Within the 5D Culture project, one of the archaeological case studies focuses upon the UNESCO World Heritage Site of Brú na Bóinne, a significant archaeological and historical site in Ireland. It is renowned for its Neolithic burial mounds, including Newgrange, Knowth, and Dowth, which date back over 5,000 years. These sites are some of the world's oldest and most well-preserved megalithic structures and highlight the advanced engineering and architectural skills of Neolithic populations. Newgrange, in particular, is famous for its winter solstice phenomenon when on the shortest day of the year, sunlight enters the passage tomb and illuminates its inner chamber.
The site receives around 250,000 visitors each year. Several of the passages within this site are off limits for the public due to conservation and health and safety issues, so the provision of virtual access through the use of 3D models is extremely valuable to understand and appreciate these globally significant sites.
Megalithic art at Newgrange, Knowth and Dowth consists of intricate carvings, primarily on the kerbstones that encircle the mounds and within the passageways. These carvings feature geometric shapes, spirals, concentric circles, and other symbols. The meaning of these symbols is still debated, but they likely held deep cultural and possibly religious significance potentially being used for storytelling or community rituals. The art showcases the advanced craftsmanship of Neolithic peoples with the precision and detail in the carvings are impressive and demonstrate a high level of skill in working with Neolithic tools (Figure 1).
Figure 1. 3D model of the Entrance Stone at Newgrange, approximately 3m in length. Originally recorded in 2012 as part of the 3D-ICONS Project with the Artec Eva handheld scanner.
Improving quality
Over the past decade as part of previous EU funded projects (3D-ICONS) or through direct support for the National Monuments Service in Ireland, the Discovery Programme has employed a range of techniques and methods to digitally document in 3D many of these important monuments and artworks at Brú na Bóinne (Figure 2). Since their original capture, both recording, modelling and presentation technology has improved significantly. Within the 5D Culture project several areas of quality improvement were implemented including:
Reprocessing of legacy data to achieve increased model resolution and accuracy
Production of higher resolution textures (8k & 16K) based on photogrammetric and procedurally generated processes have for different sectors (tourism, education, gaming, the arts, conservation and heritage management)
Improvement in photo texturing through delighting and cross polarisation techniques
Improving the metadata and paradata associated with each model
More, additional digital documentation was achieved through the 3D capture of artefacts associated with the monuments and of comparable passage grave sites at Loughcrew and Fourknocks.
Figure 2. Surveyors for the Discovery Programme digitally recording one of the interior chambers at Knowth using a Faro terrestrial laser scanner.
Read more about developing enhanced and enriched 3D models of cultural heritage assets here.
Read more about pre-processing images for photogrammetry here.
Reusing 3D Archaeological Data: Exploring New Possibilities
With the availability of 3D content of considerable cultural significance, several use cases were explored to enable the most efficient and effective use of this resource. Within the project we demonstrated the innovative reuse of 3D archaeological data across multiple domains, enhancing tourism, accessibility, conservation, and creative applications.
Tourism Applications
Brú na Bóinne Postcards & Micro Stories: To extend visitor engagement beyond the site visit, interactive 3D content was developed as a post-visit experience. Five micro stories, featuring 3D models, holograms, and video renderings, offer deeper insights into Brú na Bóinne's megalithic art, passage tombs, kerbstones, and artefacts. These are accessed via QR codes on distributed postcards, allowing visitors to explore inaccessible areas and artifacts housed in museums.
Figure 3: Photograph of the interactive postcard set available for Brú na Bóinne.
3D Prints for Visually Impaired Tourists: To enhance accessibility, 3D-printed models of heritage sites were created for blind and visually impaired visitors. Tactile models of monuments like high crosses and monastic structures enabled a hands-on exploration, complemented by audio guides. This initiative, tested with a tour group in Ireland, provided an immersive alternative to visual site interpretation.
Figure 4: Example of 3D prints for one of the decorated high crosses at Clonmacnoise. Here the full monument and a detailed panel from the cross were utilised.
Figure 5: Two examples of 3D prints being used at Glendalough Monastic sites St. Kevin’s Kitchen (left) and The Gateway (right). In the image the audio guide device used to provide audio commentary can be observed.
Conservation Applications
Creating Conservation Plans: A new workflow was developed to generate formalized visualizations, such as scaled plans, elevations, and sections, using high-resolution 3D data. These outputs assist conservation specialists by integrating detailed site documentation into architectural workflows, overcoming software limitations in handling complex archaeological models.
Figure 6: Example of formal plans and sections derived for Newgrange Passage tomb derived from terrestrial scan data.
HBIM & 3D-Heritage Viewer: Collaboration with INCEPTION tested the integration of 3D heritage data into HBIM (Historic Building Information Modeling) environments. The project explored how archaeological structures, often irregular in shape, could be incorporated into BIM workflows. Additionally, 3D models of heritage sites were tested within the 3D-Heritage.eu viewer to enhance accessibility and usability for researchers and the public.
Figure 7: Screen grab of the Newgrange passage tomb within the ICE engine.
Conservation Applications
Experiments with 3D Prints: The project explored the potential of 3D-printed cultural heritage objects for commercial and educational use. Using data from a survey of Dublin’s Custom House, models were printed in various materials, including plaster, wax, and even chocolate. These reproductions highlight new possibilities for heritage-inspired souvenirs and artistic interpretations.
Figure 8: Example of two chocolates created using two moulds from different 3D prints from Dublin’s Customs House River Heads
Gaming Applications: A student game developer incorporated Newgrange’s 3D data into an Unreal Engine environment, experimenting with photogrammetry-based game design. The project provided insights into integrating real-world archaeological data into immersive gaming experiences. See the initial scene here.
Artistic Collaborations:
In the final creative sector demonstrator, the Discovery Programme reached out to two established artists who have interacted with their 3D content during the process of creating new artworks:
Róisín FitzPatrick used prehistoric motifs from Brú na Bóinne in multimedia installations featuring silk and crystal
Ottmar Hörl utilized 3D scans of a Celtic warrior statue for a large-scale sculptural installation in Germany, raising public awareness of cultural heritage.
Through these diverse reuse scenarios, the project showcases the transformative potential of 3D archaeological data, bridging heritage with technology, accessibility, and creative expression.
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