The Digital Story Explorer is a prototype of a multisensory system for inclusive museums designed to provide accessible and contemporary storytelling for the history of architecture, cities, and territories in an immersive way. The DSE sits at the intersection of accessible museum architecture design and multimedia, interactive, and tactile systems. This transdisciplinary approach supports the pursuit of a comprehensive experience that combines multisensory engagement and physical interaction, turning visitors into active participants in the narrative.
In its first application (DSE 1.0), the system was developed for the permanent exhibition “Lazzaretto Yesterday and Today,” conceived and curated by the Cooperativa Sant’Elia 2003, and has been on display at Lazzaretto di Cagliari since May 13, 2022.
With the DSE, we continue our design research in the field of immersive museum installations and devices, aiming to enhance and awaken the diverse sensory abilities of visitors by combining the architecture of the installations with innovative engagement methods. Advanced design and production techniques, including 3D printing, become strategic in creating immersive pathways tailored to the stories being told, seeking an original and rewarding experience.
The DSE builds upon research conducted for the APTICA project, a multisensory interface for the accessibility of pictorial works, and the creation of tactile and interactive models of the Nuragic sites of Genna Maria and Serri as part of the Over the View by CRS4 in 2020. It expands to a larger scale where the exhibition space and its constituent elements, including supports for the displayed objects, play a fundamental role in the overall experience.
We believe that digital technologies, such as sensors, 3D animations, video mapping, immersive projections, and digital and tactile navigation interfaces, along with digital fabrication, are exceptional tools for creating a contemporary and impactful experience. However, for a truly immersive experience, technology alone is not enough. We believe that the architecture of the exhibit, in the strict sense, starting from the materiality of its components, plays a primary role in creating impressions that trigger physical and emotional involvement in the museum space.
We work to blur the boundaries between the senses through the physicality of the exhibition and multimedia. We believe that the design of the exhibition itself and its components, such as the display podiums for the objects, play a central role in creating an immersive atmosphere and establishing an immediate connection with visitors, thoughtfully guiding them towards engaging with the content.
The seamless fusion of technology with exhibit design is epitomized by the graphical exploration interface, serving as the linchpin for sensory integration and enabling tailored experiences for our most disadvantaged visitors. At the heart of this immersive journey lies the navigation system developed for DSE 1.0, boasting a touch screen and tactile exploration interface. This system bridges the physical realm of the dynamic scale model of the Lazzaretto architecture with the digital content accessible to users during their exploration.
DSE 1.0 was meticulously crafted to narrate the compelling history of the Lazzaretto of Cagliari during the plague era. This narrative unfolds through a dynamic model, intricately crafted through 3D printing, vividly depicting the spatial organization of the site in 1833, as envisioned by Captain Alberti. Utilizing a harmonious blend of transparent and opaque materials, DSE 1.0 faithfully recreates the architectural essence of the structure. Enhancing the immersive experience is a dynamic lighting system that dynamically responds to visitors’ interactions with the navigation interface, guiding them into the intricately recreated rooms where history comes to life.
These rooms are brought to life through captivating animations sourced from the graphic novel “Bartolomeo Salazar, The Last Plague Doctor,” skillfully crafted by artist Stefano Obino. These animations, seamlessly integrated into the exhibit, are displayed on screens and projected onto the wall adjacent to the model. Accompanied by a narrating voice, they immerse visitors in a captivating blend of historical narrative and evocative imagery, creating a deeply engaging and unforgettable experience.
Exhibition furniture become intricate and sophisticated objects, playing a fundamental role in the visitor’s experience and gaining new dignity and design intensity.
The podium housing the dynamic model and DSE navigation station was meticulously designed to shape the visitors’ physical interaction with the exhibit. In its final iteration, these structures exemplify our keen attention to accommodating children and individuals requiring accessible features. Through an integrated design approach, informed by digital fabrication processes, we seamlessly merged various accessibility needs.
Crafted in ALO’s internal workshop, the wooden podium structure serves multiple purposes. It regulates the observer’s viewing distance, preventing inadvertent contact with the model’s intricate details, particularly by children. Simultaneously, it ensures unobstructed visibility from both high and low viewpoints. Our deliberate decision to forgo a traditional transparent protective case eliminates any barriers between the observer and the model, fostering a more immersive experience. Furthermore, an innovative sensor system provides added protection for the DSE, creating an invisible barrier that triggers an alarm if breached.
Additionally, the metal frame of the navigation station was designed with inclusivity in mind. It allows wheelchair users to approach the monitor and tactile navigation panels unimpeded, facilitating direct interaction without barriers. This thoughtful design enables disabled visitors to explore the entire model and the narrative-rich rooms without the need for physical movement, enhancing their overall engagement with the exhibit.
Addressing the theme of museum accessibility has significant implications for the physical and constructive characteristics of an exhibit that aims to provide a rewarding and comprehensive experience for all.
Just a few years ago, the creation of the DSE would have been impractical due to time constraints and limited financial resources. However, through ALO’s relentless dedication to research and experimentation, coupled with the digital self-production of all physical components, we were able to meticulously develop, design, and prototype every aspect of the exhibit directly in our laboratory, ensuring the highest quality standards.
Leveraging the full spectrum of available technologies at ALO, we employed six-axis robotic milling to craft load-bearing structures and to fabricate the fiberglass mold for the upper shield. Additionally, the architectural model of the Lazzaretto was meticulously crafted using stereolithographic 3D printing, enabling us to achieve exceptional precision and detail replication. These intricate details not only captivate attention but also serve as a conduit for engaging and establishing a profound connection between the exhibit’s content and the visitors.
Furthermore, utilizing advanced 3D printing techniques, we created tactile panels that enhance the exploration of the ground and first floors. These panels allow visitors to experience the spatial layout of the plague-era spaces by physically interacting with them. Integrated with tactile sensors, these panels seamlessly reproduce all multimedia content available, which can also be accessed via the touch monitor, offering a comprehensive and immersive experience for all visitors.
In the exhibition two features stand out: the Plague Doctor’s Mask and the Herbarium. The mask is showcased on a three-dimensional podium housing a 3D printed copy of a authentic Venetian Carnival masks. Fashioned from transparent resin, the mask highlights the herbs placed within its beak to filter and cleanse the air breathed by the plague doctors. The shape of the podium itself encourages visitors to encircle the mask and pause to admire the mask while a motorized mechanism gently rotates it, unveiling the hidden herbs within.
Conversely, the Herbarium serves as a captivating time capsule, capturing a fragment of the surrounding landscape where medicinal herbs were once gathered at the Lazzaretto. Emulating the essence of herb collection, the Herbarium’s intricate design features a series of vertical elements, meticulously crafted to showcase illustrations by artist Stefano Obino, vividly depicting the herbs’ usage. Each element echoes the plants’ natural scale, enhancing visitors’ perception and inviting them to explore further. Accompanied by glass vials containing authentic samples of the herbs, collected from the Lazzaretto’s environs and preserved in resin, the Herbarium offers a multisensory journey, immersing guests in a vibrant and lifelike experience.
Lastly, the exhibition boasts two multimedia totems, derived from the DSE navigation station. These totems feature interactive touchscreens, integrated audio systems, and bespoke graphical interfaces, meticulously crafted to navigate through the exhibition’s archival materials. Designed to enhance accessibility and engagement, these innovative totems empower visitors to delve deeper into the exhibition’s narrative, fostering a deeper connection with the historical context of the Lazzaretto.
We are proud that the DSE has been not only an opportunity for innovation but also for enhancing collaborations within the local community and leveraging the diverse expertise involved in the project.
Special thanks go to those who have been part of this journey within ALO. In particular, we would like to express our appreciation for the dedication of Joshua Terranova in overseeing the development of the software and hardware systems that animate the DSE 1.0. A special acknowledgment goes to GEA for their expertise in the finishing of the wooden structures of the DSE, crafted with precision in our CNC workshop.
We extend our heartfelt thanks to Riccardo Curreli’s carpentry for their meticulous construction of the structural metal frames for the touch screen exploration stations of the DSE and DSE CE. Finally, we would like to thank FG Kayak by Gianluca Basciu for crafting the composite shield of the DSE.
Design Team
Marco Verde Main Designer / Project Manager
Joshua Terranova (Sviluppo software e hardware per il sistema di gestione del DSE e DSE_ce)
Simone Oggiano (Modellazione 3D preliminare delle strutture del Lazzaretto al 1833)
Riccardo Dessì e Matteo Piras (Assisstenti di studio per la realizzazione della Maschera del medico della Peste)
Digital Manufacturing
ALO s.r.l.
Our research on museum accessibility has been selected for the Connectivity and Creativity in Times of Conflict Cumulus Conference, held in Antwerp on 12-15 April 2023. If you want to learn more about this work you can find here the link to Conference proceedings.
+ Year
2021-2022
+ Location
Cagliari
+ Awards, Publications and Exhibitions
//exhibitions
Permanent Exhibition at Lazzaretto di Cagliari
//conferences
2023_ Connectivity and Creativity in Times of Conflict Cumulus Conference, Antwerp.
+ Photographer
Marco Verde
+ Keywords
musei, accessibilità, dispositivi museali accessibili, design, mani, Pinacoteca Nazionale di Cagliari, Direzione Regionale Musei Sardegna
