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Antonio Espinosa-Ruiz is the Director of Vilamuseu (Museums and
Monuments of Villajoyosa). PhD in Prehistory and Archeology
(Universidad Autónoma de Madrid, 1996). Associate Lecturer of
Archeology at the University of Alicante (1997-2014, since then
Honorary Collaborator), and since 1996 director of Vilamuseu
(Municipal Network of Museums and Monuments of Villajoyosa).
Co-director of the European Union project ANSER Anciennes Routes
Marittimes Mediterranéenes in the Valencian Community, and the
Franco-Spanish Villajoyosa Ibérica Project (2005-2011), with
universities Paris X and Alicante, and CNRS in France, among others.
Scientific Co-editor of the Manual de Accesibilidad e Inclusión en
Museos y Lugares del Patrimonio Cultural y Natural (Ed. Trea, Gijón,
2013), among many other books and publications. Member of the
Permanent Committee that organizes the International Congress on
Education and Accessibility in Museums and Heritage sites.
Lecturer of Master degrees and courses in several universities in
Spain, Mexico or Guatemala, and invited speaker to many courses and
lectures in several European and American countries. Member of the
Asociación para la Interpretación del Patrimonio (AIP), of which he
was president, and the NAI National Association for Interpretation;
and member of the ICOFOM (International Committee for Museology)
of the International Council of Museums (ICOM).
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Néstor F. Marqués is an archaeologist, specialist researcher in
technology applied to heritage and cultural disseminator. He combines
his technological work with historical and archaeological research, as
well as technological and historical teaching. He works internationally
digitizing heritage in 3D with the highest quality and resolution using
photogrammetry. In recent years, he has also focused especially on
facilitating access for researchers and the general public to heritage
monuments and museum collections through 3D models. Based on
these, he also develops universal accessibility strategies through the
creation of life-size, increased or reduced replicas of museum pieces
and structures thanks to 3D printing, in collaboration with experts
such as the Vilamuseu team. Together with them he won the
international award in 2020 for Silver of Universal Design (IAUD). He
is a founding partner of the company 3D Stoa - Heritage and
technology together with Pablo Aparicio and Miguel Fernández, of
which comprehensive projects such as azoguejo1520.com stand out.
He is a heritage Research Scientist at the Global Digital Heritage
Foundation. He is also a co-founder and teacher of the Koré Formación
platform, specialized in technology applied to heritage. Master of the
Sketchfab platform community for visualizing 3D models and director
of the project for the dissemination of the Roman world Antigua Roma
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al Día, which has more than 300,000 followers and with which he has
published, to date, three books.
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Augmented accessibility in virtualization and 3d
printing of heritage
Antonio Espinosa-Ruiz, Director of Vilamuseu (Museums and
Monuments of Villajoyosa).
https://vilamuseu.es/en/
[email protected]Néstor F. Marqués, co-founder and teacher of the Koré Formación
https://www.koreformacion.com/
http://nestormarques.com/
[email protected]Abstract
Augmented accessibility in virtualization and 3D printing of heritage is
a project and a non-formal strategic alliance between a leading
museum in UD, that is, Vilamuseu, the Museum of the City of
Villajoyosa/La Vila Joiosa; and a leading professional in 3D
technologies applied to heritage, Néstor F. Marqués - Patrimonio
Virtual y Divulgación Cultural, now 3D Stoa - Heritage and technology.
AA refers to the whole process of improving accessibility and usability
of a 3D model or replica.
The main objective of the project is to develop a standardized method
in creation and management of accessible 3D collections, affordable,
sustainable and innovative, that can be replicated by any museum or
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cultural institution, being within their reach, de facto democratizing
practices that seemed complicated or expensive just a few years ago.
Keywords: augmented accessibility, 3D printing, sustainability,
heritage, Vilamuseu
Context
Augmented accessibility in virtualization and 3D printing of heritage
(AA, from now on) is a project and a non-formal strategic alliance
between a leading museum in UD, that is, Vilamuseu, the Museum of
the City of Villajoyosa/La Vila Joiosa; and a leading professional in 3D
technologies applied to heritage, Néstor F. Marqués - Patrimonio
Virtual y Divulgación Cultural, now 3D Stoa - Heritage and technology.
AA refers to the whole process of improving accessibility and usability
of a 3D model or replica.
Image 1.- Façade of Vilamuseu.
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The method includes every step, from the selection of the most
representative heritage items to planning the model, printing and
finishing it, and then exhibiting and communicating it, both by
personal (e. g., guides trained in inclusive attention) and non-personal
means (e. g., UD based texts, audios, etc.).
AA includes five main processes:
1. Selection of key pieces and their adequacy to museum narrative
purposes.
2. 3D virtualization via high quality photogrammetry. Post processing,
optimization, uploading to Sketchfab.
3. Modify and enhance the 3D models to match AA standards,
schematizing or highlighting features for haptic approach. For example, we
can highlight some figures painted on a Greek pottery crater.
4. 3D print in the original plus the appropriate scale for AA. FDM 3D
printers —layers 80-120 micrometers high— and MSLA —layers 25-50
micrometers high, for finer detail— are used. Finishing processes in
Vilamuseu’s laboratory to achieve contrast, secure touch, etc. Test by
users.
5. UD based museography. Accessibility chain. Evaluation. Improvements.
The results are a series of 3D models that serve scientific
documentation, preservation analysis and accessibility in
dissemination. A case of success at Vilamuseu can be seen here.1
1
http://nestormarques.com/restauracion-virtual-e-impresa-en-3d-el-simpulum-de-
vilamuseu/
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Image 2.- Process of virtualization of an Iberian saber, 4th c. AD.
3D printed replicas are the perfect substitutes to fragile original
pieces, they are true to the original geometry, low-cost and easily
replaceable if damaged. AA is a revolution in inclusive museums, if it
follows the principles of UD.
Models are also displayed virtually in Internet, making the museum
collections available anywhere in the world, following the
Recommendation of the European Commission. Vilamuseu’s virtual
collection can be seen by clicking here2.
15 criteria have been taken into account:
I. Selection of key museum pieces, not the easiest to digitize. It
ensures a sense of global understanding.
II. Polyvalent file use. 3D files are the best possible kind of museum
documentation and virtual preservation, serve as analytical info for
researchers and restorers and as dissemination models via 3D online
viewers and 3D printed replicas, fulfilling three main needs of every
museum at a minimum cost.
2
Recommendation of the European Commission. Vilamuseu’s virtual collection can be
seen by clicking here https://eur-lex.europa.eu/legal-
content/EN/TXT/?uri=CELEX:32011H0711
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Image 3.- Néstor F. Marqués working session in Vilamuseu
III. Sustainability: printing in ecologic PLA, a non-toxic and ecologic
material made from potato or beetroot starch. It is a very quick and
affordable product, compared to others based on traditional scanning
and polyester resin with moulds, etc. Museography in Vilamuseu is also
ecological and sustainable.
IV. Explore the best tactile options. Simplify reliefs to make them
easier to distinguish; create reliefs from plain decorations by digitally
detecting the painting microreliefs; increase sunk reliefs or inscriptions,
etc.
V. Final scale accessible to touch: an expanded scale for small
objects —an additional 1:1 size replica for real sense of scale— and a
reduced one for very large objects, not reachable with both hands.
VI. Safe and aesthetic finish: edge polishing, priming and painting
with non-allergic gouache. Safe attachment of the pieces to the table.
The finish allows safely sanitize tactile pieces very often.
VII. Accessible finish: we can increase the original colour contrast and
take into account Dyschromatopsia.
VIII. Test and evaluation by blind and partially blind people from the
ONCE (National Blind Organization), by Talaies Center for Mental
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Disabilities, by Fesord (Valencian Association of Deaf People) and many
others.
Image 4.- Test visit of COCEMFE in 2018.
IX. Accessible and secure tables or surfaces to display the 3D printed
pieces, contrasted with the museum’s walls and floor, so people with
visual impairment can easily detect them. Many tables, close to the
original pieces, not reduced to isolated “sensorial points”.
X. UD based information: contrasted macro-type interpretive
information in Spanish, Valencian (local language) and English; texts in
easy reading and pictograms of augmentative communication; sign
language videos and 3 language subtitles in audio-visuals, etc. Some of
them are provided via a self-managed webApp, no downloading needed,
accessible via QR code. High-speed free WiFi in the whole Vilamuseu.
XI. Search of safe options to handle tactile devices in the context of
the post-COVID19: washable and sanitizable finish and clear cleaning
protocols, security information along the museum, hydro alcoholic gel in
tactile areas, gloves at disposal —ultra thin high-density polypropylene
(HDPE), latex and protein free to avoid allergies, for ambidextrous and
embossed to maintain the feeling of touch—, etc.
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Image 5.- Detail of a Greek crater, 5th c. AD. Note the bas-relief, limited to the main
figures to make the tactile exploration easier. The virtualization process allows us
automatically to identify the micro-relief of the painted surfaces and convert it into a
bas-relief.
XII. Personal information (guides) trained in audio-descriptive
techniques.
XIII. Online availability of the 3D Digitized pieces, optimizing its
loading speed and quality to make sure they are viewable by all devices,
not only by most expensive ones3.
XIV. Accessibility chain in the museum, natural or cultural heritage
place: museography, paths, wayfinding, public spaces, website, visitor
inclusive service, etc.
XV. Work in collaboration with other museums and first-rated
professionals in the world (see below).
Vilamuseu’s team is fully involved in the project: A. Marcos an D. Ruiz,
chief curator and archaeologist, select the pieces and provides cultural
information; the director, A. Espinosa, and museologist C. Bonmatí
study the accessible furniture and the exhibition presentation; the
restorer, M. J. Velázquez, directs the processes of imprimation and
finish of 3D printed pieces; finally, Néstor F. Marqués creates the
3
See: https://sketchfab.com/vilamuseu
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virtual models, 3D prints the objects and develops new ways to
augment accessibility.
A number of experts are often consulted: the Provincial Direction of
ONCE; Mrs. Begoña Consuegra, one of the main specialists in tactile
heritage; Viviane Sarraf, manager of Museus Acessíveis (Sao Paulo,
Brazil); the Museo Tattile Statale Omero in Ancona (Italy); Gabriela
Aidar, Chief of the Education Department in the Pinacoteca de Sao
Paulo, etc. Many final users and experts on other disabilities are
consulted and participate in evaluation.
Image 6.- The replica in front of its non-tactile original.
3D pieces are included in exhibitions planned following aspects of
human diversity: age, sex, sexual orientation, cultural background and
interests, physical and mental capabilities, pregnancy and maternity,
etc. The project takes into account criteria of respect for human
diversity, safety, health, functionality, ease of understanding, appeal
(aesthetics), affordability, ecology and sustainability.
Some examples are:
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Age is taken into account for example in macro types for
interpretive labels and panels for elder people; in pictograms (suitable
for children under 7, not only for people with mental disabilities); in
easy-reading texts (especially interesting for children between 7 and 12
years); devices for kids so they can reach the tactile pieces, etc.
Sex is always a crucial perspective in the discourse of every
exhibition in Vilamuseu (also in non-sexist language). Sexual orientation
is always considered (e. g., our last main exhibition is named Slaves to
Beauty, in Spanish Esclavxs de la Belleza, where the “x” refers to sexual
diversity, present along the visit).
Cultural background is taken into account when writing
exhibition texts according to the principles of heritage interpretation, to
make them entertainable, short, clear, interesting, easy-to-understand,
interesting to different publics. Language diversity refers to the use of
Valencian/Catalan, Spanish and English everywhere, even social media
(e. g. see @Vilamuseu on Facebook).
Physical and mental capabilities: museographic furniture (for
example, the tables on which the 3D printed pieces are displayed are
accessible to wheelchairs), texts in easy-reading and pictograms,
enough light in every hall, wide walking spaces, etc.
Pregnancy and maternity have a reflect in the pieces chosen for
the project: e. g., Phoenician amulets to protect pregnant women. As for
the facilities, Vilamuseu has a fully equipped comfortable lactation room
and every detail in the building is designed following accessible criteria.
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Image 7.- A good example of augmentation of visual accessibility: Phoenician flask
nr. 022158. See the original in figure 8.
Some recent examples of the project’s impact are:
Since 2018 more than 20.000 people with accessibility needs a
year, most of them belonging to several programs for elder people or
associations of people with disabilities (COCEMFE, Fesord, ONCE, etc.)
have enjoyed Vilamuseu’s tactile pieces.
On February 20, 2018, the Tourism Bureau of the Regional
Government and Predif organized a course in Vilamuseu on
accessibility to tourism, in which the product was tested.
On October 18, 2018, the Agencia Valenciana del Turisme and
Predif organized a blogtrip to two important international disabled
people, Martyn Sibley4, from Cambridge, deemed the most influential
disabled person in UK in 2017 and Núria Azanza 5. They were explained
the project and spread it in their blogs. Martyn wrote, referring to the
whole blogtrip along all the Valencian Region: “Afterwards we headed
4
Martyn Sibley http://martynsibley.com/2018/11/accessible-valencia/
5
Blogtryp-Sixsense travel https://blog.sixsense.travel/tag/vilamuseu/
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to the amazing Vilamuseu. Probably my best moment of the whole
trip”.
On December 10 and 11, 2018 Vilamuseu was invited to open the
sessions of the Working Group Barrier Free City for All of Eurocities in
Berlin’s Senate, as key speaker. The project was presented to
specialists from some of the main European cities.
On January 14 and 21, 2019 the Course “Museums for all people:
planning, inclusive services and Universal Design” was organized by
Vilamuseu and the Valencian Regional Government. It was a great
success, with 90 participants from 34 museums.
From 2019 to 2022 several visits from professional teams from
different museums: Elche, Mahón, Manacor, Chile, Valencia and many
others visited Vilamuseu to know more about our AA Project. Some of
them have replicated the model.
In 2019, Vilamuseu has been invited to a number of round tables,
lectures, master classes, etc. in which the project has been presented,
invited by the Ministry for Tourism, the Valencian Region Government
or the Cátedra de Responsabilidad Social of the University of Alicante,
among many others.
Vilamuseu coordinates the Accessibility Group of the Valencian
Network of Smart Tourist Destinations.
Vilamuseu belongs to the Permanent Bureau of the International
Congress on Accessibility in Museums and Heritage. The last edition
was held in Sao Paulo, Brazil, on November 2019.
Also, the project was presented at the 13th Meeting of Managers
of the World Heritage Sites in Spain, held in November 6-8, 2019, been
the director of Vilamuseu invited by the Ministry for Culture to give a
lecture on “Accessibility and communication of heritage to all publics”.
AA Project has also been presented in the 2nd International Congress
Tur4All (2020); the Smart Talk of the 7th Fitur Know-How & Export
Meeting (2019), among others.
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In 2022, Vilamuseu is one of the 21 Spanish and international
tourist destinations included by Segittur (Sociedad Estatal Española
para la Gestión de la Innovación y las Tecnologías Turísticas) in the
"Guía de buenas prácticas en accesibilidad para Destinos Turísticos
Inteligentes. 21 actuaciones destacadas en accesibilidad turística en
destinos nacionales e internacionales". Vilamuseu is one of the three
tourist destinations that take part as exemples in the Webinar in which
the Guide is officially presented (14/12/2022).
Image 8.- The original piece 022158. The 3D printed and painted piece in figure 7 is
much more accessible and understandable by all people, not only blind.
AA Project has been awarded with the 2020 Design for all Foundation
Best Practices Award and the 2020 International Association for
Universal Design IAUD Silver Award, among other recent awards. All
of them highlight the potential and interesting development of this
union of accessibility and technology.
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References
Aparicio Resco, P. y Marqués, N.F. (2021): «Repensar el patrimonio:
desdibujando las fronteras entre lo virtual y lo real», en M. C.
Fernández-Laso y A. Barceló Hernando (Coords.) Nuevos retos del
patrimonio cultural. Comunicación, educación y turismo. 153 - 170.
Espinosa Ruiz, A. y Bonmatí Lledó, C. (ed.) (2013): Manual de
accesibilidad e inclusión en museos y lugares del patrimonio cultural y
natural. Trea, Gijon.
Espinosa Ruiz, A. y Sala Pérez, G. (2016): «Exhibitions that are
suitable for all visitors: accessibility and inclusion in XXI century
European museography», in Temporary Exhibitions in Europe: New
Strategic Approaches, Congress of the European Exhibition Network
EEN (Museo Arqueológico de Alicante MARQ, 7-8 de mayo de 2015),
167-182. Marq, Alicante.
Espinosa Ruiz, A. (2017): «Design for All in Vilamuseu (Spain): How
we work day by day to make cultural heritage inclusive in one of the
World’s main tourist regions», in Design for All vol. 12 nº 8, 59-76.
Design for All Institute of India (see here).
Marqués, N.F., Velázquez, Mª.J., Bonmatí, C. y Marcos, A. (2018)
«Virtualización e impresión 3D aplicadas a la accesibilidad del
patrimonio cultural». 5è Congrés Internacional Educació i
accessibilitat a Museus i patrimoni, 251-264.
Marqués, N.F., (2019) «Tocar la piedra, abrazar la tecnología, sentir el
patrimonio» (http://nestormarques.com/tocar-la-piedra-abrazar-la-
tecnologia-sentir-patrimonio/
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2018- «Nuevas realidades: tecnología al servicio del patrimonio
cultural». En Mª C. Fernández-Laso y J.R. Sarmiento Guede, (Coords.)
Patrimonio cultural y marketing digital. 97-112.
2018- «The museum where touching heritage is recommended»
https://sketchfab.com/blogs/community/the-museum-where-
touching-heritage-is-recommended/
2018- «3D printing to bring art closer to the blind»
https://educacion.bq.com
2018- «Vilamuseu: 3D scanning and 3D printing for accessibility»
https://sketchfab.com/blogs/community/vilamuseu-3d-scanning-3d-
printing-accessibility/
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Silvio Sagramola is President of Design for All Luxembourg.
After having led an institution for persons with diverse disabilities
from 1982 to 1993, Silvio Sagramola became the director of
Luxembourg’s “National disability information and meeting center –
Info-Handicap” since its creation in April 1993. His position allowed
him to take influence on the implementation of accessibility and
Design for All in many aspects of community living in Luxembourg and
he initiated the national accessibility labelling system.
In 1999 he became the coordinator of EuCAN, the “European Concept
for Accessibility Network” and was responsible for the publication and
was co-author of ECA 2003 – Technical assistance manual, ECA 2008 -
ECA for administrations, ECA 2013 – Design for All in practice and ECA
2017 – Destinations for All. All ECA documents have been translated
from English into various languages in order to serve as guidance
documents on national and international levels.
Other related activities: Coordinator of the EU funded project “Build
for All” (2004-2006), Member of the European Jury of the EU
Commission’s “Access City Award” (2010-2013), Expert for the Council
of Europe and co-author of the CoE publications “Major hazards and
people with disabilities” (2014) and “Major hazards and people with
disabilities – A toolkit for good practice” (2015).
Just before his retirement in May 2017, he created the non-profit
organization Design for All Luxembourg asbl with the aim to continue
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promoting Design for All in Luxembourg and since September 2018 he
chairs the DFA-based project “Erliefnis Baggerweier” (experience
dredging pond) in Remerschen/Schengen, which opened its doors in
January 2020.
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