how 3D prototyping and virtual techniques can bring our heritage back to life. On display, to tray and to play with: Smart replica #A7663.To look at touch and examine: research and sketches of replicas of excavated historical objects from Amsterdam soil. 

Saturday Sunday 27,28th 2016

9am - 7pm

on display, to tray and to play with: Smart replica #A7663

to look at and examine: research and sketches of replicas of excavated historical objects from Amsterdam soil.

DROOG

Staalstraat 7B
1011 JJ Amsterdam
the Netherlands

rsvp and more information about the project:

maaike@maaikeroozenburg.nl

www.maaikeroozenburg.nl

Revision of two scanning methods, by Kotryna Valečkaitė

As promised, we would give the summarized results for the two scanning sessions that we had: with CT scanners and with Artec Spider scanner.

Part of the results of the latter unexpectedly disappeared during the post-processing. The scan which promised the most for us, Hermione handle detail, was among the missing files. We hoped to get better results of the floral ornament and combine it with the CT-scan body, only the chosen comparison model and Harry survived.

As seen, for the comparison we chose the finest model we had. The lice-comb teeth were approximately 0.5 mm diameter with even smaller gaps between them. Due to this, the scanning technique used by Artec Spider could never achieve a proper result: too much was not visible, even with the precision of 0,05 mm. In other words, the grid which the range finding device projected could not be interpreted in the gaps and the result was a block with a texture instead of a comb. Moreover, looking at he scan of Harry we can see a big inconvenience for us: only the outer surface and the sections at the breaks were captured. Moreover, the cracked surface texture was not captured, because we got the file only in a mesh file.

Therefore, it would be expected that this problem would not be so apparent in CT-scans. This technique captures the sections of the object, instead of making an interpretation of surface. Just then these sections are interpreted into 3D files. However, the precision of 0,3 mm proved to be insufficient for the artifact we chose:

As seen, the result was a more consistent file, which could actually be printed. Nevertheless, it was far from what we would call sufficient. Expecting this, we also made micro-CT scans of the object. The sneak-peaks of the object in the lab itself looked very promising. Yet our and publicly available computers could not handle the size of the data set (over 2000 sections!) and could only give results in the lowest resolution, leaving us with the following model:

As seen in the picture, the separate teeth are clearly visible, although the main body is missing. This can be easily solved if the used computer has 16GB RAM, since we could get a proper model in Avizo a few moments before it crashed due to memory insufficiency.

To conclude, only the micro-CT scanner offered the sufficient results for the compared artifact. The Artec Spider is very interesting if surface detailing in necessary or if textures/colors have to be captured. However, if not enough scans are made and combined, you will get an object lacking details, thus resulting in incredible amount of work hours in post-processing. Another solution for this would be to make CT-scans and combine them with the Artec Spider scans only for the details.

Comparison of image processing software 3, by Kotryna Valečkaitė

After multiple emails and a Skype talk we finally acquired a trial version of Mimics. According to their representative, the program is mainly focused at medical uses. Most importantly how do bones, implants react to friction and temperature changes.
This got us interested, since this was also rather important in our project: we were using CT scans to determine the break-line positions and in the end also fill up the missing shards with (possibly) other materials. In other words, it would be very interesting to see how different connections between materials would influence the durability of the object. I must add, that this is only a presumption after a talk with their representative and we might not be able to go so deep in the subject due to the time limitations. Yet this could be very interesting as a research subject for future students.
Having only a week of work left till the presentation, we decided to only  check what were the possibilities of the translation (CT-scans to .stl) procedure and if the results could be better than from Avizo.
The interface seemed clear, but more limited to what was offered at the latter program. It seemed actually very similar to already mentioned Seg3D, which is also focused on medical use.

Interface of Mimics

After comparing multiple objects we came to conclusion that this program does not offer better translation. The meshing is coarser and even though the stepping is less visible, so are the break lines.

In conclusion, this program might offer higher possibilities going deep into material interaction(3-matic research), but for simple .stl translations Avizo is still the best option.
P.s. For post processing use MeshLab (open source!): there you can both reduce the fineness of the mesh and smooth it.

Posted in Week 4  

Reproduction Methods

As told in the planning, each of us would come up with a multiple reproduction methods for Harry. We pitched these ideas to each other and discussed which would suit the purpose of this project best. Afterwards everybody choose their favorite and best method, making sure we had a diversity of production techniques.
◄Click on me!
Sander Plaster Print
The goal of this technique is to recreate Harry as well as possible. Therefore, the existing cup will be plaster printed in several pieces. Af varnishing the inner and outer surface, these pieces will be glued together in order recreate the cracks. The holes shall be filled with separately (Ultimaker) 3D-printed parts.
Irene Paper printing
Using the technique of 3D printing paper it is possible to make a relatively inexpensive product using a 3D printer. We don’t expect this technique to be waterproof. By experimenting with lacquer or varnish we can find out the possibilities to make the cups usable for daily usage. To print the rough version of Harry it will cost €34,- euros.
Kotryna 3d printing/plastic injection molding
With this technique we could achieve a very sophisticated look for a high end product. With this design we would bring out the beauty of 3D printing by making an expressive carcass which will either support the cavities in the structure or the whole structure. This also accentuates the historical marks on the object, which is necessary because the original form is then recreated in transparent material. The latter can either be achieved by plastic injection molding (which is beneficial if this is produced in larger numbers) or by using a Objet500 Connex printer (very convenient, because the whole object can be printed out in one go). Moreover, this design would be very interesting if steel 3D printing could be achieved in very small diameters, since then the translucent material could be glass.
Jorinde Vacuum Forming
The main reason for choosing this technique is because 3d printing is too expensive for a consumer product, so the product is still not used for its purpose. The most used cup has got to be the plastic disposable cup. This cup is made with the technique thermoforming, but this is not achievable in the short amount of the we have. Therefore the simplified technique vacuum forming will be used. With vacuum forming s sheet of plastic is heated and forced against the mold by the suction of air. It is important that form is mold-releasing.
With this technique it isn’t possible to use different materials or make holes. To preserve the historic character of the cup the difference between the shards will be made visible with a difference in height. CNC milling at PMB cost 10 euros.

	Basic (existing) shape	Cracks	Holes	Speciality
Sander	Plaster, several separately printed parts	Through glueing the parts together	Seperately 3D-Printed	Trying to recreate Harry as well as possible
Irene	Paper		Different colour	Low budget
Jorinde	Plastic, vacuum formed as one part	height difference between the shards	Holes have to be filled, visable with height difference	Making an old thrown away cup into a useable and disposable product
Kotryna	Plastic, (partially) 3D printed (and plastic molding)	Surface texture, carcass deformations	Carcass or carcass deformations (depends on the final design)	Showcase of 3D printing possibilities and accentuating historical footprint in newly added  details

CNC milling and 3D printing, by Kotryna Valeckaite

Today as a part of our minor our student group was introduced to CNC milling and 3D printing with Ultimaker2. Since we were free to choose the tryout objects, we decided on one of the .stl files we extracted from the CT scans. “Harry”, as our focus object, seemed like a great begin. Yet just after loading the files to Cura (the Ultimaker software), we noticed that the model was not completely straight. That was due to its original position during the scan. In other words, the object nested in-between two other objects was not completely parallel to the ground plane. This we tried to fix by manually rotation in Cura. In the end, it was not perfect and due to that the bottom edge of the cup was sketchy. Moreover, Ultimaker 2 seemed not like the right machinery for such task. That was mostly because we had many open, hanging edges and pieces which had to be supported. The latter is possible with the same material, but that leaves clear marks on the surface.

Removing support structure

Final product (1:2)

Parallel to 3D printing we also did some CNC milling. Just like in Ultimaker, we used “Harry”. For this production technique we used DeskProto. This program both translates the files for the machine and helps to create a frame for the object (mostly necessary to get a clear reference point). However, the latter can also be manually done in other CAD software.
Production of the object took merely 15 minutes, but we did not strive for the highest resolution. That meant that we took the biggest cutter available (d8mm) and got a sketchy cup with clear stepping. Moreover, due to the cavity in the cup and flexibility of the material, mistakes were made (seen in the picture below) and the model was very flaky.

“Harry” from foam (1:1)

Since we had more than 1,5h left, we proposed to make another model in CNC machine. This time to see how much detail we could achieve. For this task we chose “Hermione” as the model, yet due to the time limitations we could only take a piece of it.  We worked on the object from 3 sides, starting with 8mm cutter and finishing with 4mm. This procedure took at least twice as long as the previous one. What is more, during the first try the foam melted, completely destroying the model. In the end, results of the second one were not as clear as in the digital model, but still quite amazing: knowing that we used very soft foam, could not precisely put the model on the reference point and that we did not use the smallest cutter.

Foam “Hermione” (1:1)

In conclusion, the CNC milling could be an option for the final product, if we went for a single material transparent/translucent look. This would be possible by milling stacked and glued plexiglass. 3D printing in single material is also very interesting, but with this we would have to sacrifice some of the qualities of the end product (historical footprint, practicality, aesthetics).

Objecten selecteren: Kammen

De derde en laatste groep die we geselecteerd hebben voor dit project zijn kammen. Een echt dagelijks gebruiksvoorwerp (luizen werden ermee bestreden) waar er veel van zijn opgegraven en die wonderschoon zijn in hun detaillering, materiaalgebruik (hout, been, ivoor, hoorn), slijtage en verval. Echt (technisch) uitdagende objecten voor de 3D scanner en ze bieden de mogelijkheid experimenten te doen met combinaties van ‘historische’ en high tech materialen in een design object.

Kammen uit de collectie Monumenten en Archeologie Amsterdam

Kammen uit de collectie Monumenten en Archeologie Amsterdam

KAT-34-9: kam in ivoor1625-1675

LU-6: kam in ivoor 1500-1650

PH-20-13: kam in Buxus 1525-1550

ANJ-1-46: kam in been

HE-3-1 kam in been

ANJ-1-3 kam in been, nagel paardenhoef 1625-1750

Objecten selecteren: gerepareerd gebruiksgoed

De tweede groep van geselecteerde objecten bestaat uit gerepareerd gebruiksgoed, uit willekeurig welke periode. Juist in de vindingrijke, aandachtige en vaak arbeidsintensieve manieren waarop mensen in het verleden gebruiksgoed repareerden is hun liefde voor bepaalde voorwerpen af te lezen. Daarnaast toont dit ook heel mooi wat de waarde van voorwerpen was en dat de arbeid die gestoken werd in de reparatie blijkbaar op woog tegen de kosten van een nieuw schoteltje, kam of kopje. Deze reparaties vormen een interessant uitgangspunt om in 3D scans en 3D prototypen te ‘vangen’ en te tonen.

Objecten selecteren: 'industrieel' aardewerk

De eerste groep van objecten die ik geselecteerd heb bestaat uit vroeg industrieel aardewerk. Dit is het echte ‘niets aan de hand’ dagelijkse en onopvallende gebruiksgoed van de 19^e eeuw. Juist dit aardewerk is alleen uit opgravingen ‘over gebleven’ en komt nauwelijks voor in museale collecties. Op deze opgegraven voorwerpen zijn goed de sporen van productie, gebruik, slijtage en afdanken terug te zien. Deze sporen wil ik een hoofdrol laten spelen in nieuwe ontwerpen.

Hier onder kun je een selectie van deze objecten zien: (zijn ze niet bloedstollend prachtig!)

OZV7-17-61

OZV7-17-61

OZV7-17-61

OZV7-17-163

OZV7-17-163

OZV7-17-163

OZV7-17-163

OZV7-17-18

OZV7-17-18

OZV7-17-18

objecten selecteren bij Monumenten en Archeologie Amsterdam

Samen met archeoloog Ron Tousain ben ik gaan spitten in de archeologische collectie van Amsterdam, om te bepalen welke vondsten interessant zouden kunnen zijn voor dit project.  Objecten en Objectgroepen die in het bijzonder interessant  zijn  om verder te bestuderen en tot nieuwe ‘ontwerpen’ uit te werken. Naar aanleiding hiervan  is een ‘longlist’ van objectgroepen samengesteld.

De eerste groep bestaat uit vroeg industrieel aardewerk. Dit is het echte ‘niets aan de hand’ dagelijkse en onopvallende gebruiksgoed van de 19^e eeuw. Juist dit aardewerk is alleen uit opgravingen ‘over gebleven’ en komt nauwelijks voor in museale collecties. Op deze opgegraven voorwerpen zijn goed de sporen van productie, gebruik, slijtage en afdanken terug te zien. Deze sporen wil ik een hoofdrol laten spelen in nieuwe ontwerpen.

De tweede groep bestaat uit gerepareerd gebruiksgoed, uit willekeurig welke periode. Juist in de vindingrijke, aandachtige en vaak arbeidsintensieve manieren waarop mensen in het verleden gebruiksgoed repareerden is hun liefde voor bepaalde voorwerpen af te lezen. Daarnaast toont dit ook heel mooi wat de waarde van voorwerpen was en dat de arbeid die gestoken werd in de reparatie blijkbaar op woog tegen de kosten van een nieuw schoteltje, kam of kopje. Deze reparaties vormen een interessant uitgangspunt om in 3D scans en 3D prototypen te ‘vangen’ en te tonen.

De derde en laatste groep zij kammen. Een echt dagelijks gebruiksvoorwerp (luizen werden ermee bestreden) waar er veel van zijn opgegraven en die wonderschoon zijn in hun detaillering, materiaalgebruik (hout, been, ivoor, hoorn), slijtage en verval. Echt (technisch) uitdagende objecten voor de 3D scanner en ze bieden de mogelijkheid experimenten te doen met combinaties van ‘historische’ en high tech materialen in een design object.

 

objecten in de collectie van Monumenten en Archeologie Amsterdam

database objecten Monumenten en Archeologie Amsterdam