I recently had the opportunity to work on PATH – Perception Access to Heritage, a project led by Plamstudio and the University of Ferrara, which explores how design and technology can support access to cultural heritage for children with perceptual and cognitive disabilities.
The first intervention of the project took place at the Appia Antica 39 archaeological site in Rome, where we were asked to create educational activities that simulate an archaeological experience in a way that is both tangible and inclusive. My role focused on the design, 3D modeling, and fabrication of physical puzzles 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 a real photogrammetric scan of an olla found 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 the magnetic 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 chose 8 mm × 3 mm neodymium magnets and printed the prototypes in PETG, a material that offers both strength and flexibility. After several iterations, I arrived at a balance that allowed for secure yet easy connections, with pieces that were sturdy, tactile, and engaging.
Each vase took around 14–16 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 also deeply 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 of 3D 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 combine digital fabrication, inclusive design principles, and historical research into 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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