Site:via Appia Antica 39 Archaeological site
Project:PATH – Perception Access to Heritage
Date:
Client(s):Plamstudio
I had the opportunity to work onPATH – Perception Access to Heritage, a project led byPlamstudioand theUniversity of Ferrara, which explores how design and technology can support access to cultural heritage forchildren with perceptual and cognitive disabilities.
The first intervention of the project took place at theAppia Antica 39 archaeological site in Rome, where we were asked to create educational activities that simulate an archaeological experience in a way that is bothtangible and inclusive. Idesigned, 3D modeled, and fabricated 3D printed puzzlesof real Roman vases to support this objective.
One of the key activities we developed was the“Discovery of the Olla”: an interactive station where participants uncover and reassemble fragments of a Roman funerary vase. To build this experience, I started by working from areal photogrammetric scanof anollafound on site. Using this scan as a base, I digitally recreated the vase, then carefully designed how to fragment it into puzzle pieces that could be easily handled and reassembled.
A major challenge was designing themagnetic connection system. Since the puzzles were meant to be explored freely by children with varying levels of perceptual and cognitive ability, the pieces needed to be intuitive, safe, and satisfying to use. I chose8 mm × 3 mm neodymium magnetsand printed the prototypes inPETG, a material that offers both strength and flexibility. After several iterations, I arrived at a balance that allowed forsecure yet easy connections, with pieces that weresturdy, tactile, and engaging.
Each vase took around14–16 hours of printing time, and once assembled, the final puzzles became the centerpiece of one of three interactive learning stations. These activities mimicked key phases of archaeological fieldwork—discovery, analysis, and interpretation—making them not only inclusive but alsodeeply connected to the real process of excavation.
The field test at Appia Antica 39 was a great success. Children were able to handle the pieces independently, experiment with assembling them, and engage with the archaeological story behind the object. For me, this confirmed the power of3D printing and design as tools for accessibility, particularly in contexts where physical interaction and sensory experience play a central role.
This project was both technically demanding and incredibly rewarding. It allowed me to combinedigital fabrication, inclusive design principles, and historical researchinto a single, hands-on educational tool. Most importantly, it showed how thoughtfully designed objects can help make culture more accessible—not in theory, but in practice.
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