AppdArchaeology.com
Turning archaeological records into physical models that can be handled, studied and shared.
Making archaeology tangible
I have been commissioned to produce physical 3D models of archaeological trenches and artefacts for teaching, research and public engagement, with trench models now on display at the University of Glasgow and artefact reproductions forming part of handling collections. What I find particularly useful about physical trench models is how easily they communicate space. Plans and sections remain essential archaeological records, but a model allows someone to immediately understand the relationship between features, structures and changes in level across a site. Digital 3D models can provide the same information, but a print puts it directly into someone's hands without needing a screen, software or any explanation of how to navigate the model.
Exploring, handling and understanding the past
These models have proved useful for both academic discussion and public engagement. Produced from accurate, survey-grade photogrammetric data, they provide detailed physical records of excavations that can be picked up, turned around and examined from different perspectives. Visitors can feel the edges of walls, changes in elevation and individual archaeological features. Some participants even suggested they could identify gaps in walls by touch that might indicate different phases of construction. This tactile approach can be particularly valuable for partially sighted visitors and people with limited mobility, allowing them to explore features that might otherwise be difficult or unsafe to access.
The models can also be used alongside original artefacts, helping people understand where objects were discovered and how they relate to the surrounding archaeology. This provides a much more immediate sense of context than a conventional trench plan alone.
I have experimented with both painted and unpainted models, each offering different advantages. Painted models can highlight individual features and make the archaeology easier to interpret, while unpainted prints allow people to concentrate on the physical form of the excavation without the influence of colour or interpretation. Similarly, unpainted replicas of artefacts can remove distracting surface colours or reflections, making their shape and finer details easier to appreciate. Rather than treating one approach as better than the other, I am interested in how different presentations can encourage people to examine and understand archaeological material in different ways.
AppdArchaeology.com