3D Printing for Cultural Heritage: Preservation, Accessibility, Research and Education

Part of the Lecture Notes in Computer Science book series (LNCS, volume 8355)


Additive manufacturing, if seconded by a paradigm change to the museum model, can be employed in many ways to reintegrate touch, and other non-retinal senses into our cultural experiences. These multi-sensorial forms of experiencing culture also have a great benefit for the accessibility of cultural heritage, especially for persons with learning difficulties, for children, the elderly, for blind or visually impaired visitors. 3D Printing is in a phase of rapid technological changes and promises more enhancing experiences for the field of cultural heritage. This would provide a more holistic appreciation of the produced objects, but make it necessary to develop basic guidelines for 3D printed models. We expect that 3D Printing will not only become vital in the field of reconstruction of objects, but also for research, documentation, preservation and educational purposes, and it has the potential to serve these purposes in an accessible and all-inclusive way.


3D Printing Cultural Heritage Preservation Accessibility Education Models Reliefs Museums Rapid Prototyping Additive Manufacturing Design For All 


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. 1.
    The Economist, Print me a Stradivarius. How a new manufacturing technology will change the world, pp. 12–18 (February 2011)Google Scholar
  2. 2.
    Bickel, B., Bächer, M., Otaduy, M., Lee, H.R., Pfister, H., Gross, M., Matusik, W.: Design and Fabrication of Materials with Desired Deformation Behavior. In: Proceedings of ACM SIGGRAPH, Los Angeles, USA, July 25-29 (2010), ACM Transactions on Graphics 29(3), 63:1–63:10 (2010)Google Scholar
  3. 3.
    Elkins, J.: On Some Limits of Materiality. ArtHistory, Das Magazin des Instituts für Theorie (Special issue on ’Taktilität: Sinneserfahrung als Grenzerfahrung’) 31, 25–30 (2008)Google Scholar
  4. 4.
    Hospers, J.: The Philosophy of Art. In: Encyclopedia Britannica,
  5. 5.
    Greenberg, C.: Towards a Newer Laocoon. Partisan Review VII(4), 296–310 (1940)Google Scholar
  6. 6.
    Classen, C., Howes, D.: The Museum as Sensescape: Western Sensibilities and Indigenous Artifacts. In: Engaging All the Senses: Colonialism, Processes of Perception and the Status of Artifacts, Wenner-Gren Foundation for Anthropological Research, Sintra, September 26 - October 2 (2003)Google Scholar
  7. 7.
    Paul, C.: Digital Art. Thames & Hudson, London (2003)Google Scholar
  8. 8.
    Krauss, R.: A Voyage in the North Sea. Art in the Age of the Post-Medium Condition. Thames & Hudson, London (1999)Google Scholar
  9. 9.
    Manovich, L.:Post-Media Aesthetics (originally 2001, yet the text is being adapted over the years and is online in its latest version),
  10. 10.
    Grau, O. (ed.): Media Art Histories. MIT-Press, Cambridge (2007)Google Scholar
  11. 11.
    Rath, M., Trempler, J., Wenderholm, I. (eds.): Das haptische Bild, Körperhafte Bilderfahrung in der Neuzeit. Akademieverlag, Berlin (forthcoming) Google Scholar
  12. 12.
    O’Neill, P., Wilson, M. (eds.): Curating and the Educational Turn. Open Editions: Occasional Table Critical Series. De Appel, Amsterdam (2010)Google Scholar
  13. 13.
    Axel, E., Levent, N. (eds.): Art Beyond Sight: A Resource Guide to Art, Creativity and Visual Impairment. AFB Press, New York (2002)Google Scholar
  14. 14.
    Ioannides, M., Arnold, D.B., Niccolucci, F., Mania, F. (eds.): Proceedings of VAST 2006: The 7th International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Nicosia, Cyprus. Eurographics Association (2006)Google Scholar
  15. 15.
    Knapp, M., Wolff, R., Lipson, H. : Developing printable content: A repository for printable teaching models. In: Proceedings of the 19th Annual Solid Freeform Fabrication Symposium, Austin TX, USA (2008),
  16. 16.
    Kuchenbecker, K.J., Romano, J., McMahan, W.: Haptography: Capturing and recreating the rich feel of real surfaces. In: Pradalier, C., Siegwart, R., Hirzinger, G. (eds.) Invited paper at the International Symposium on Robotics Research, Berlin and Heidelberg, August 2009. Springer Tracts in Advanced Robotics, vol. 70 (2011)Google Scholar
  17. 17.
    Design For All Foundation Website, Section: What is Design For All?,
  18. 18.
  19. 19.
  20. 20.
    Fujiwara, D.: 3D Printing Pivotal to Forbidden City Extreme Makeover (April 14, 2012),
  21. 21.
    Gangjee, N., Lipson, H., Owen, D.I.: 3D Printing of Cuneiform Tablets. Cornell Creative Machines Lab,
  22. 22.
    Reichinger, A., Maierhofer, S., Purgathofer, W.: High-Quality Tactile Paintings. Journal on Computing and Cultural Heritage 4(2), 5:1–5:13 (2011)Google Scholar
  23. 23.
    Shift in Perspectives. Arts and Disability Ireland, Dublin (2010)Google Scholar
  24. 24.
    Terdiman, D.: Smithsonian turns to 3D to bring collection to the world. CNET (February 24, 2012),
  25. 25.
    Video posted on May 13, 2013, by YouTube user SmithsonianVideos,
  26. 26.
    Lywood, V.: The Mummies at Redpath Museum,
  27. 27.
    Buckley, R., Morris, M., Appleby, J., King, T., O’Sullivan, D., Foxhall, L.: The king in the car park: new light on the death and burial of Richard III in the Grey Friars church, Leicester, in 1485. Antiquity 87(336), 519–538 (2013)CrossRefGoogle Scholar
  28. 28.
    Garber, M.: The Uncanny Face Model They Made With Richard III’s Skull... And it was made by, yep, a 3D printer. In The Atlantic (May 17, 2013),
  29. 29.
    Neumüller, M., Reichinger, A.: From Stereoscopy to Tactile Photography. In: PhotoResearcher No 19, Vienna, pp. 59-63 (April 2013)Google Scholar
  30. 30.
    Blunck, L.: Chimären im Spiegel. Anmerkungen zur sogenannten Multifotografie, Fotogeschichte 94, 3–14 (2004)Google Scholar
  31. 31.
    Schmidt, G.: Die Simultaneität der Blicke. Über ein medientechnisches Dispositiv. In: Visualisierungen des Ereignisses. Kultur- und Medientheorie, Berlin (2009)Google Scholar
  32. 32.
    Beckmann, A.: Fotoskulptur. Überlegungen zu einem Bildmedium des 19. Jahrhunderts. Fotogeschichte 39, 3–16 (1991)Google Scholar
  33. 33.
    Neely, L., Langer, M.: Please Feel the Museum: The Emergence of 3D Printing and Scanning. Museums and the Web 2013, Conference, Portland, OR, USA, April 17-20 (2013),
  34. 34.
    Monaghan, J.: Metropolitan Museum 3D Hackathon (June 2012),
  35. 35.
    Aigner, S., Karel, J. (eds.): Raum Körpereinsatz, Positionen der Skulptur. Verlag Moderne Kunst, Nürnberg (2010)Google Scholar
  36. 36.
    Reichinger, A., Neumüller, M., Rist, F., Maierhofer, S., Purgathofer, W.: Computer-Aided Design of Tactile Models. In: Miesenberger, K., Karshmer, A., Penaz, P., Zagler, W. (eds.) ICCHP 2012, Part II. LNCS, vol. 7383, pp. 497–504. Springer, Heidelberg (2012)CrossRefGoogle Scholar
  37. 37.
    Roozenburg, M.: Smart Replicas: bringing heritage back to life. Presentation at Smart Replicas at MuseumNext Conference Fringe Symposium (May 13, 2013),
  38. 38.
    Eriksson, Y.: How to make tactile pictures understandable to the blind reader. IFLA/SLB Pre-conference Seminar in Penang (1999),
  39. 39.
    Braille Authority of North America and Canadian Braille Authority:Guidelines and Standards for Tactile Graphics (2010). Web Version February 2012,
  40. 40.
    Vlaming, L.: Human Interfaces – Finger Tracking Applications. Department of Computer Science, University of Groningen (2008)Google Scholar
  41. 41.
    Hyperbraille Project,
  42. 42.
  43. 43.
    Seisenbacher, G., Mayer, P., Panek, P., Zagler, W.L.: 3D-Finger - System for Auditory Support of Haptic Exploration in the Education of Blind and Visually Impaired Students - Idea and Feasibility Study. In: Assistive Technology from Virtuality to Reality. IOS Press, Amsterdam (2005)Google Scholar
  44. 44.
    Giles, J.: Inside the Race to Hack the Kinect. The New Scientist, 208(2789) (2010),
  45. 45.

Copyright information

© Springer-Verlag Berlin Heidelberg 2014

Authors and Affiliations

  1. 1.Artecontacto KunstvermittlungViennaAustria
  2. 2.VRVis Forschungs-GmbHViennaAustria
  3. 3.Institute for Art and DesignVienna University of TechnologyViennaAustria

Personalised recommendations