The Uncertain Space: a virtual museum for the University of Bristol

The Uncertain Space is the new virtual museum for the University of Bristol. It is the result of a joint project between Library Research Support and Cultural Collections, funded by the AHRC through the Capability for Collections Impact Funding, which also helped fund the first exhibition.

The project originated in a desire to widen the audience to some of the University’s collections, but in a sustainable way which would persist beyond the end of the project. Consequently, The Uncertain Space is a permanent museum space with a rolling programme of exhibitions and a governance structure, just like a physical museum.

The project had two main outcomes: the first was the virtual museum space and the second was the first exhibition to be hosted in the museum. The exhibition, Secret Gardens, was co-curated with a group of young Bristolians, aged 11-18 and explores connections between the University’s public artworks and some of the objects held in our rich collections.

Entrance to the Secret Gardens exhibition
Entrance to the Secret Gardens exhibition

The group of young people attended a series of in-person and online workshops to discover their shared interests and develop the exhibition. The themes of identity, activism and environmental awareness came through strongly and these helped to inform their choice of items for the exhibition.

hand pointing at manuscripts on a table
Choosing items from Special Collections for the exhibition

Objects, images and audiovisual clips, to link with each of the public artworks, were selected from the Theatre Collection, Special Collections, the Botanic Gardens and from collections held in the Anatomy, Archaeology and Earth Sciences departments. For some of the choices, digital copies already existed, but most of the items had to be digitised by photography or by scanning, using a handheld structured light scanner. The nine public artworks were captured by 360 degree photography. In addition, the reactions of the young people were recorded as they visited each of the public artworks and these are also included in the exhibition.

scanning a piece of malachite
Scanning a piece of malachite for the first exhibition

As the virtual museum was designed to mimic a real-world exhibition, the University of Bristol team and the young people worked with a real-world exhibition designer, and it was found that designing a virtual exhibition was a similar process to designing a real-world exhibition. Some aspects of the process, however, were unique to creating a virtual exhibition, such as the challenges of making digital versions of some objects. The virtual museum also provides possibilities that the real-world version cannot, for example the opportunity to pick up and handle objects and to be transported to different locations.

Towards the end of the project, a second group of young people, who were studying a digital music course at Creative Youth Network, visited the virtual museum in its test phase and created their own pieces of music in response. Some of these are included in a video about the making of the museum.

The museum and first exhibition can be visited on a laptop, PC or mobile device via The Uncertain Space webpage, by downloading the spatial.io app onto a phone or VR headset, or by booking a visit to the Theatre Collection  or Special Collections, where VR headsets are available for anyone to view the exhibition.

We are looking forward to a programme of different exhibitions to be hosted in The Uncertain Space and are interested in hearing from anyone who would like to put on a show.

You can read more about the making of The Uncertain Space and its first exhibition from our colleagues in Special Collections and Theatre Collection:
Our collections go virtual!
Digitising for the new virtual museum: The Uncertain Space

Shiny shells and steamships: an experiment in phototexturing a 3D model.

In the Library Research Support team we have quite a bit of experience of 3D scanning and of photogrammetry, but have never tried combining digital photographs with scan data to make a ‘photorealistic’ 3D model.
When we were asked to scan a large, engraved shell belonging to the Brunel Institute , we decided it was time to give it a go, using our Artec Space Spider structured light scanner and the ‘phototexturing’ function in Artec Studio 16.  This phototexturing option allows photographs of the object to be combined with the digital model to improve the model’s textures and produce a more photorealistic result.

The shell in question has a shiny surface and is engraved with text and images, including depictions of the SS Great Britain and Omar Pasha, an Ottoman Field Marshall and governor. Shiny surfaces can be problematic when scanning, but we dialled up the sensitivity of the scanner a bit and encountered no difficulties. We were also concerned that the very low relief engravings would not be discernible in the final model, which did indeed prove to be the case.

We were careful to capture both scans and photographs under the same conditions, scanning one side of the shell and then, without moving it, taking photographs from every angle before turning it over to scan and photograph the underside.

When processing the scan data, the main difficulty was fixing a large hole in the mesh which occurred in the cavity of the shell where the scanner had not been able to capture data. Because of the complex geometry, Artec Studio’s hole-filling options simply covered the hole with a large blob. Therefore, we used the bridge function to link opposite edges of the large hole and subdivide it into smaller ones, which could be filled with a less blobby result. We then used the defeature brush and the smoothing tool to reduce flaws. The result is not an accurate representation of the inside of the shell, but gives a reasonable impression of it and, without any holes in the mesh, the model can be printed in 3D.

Adding texture from the photographs was simply a matter of importing them in two groups (photos of the top and photos of the underside) and matching them to the fusion. A handful of photographs couldn’t be matched but there was enough overlap between the other photographs to complete the texture. The phototextured model does show some shadows as we were not using dedicated lights, but there is significant improvement in the resolution and in the visibility of the engravings.

an engraved shell
The shell before phototexturing, showing texture captured by the scanner.
an engraved shell
The shell with texture from the photographs applied.

When we came to experiment with printing the model, we found there was not enough 3d geometry to reproduce the engravings, though we had avoided simplifying the mesh during processing. As the faint engravings on the shell are mostly visible through discolouration, we think that 3D printing in colour would be a good solution and the Brunel Institute are also considering other possibilities, such as engraving directly onto a 3D print. We look forward to seeing the result of their chosen solution.

An academic library explores the third dimension

Image: Interior St. Sophia church photogrammetry scan by Miguel Bandera. CC Attribution-NonCommercial-ShareAlike

Tying nicely with Catherine’s ‘Digital Toast’ post of last month. I’d like to share a case study explaining why the Research Support team is currently exploring the third dimension and how the work will help shape the new university library. The case study has been prepared for RLUK’s Digital Scholarship Network.

Overview

In summer 2018 plans for a new central university Library here at Bristol, reached an important milestone; the initiation of Royal Institute of British Architects (RIBA) Stage 2: Concept Design. This stage calls for more clarity about what’s to be built. By this point, many of the functions of our new library were clearly defined and understood. Plans for study spaces, for example, were already defined in terms of scale. We also had a good idea of what the nature of these study spaces would be.

One area which was not so clearly defined was the library-as-laboratory. This concept relates particularly to, but is not limited to, arts and humanities research. The idea that the Library could usefully serve as a hands-on space for ‘making’ research, had been in place since the new library’s initial conception.

There are several factors which led to this decision; Bristol’s expanding academic interest in digital humanities, the founding of a dedicated Research Support team with the library, the growing importance of working with partners within the creative industries.

By the beginning of RIBA Stage 2 we knew we wanted a ‘maker space’, and also that the library-as-laboratory concept could extend further than this, into the University’s plans for creating a new cultural collections space.

Identifying the need

In 2018 the Research Support team led a requirements gathering exercise, clarifying the practical requirements for the library-as-laboratory idea. Several different areas emerged as being of interest to our researchers and research students; for example, network analysis and text mining. However, this case study will focus on one particular area of unexpected interest, one which has implications for us as we build our new library; the creation, use and sharing of digital 3D information.

Among the most popular topics was the digitisation of 3D objects and so the Research Support Team implemented new training and since 2017 we’ve offered regular hands-on workshops in both 2D and 3D digitisation and attendance has always been strong.

With the aim of gathering more data, in early 2018 we began a series of drop-in sessions around campus. These took the 2017 survey as a starting point and allowed us to actually demonstrated many of the technologies which appeared to be of interest to our researchers.

The 3D tool sand technologies we demonstrated were;

  • Structured light 3D scanners
  • Digital 3D models produced via photogrammetry
  • 3D prints and a 3D printer
  • A 360 degree, stereoscopic video camera, the Insta360 Pro. 360 degree video had been linked to VR in the 2017 survey
  • VR headsets showing both 360 videos and digital 3D games with a research focus
  • A holographic monitor (the Looking Glass by the Looking Glass Factory)

Image: Drop-in technology session, Faculty of Arts

These events were aimed at both academic staff and research students although precisely who was invited was left to administrative staff at school level. We also put up posters advertising each event, and anyone was welcome to attend.

The results included some surprises including;

  • A truly cross-discipline interest from within the Arts and Social Sciences faculties
  • An interest in 3D motion capture (of human movement), principally from Drama. We’d not considered this before
  • Questions over digital 3D content as part of the standard library stock were raised. E.g. library access to VR games or 360 video programmes

The information we’ve gathered so far has been reinforced with several useful visits to other research organisations; most notably Edinburgh University and Exeter Digital Humanities Lab.

Outcomes

Despite their broad research aims, we’ve been able to define a set of digital 3D activities which are of interest to our researchers. They are:

  • Topographical 3D scanning of tabletop-scale objects
  • Topographical 3D scanning of larger than tabletop-scale objects, this to include truly portable equipment for architectural and archaeological field work
  • Capture of 3D human motion
  • Building digital 3D models from scratch or enhancing 3D scans or motion capture data using computer graphics applications
  • Taking 3D assets and adding interactivity, ideally achieved using an off-the-shelf game engine
  • Packaging 3D scans for delivery via a specific hardware or software platform
  • Delivery of 3D data, including but not limited to; in-browser, VR headset, AR headset, CAVE (Cave Automatic Virtual Environment) projections and 3D prints
  • Not truly 3D, but there is also a clear interest in stereoscopic, 360 degree immersive video, especially when coupled with VR as a delivery mechanism

Our aim is to build a facility which will support these. The new types of spaces we believe are needed are adaptable, have controllable lighting and be as large as as we can make them. Areas with benches will support table-top work while open plan areas will be used for large-scale 3D scanning, VR and motion capture. These spaces will be located predominantly within the maker space but other parts of the library will also play a part. For example, the new Cultural Collections area will have it’s own 3D scanning area and a new exhibition space will support group VR.

We’re not yet at the stage of producing a detailed breakdown of running costs but we acknowledge the need for ongoing investment in staff equipment, as the technologies we’ve chosen to support evolve rapidly and become out of date quickly.

The range of research activities we’ve identified which involve the creation, use or dissemination of 3D content has been immense; from digital anastylosis within Archaeology to 3D printing life-sized Czechoslovakian landmines in History.

Identifying exactly how 3D tools and techniques will be used within research has proven not only impossible but counterproductive since we actively encourage innovative uses. Fortunately, we have found that we’ve been able to make progress without prescribing how we expect our new facilities to be used.

Lessons learned so far

  • Our expectation that disciplines such as Archaeology would have a high degree of interest in digital 3D while disciplines such as Philosophy would not, has proved largely unfounded
  • Investing in this area has benefited our in-house cultural collections. 3D scanning has offered us an important way to maximize the potential of artifacts, costumes and physical models
  • As the research support team, research has been our focus, but most of what we’ve established and achieved is relevant to teaching and learning uses of digital 3D
  • Much of the work we’ve been doing has been reactive but there is a proactive element. We hope that if we build inspiring research spaces, inspiring research will follow