AIC's 52nd Annual Meeting

Museums, libraries, and archives have seen a growing presence of 3D printed objects within the past 10-15 years, both in the context of objects entering collections and as a tool for preservation and access activities. As consumers of the technology, collecting institutions have applied 3D printing in applications such as conservation treatments, in the storage, display, and transit of objects, and education and public engagement activities. However, the fast development of the technology and the ever-growing variety of materials that can be printed present major challenges for institutions both using the technology and caring for 3D printed art. There is a clear gap in preservation guidance, and the scope of 3D printing, including the ways in which museums create, collect, and consume 3D printed objects, remains ill-defined.

As part of a recent Institute of Museum and Library Services (IMLS) funded project, the Image Permanence Institute (IPI) launched an international, field-wide survey on 3D printing and 3D printed objects in collecting institutions in 2022. The survey collected information from 95 individuals at institutions worldwide and assessed the ways in which collecting institutions are interacting with and using 3D printing. Data collected identified the types of 3D printed objects entering collections and strategies for their care, in addition to how 3D printing is being used as a tool in preservation and access activities. Overall, the survey found that many institutions are using 3D printing mainly to support exhibition and display activities and in conservation treatments. In both of these use cases, 3D printing was chosen primarily because it is a ‘new and innovative’ technique, as opposed to necessarily being the best tool for the job at hand. The survey also gathered information about major challenges that collections care professionals face when using 3D printing. For example, many users of the technology are concerned about the longevity and safety of 3D printed materials, and yet this is not stopping people from using the technology in their work.

While 3D printing has certainly found applications in collecting institutions where it increases efficiency of work, survey results indicated that the strengths and weaknesses of the technology within a cultural heritage context are still being discovered, and many more questions about the technology still remain. IPI has taken the results of the survey, combined with a literature review, information gleaned from conferences in the additive manufacturing industry, and site visits to collections that house 3D printed objects, to build a research agenda outlining major areas for future research around the use of this technology and care of 3D printed objects in collecting institutions. Some of these items include identification of 3D printed materials and processes, the chemical and physical stability of 3D printed materials, data management of digital assets associated with 3D printing, and sustainability. This presentation will share key findings from the field-wide survey and will discuss the gaps in understanding around the technology that can be addressed by future research, all within a cultural heritage context.

In recent years, 3D technology has emerged as a transformational set of tools in the realm of cultural heritage preservation. This poster explores the multifaceted applications of 3D technology, with traditional model making practices in cultural restoration, creation of replicas to enhance museum accessibility, mount making for exhibitions, and artifact storage and transportation. With the ability to capture intricate details, facilitate precise reproduction, and enhance preservation efforts, 3D technology has become an invaluable to the preservation of our rich cultural heritage.




Cultural Restoration:

One of the most compelling aspects of 3D technology is its role in cultural restoration. This set of case studies will delve into the ways in which 3D scanning, printing, and CNC machining can breathe new life into damaged or deteriorating artifacts. This set of examples will show where 3D technology has been employed to recreate lost or damaged sacred objects that are cultural treasures, in collaboration between the Smithsonian Institution and the native Alaskan Tlingit clans, enabling us to recover and appreciate their heritage in ways never before possible.




Creating Replicas for Museum Accessibility:

Museum accessibility is a central concern for institutions worldwide. 3D technology is making cultural heritage more accessible than ever before. Examples will show how 3D scans, 3D CAD modeling and digital sculpting are transformed into tactile replicas, enhanced by traditional model making, enabling visually impaired visitors to engage with artifacts through touch, for the National Museum of American History exhibitions "American Democracy" and "Many Voices, One Nation".




Mount Making for Exhibition:

Mounting and displaying artifacts in exhibitions pose unique challenges. Examples showcase how 3D technology can revolutionize mount making by providing custom-fit, aesthetically pleasing, and preservation-friendly solutions. Such as creating 3D printed "stand-ins" during the mount making process, resulting in safer production. Attendees will gain insights into the process of creating tailored mounts using 3D production processes, that are non-invasive and reduce artifact handling.




Storage and Transit of Artifacts:

Preserving artifacts during storage and transit is of paramount importance for cultural institutions. Examples will highlight how 3D CAD modeling assisted in the creation of a custom painting mount for exhibition and transportation. The process enabled limited handling of the painting, precise planning with conservation staff, and informing the traditional mount making process, to create a mount that that stabilized the object, and was utilized for exhibition and transportation.




Each of the case studies will site challenges, and successes of incorporating 3D technology into the display, preservation, and restoration efforts. Attendees will gain a comprehensive understanding of the potential and limitations of 3D technology in various aspects of cultural heritage preservation.




The intersection of 3D technology and cultural preservation represents a dynamic frontier where tradition meets innovation. Join us for an exploration of how this technology is shaping the future of cultural heritage conservation, restoration, and accessibility. Whether you are a curator, conservator, researcher, or enthusiast, this poster will inspire you with the possibilities that 3D technology offers in the realm of cultural heritage preservation.

Sculpting Solutions: 3D Technologies for Conservation Problem-Solving

This presentation serves as an introduction to 3D technologies as tools for problem-solving in conservation practice. Starting with a brief overview of fundamental 3D technologies and the ways they relate, this talk then touches on various software tools for 3D modeling, along with insights into affordable 3D printing equipment such as FDM and resin printers, and their practical applications in everyday conservation work.

Practical uses of these technologies are showcased through examples such as custom-designed clamps for basketry, unique syringe tips, and a custom vacuum attachment system. Additionally, the presentation explores advanced open-source projects such as the Openflexure microscope–a cost-effective solution for microscopy. Furthermore, CNC milling's role in conservation, demonstrated by the fabrication of fill panels for architectural elements and removable upholstery caps for chairs, is discussed.

During the first stage of the Egyptian-Japanese project, approximately 1,700 decayed and deteriorated wooden pieces were lifted from the pit. The process included first aid treatment and stabilizing the condition of wooden pieces. by 2023 all the wooden pieces were transported to the Grand Egyptian Museum (GEM) to start the second stage of work which included the final consolidation of all wooden pieces, scientific documentation, and developing a design of physical support for the boat parts, that serves the main purpose of resembling all the second boat at the new Khufu’s boats museum inside the Grand Egyptian Museum (GEM).

The reassembly of historical artifacts, particularly those of immense cultural significance, poses unique challenges and opportunities for the integration of modern scientific technologies. This abstract presents the primary findings and outcomes of a project aimed at the reassembly of King Khufu's Second Boat, a priceless archaeological relic from ancient Egypt's 4th Dynasty-Old Kingdom period. Employing a multidisciplinary approach, this research endeavors to leverage cutting-edge 3D laser scanning and 3D printing technologies as tools for scientific documentation and reassembly.

The study revolves around the application of 3D laser scanning to capture precise geometric data of fragmented boat parts excavated near the Great Pyramid of Giza. Subsequently, this scanned data is processed, analyzed, and refined to create detailed digital models of the original boat components. In the case of fragmented or deteriorated boat parts, additional support structures may be necessary to ensure the stability and integrity of the reconstructed models. These supports may be custom-designed to fit each specific piece, providing the necessary reinforcement. After the digital structures are designed by 3D software, special 3D printing techniques are used to print the support for wooden parts.

Throughout this process, it's important to document each step carefully and preserve the digital models for research, educational, and preservation purposes. This includes archiving the 3D scan data and digital models for future reference.

In conclusion, these abstract indicate the importance of 3D laser scanning and 3D printing technologies as indispensable instruments in the intricate process of reassembling King Khufu’s second boat.

The National Museum of African American History and Culture collection includes one of the original Black Panther costumes worn by Chadwick Boseman. The hero suit was featured in the exhibition “Afro-futurism: A History of Black Futures.” This costume has high cultural significance and everyone involved understood the importance of creating a mannequin that could represent both the Black Panther and Chadwick Boseman in a strong and naturalistic pose. The mannequin was made of archival materials selected to help preserve the vulnerable and deteriorating synthetics of the costume, and included an invisible support system to allow for 360-degree viewing. The project combined digital and traditional processing methods including white-light scanning, CNC routing, hand sewing and needle felting. This presentation will cover the design and fabrication process from research and consultation through digital sculpting, milling and finishing steps. We will discuss the challenges, innovation, collaboration and successes of this process.