![]() ![]() As Enrico Ferraris notes, this helps us to “look through the object to the artisan who produced it”. The construction of the wooden box has also been investigated, and an animated video helps to show how these pieces were put together. This helps to better understand the actions of craftspeople. Some of these analyses show how the artist changed aspects of the decoration over time, correcting mistakes and adding additional details. 1550-1295 BCE) tomb of Kha, the contents of which are held in the museum. The video not only discusses the ancient manufacture, but continues through to how medical disciplines are currently investigating the use of Egyptian blue for medical procedures, showing the continued and future applications for this material.Ĭurator Enrico Ferraris demonstrates the use of the augmented reality app.Īnother video shows the various applications of multispectral imaging for the study of pigments and decoration, here specifically on a box from the famous 18th Dynasty (c. The production and detection of Egyptian blue, for instance, is shown in a video created through a collaboration between the museum and a team from the Massachusetts Institute of Technology (MIT). The combination of these displays help to show the progression in the methods of documentation, and technological advances.įrom here the exhibit moves on to the visible decoration of objects, and the analyses that are used today for their study. One of the objects from this excavation, a ceramic flask, has been scanned to create a 3D model – which has also been 3D printed, and which visitors are encouraged to touch. The technologies are communicated using videos that go through the technical processes, continuing into the 3D models of the museum’s current excavations in Saqqara. This begins with a discussion of photography – from the earliest cameras used by the curator Ernesto Schiaparelli in the early 1900s, through to new approaches to photogrammetry. ![]() Moving through the corridor, the visitor arrives at the first of the scientific rooms, ordered based on the idea of moving from the visible to the invisible, the macro investigations to the micro. Video display of the photogrammetry conducted at Saqqara The first image visitors see going into the corridor is a map, showing the location of the 40+ institutions working with the museum to help put on the display – all the additional labs, and home institutions of the outside experts are listed to help communicate just how many individuals had to be involved in order to complete the project. ![]() #Unwrap 3d models archaeology series#With the stage set, the museum exhibit continues through a corridor and into a series of darker rooms. These investigations therefore help archaeologists to get closer to understanding at least a few elements of the lives of these objects, and interactive exhibits can help communicate the importance of these results to a non-expert audience. The purpose of this initial exploration into the concept of object biographies is to help the visitors understand that scientific analyses are not as sterile as they seem – the data they uncover about these objects helps to reveal steps in their construction, aspects of their use or reuse, and elements of the significance they may have held. Like the objects that belong to the museum curators, often the original significance, the meaning the object had for its original owner, is not apparent to most people – but in its second life, museum objects create new connections, and new memories. With their discovery in the modern era, they begin a second life, which continues to develop while in the museum. This opening section is intended to help visitors understand that ancient artifacts also affected the lives of people – they were created, used, transformed over time, and finally deposited. The introductory panel connected to this display discusses the significance of these objects, reminding visitors of the connection that people have to things – of the memories they help to create. Enrico Ferraris, one of the curators involved in the exhibit, explains that each object in this opening section actually belongs to members of the museum staff, and each holds a special meaning for its owner. Beside each niche is a label, written in the first person, in which the object tells the viewer a little about its life. The exhibit begins in a rotunda on the third floor, where modern objects have been placed in niches along the walls. Students from the IFR Field School visit the exhibit ![]()
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