Reflections on 2016

We’ve been working on Museum in a Box for just over a year now. We have made lots of¬†prototypes, talked to all sorts of people, and had lots of exciting adventures. This is a little late coming, but Tom and I wanted to consciously reflect on last year’s work as we swing around to planning 2017 (which I’ll write about a bit later).

We’ve chosen a set of particular highlights that we thought stood out, and noted some casual reactions to them… Hope you enjoy the format ūüôā

We were also pleased as punch to host Imogen Piper, a design student from Goldsmith’s, and Charlie Cattel-Killick, a sustainable product design graduate from Falmouth University who we ended up bringing into the fold!

Box highlights

  • First commission!
    Anne’s Big Stuff from the British Museum

    • George: When you‚Äôre starting something, it‚Äôs so helpful to have simple, unconditional support. Thanks to Russell for thinking of us.
    • Tom: This was great to kick start our production process and get us thinking about collections and the juxtaposition of object and content.
  • Ancient Egypt, Daily Lives
    British Museum demo box

    • George: A tiny insect tries to bite a huge beast. Thanks to Lizzie and Chris for not squishing us immediately, but allowing us to nibble for a bit. ūüėÄ
    • Tom: A nice first step working with a biggie. An excercise in designing 3D replicas from scratch and we got to test the box with some real-life museum kids!
  • Frogs in a Box
    Smithsonian demo box

    • George: Our first remote deployment. Very exciting to see a photo of the box in Washington DC.
    • Tom: Another stellar commision for us! Extremely grateful to Martin and Sara for believing in our potential.
  • The Planets

    • George: It was such a thrill to see Tom make this. A completely new form factor, and public domain content.
    • Tom: Sometimes it‚Äôs fun to run with a simple idea and this got a good public reaction. Bonus!
  • I See Wonder
    • George: Dreaming about a large pilot around the Smithsonian Libraries ‚ÄúI See Wonder‚ÄĚ program (20 schools across 20 US states, working with kids on design, too) gave us a real taste of how big this thing could get, and stretched us handily considering such a big deployment.
    • Tom: Seeing what happens when we match our design and tech with Sara Cardello‚Äôs learning framework was pretty inspirational tbh!
  • MOO collaboration
    • George: We always knew we‚Äôd need help with distribution of boxes, and MOO‚Äôs NFC tech was right up our alley. Thanks to Chad, Phil, and Richard for supporting our crazy schemes!
    • Tom: Another nice (and ongoing) match: MOO make lovely paper products with embedded NFC that plays nice with our Brains. Plus we get to hang out with packaging expert Phil Thomas.

Select Clients & Projects

  • Cuming Museum
    • George: One of our first pieces of work that went from original objects to prints, thanks to Tom‚Äôs amazing 3D chops.
    • Tom: A nice validation of how 3D scanning can create access to the inaccessible and an amazing glimpse into how hard small museum staff work to connect people to heritage.
  • Science Museum
    • George: All sorts of opportunities here, from in-gallery display to outreach. Plus, they have an enigma machine.
    • Tom: Feels good that museum education staff here are exploring how 3D & interactive can be used in their work.
  • Smithsonian!
    • George: Part of our 2016 strategy was to try to work directly with big museums. Proud to say our ‚ÄúFrogs in a Box‚ÄĚ box achieved this goal.
    • Tom: Wuuuut?! Yes this is true and makes me very happy.
  • First custom PCB
    • George: Even though the PCB is quite small, this was an exciting step for me. I absolutely love our physical progress bar feature, and was equally thrilled when Adrian suggested a custom board to support it! I should probably make some jewellry.
    • Tom: Adrian is a genius and made this look so simple! Inspirational and functional ūüôā
  • Tiny micro:bit code contribution
    • George: We had been thinking integration with micro:bit would be good for us — probably like lots of other people! — because it has been so well distributed across the country. Still thinking that.
    • Tom: It was amazing to have Tom and Michal from Microsoft Research¬†(!) in our studio, taking us through the possibilities of connecting our Brains to the micro:bit – and then making it happen!
  • Slippery travel crap / VHNIreland video
    • George: A mixture of deep regret and happiness because Tom and I made a good video to play at the talk we missed. Funny how adversity can produce lots of smiles ūüôā
    • Tom: We were invited, we prepared, we missed the plane, we made a video, we were there in spirit. VHN are lovely people!

Selected Presentations

    • Lancaster Arts Additive Manufacturing Workshop
      • George: I really enjoyed meeting the folks around this workshop, particularly the amazing 3D printing engineers at Lancaster. Thanks to Richard and Caroline for inviting me!
    • Music Tech Fest
      • Tom: An exercise in capturing an event and working with (very clever) young people at the event in Berlin.
    • Flemish interface centre for cultural heritage (FARO)
      • George: Great to visit Brussels to talk about our work and ‚Äúvirtual heritage‚ÄĚ. Nice to have Lizzie Edwards as my travel companion, too.

All in all, a pretty good year! Can’t wait to build on what we consider to be a great success.¬†It’s also important to recognise and celebrate the efforts of Adrian McEwen, our brilliant technical partner from The North, who is responsible for much of the hardware-related development we’ve done this year (and some software too). Thanks, Adrian!

Developing an educational strategy

We’re a core team of designers. We’re not trained educators. While¬†each of us has had quite a bit of exposure to museums, from within and without, and indeed have¬†taught, both kids and adults, with Museum in a Box, we’re trying to improve on a very old idea, of museums’ handling collections being used as learning aids. That’s meant a crash course in the vast landscape of education. Boy, is it HUGE.

Fairly early on, I came up with a matrix-y thing to illustrate what I think are the main segments that our boxes might fit into. You can see it’s a combination of finished or DIY boxes, in a classroom or retail environment.

So, you have a spectrum between a finished box and a DIY box, and you might find one of these in either a classroom, or a retail space like a museum shop.

A finished box might contain objects and their stories that are very directly tied to a specific curriculum area and its learning outcomes. This box might be targeted towards younger students, or at least written/designed for a specific age group or key stage.

A DIY box might be used as a teaching device¬†for slightly older students, perhaps high school age, who are starting to dive deep into design/tech subject areas. In this case, you might not purchase anything physical, but only¬†digital and schematic things. Students¬†would put together the entire thing, from configuring the Brain, to writing the content, to producing the content, to printing the objects, to making the container, etc. We like this approach because the kids could learn a thing or two about history or art or science as they’re constructing a product. It feels like great cross-pollinatory learning, and the teachers we’ve talked about it agree.

You could see either of these boxes also existing in a retail environment. We’d love to make a box to accompany an exhibition, so instead of that spectacularly unsatisfying experience of only being about to buy one or two postcards of what you’ve just seen, you could buy a box that lets you delve deep into every aspect of the exhibition, including perhaps even how it was made. You take it back home and can spend time. We also like imagining this type of box in a pre/visit/post context… maybe the box could be sent to schools¬†before the students visit your museum, so they can be familiar with what they’ll see before they arrive. Once they’ve come and seen things, they could produce their own impressions of it all, and make their Museum in a Box play that instead of the Official Point of View.

Personally, I’m also curious about the collision of Museum in a Box with Design/Tech because, to me at least, it feels like lots of the tech projects out there suffer a little from a lack of content, or that it’s engineering for engineering’s sake? But, then you watch videos of kids making electric guitars with a ¬†micro:bit and maybe that proves me wrong in an instant.

Each of these types of boxes and their associated activities and work leads me to a concept we bumped into in the course of last year. As we were working with Sara Cardello, Education Specialist at the Smithsonian Institution Libraries, on a pilot partnership, we discovered the idea of 21st Century Skills. As I understand it, the general initiative was formed in 2002, as a coalition of the business community, education leaders and policymakers who were determined to:

[put] 21st century readiness at the centre of US K-12 education and to kick-start a national conversation on the importance of 21st century skills for all students.

Framework for 21st Century Learning

While there is certainly still emphasis placed on “mastery of fundamental subjects” like English or Maths, 21st century themes are introduced too, around information / media / tech, learning and innovation (and importantly, improvisation), and broader life/career skills.

It’s about setting students on a course to build muscles around things like cogent reasoning, evidence collection, critical thinking and analytical communication, all of which are surely useful when it comes to investigating cultural description and points of view generated in certain context.

  • You can see the skills outlined in the P21 Framework. There’s a¬†ton of documentation on the site too. Lots to explore.

3D Museums: Tactile learning, greater access

Over the last year or so, we’ve also been steadily learning more about object-based learning, and we think it fits in especially well with the overall tenets of 21st century skills, combined with Museum in a Box. Object-based learning is used¬†at¬†the British Museum too, with school groups that come to visit. With thanks to Lizzie Edwards for sharing her knowledge in this area with us.

The main benefits of using objects in learning, according to UCL Museums and Collections, are that they:

  • provide a direct link with a topic or ‚Äėthe past‚Äô and can really enhance young people‚Äôs interest in and understanding of a topic/subject.
  • encourage learners to use all their senses ‚Äď especially touch, sight and smell.
  • help to develop the important skill of drawing conclusions based on an examination of evidence, together with an understanding of the limitations and reliability of evidence.
  • are ideal for generating group and class discussion.
  • promote the value of museums and encourage young people to visit museums and galleries with their families to further their learning.

One of the diagrams I found in my research is a handy glanceable thing to help you quickly understand that object-based learning is about asking interesting questions of an object, from lots of different angles… This diagram has been recreated — mostly so it fitted in with the colour scheme of a presentation I was giving! — from the superb report (in PDF format): Learning Through Culture: The DfES Museums and Galleries Education Programme: A guide to good practice (2002)

I presented these rough ideas in Brussels in late November at the Faro’s “Heritage, virtual and augmented” conference.¬†Here are the slides (or a version with presenter notes):

Bright Lights

We continue to research and look to leaders in innovative learning around the world as we ourselves try to learn more about how Museum in a Box can actually help museum educators and teachers, and not hinder them,

We find ourselves studying systems like:

  • diy.org – “DIY is a safe online community for kids to¬†discover new passions, level up their skills,¬†and meet fearless geeks just like them.” Who says education can’t co-exist with creativity??
  • Technology Will Save Us – We’ve been especially impressed by the generosity of the TWSU Education folks. All their stuff in published online, and let me tell you, we’ve been studying it! ūüôā
  • AltSchool – “creating a 21st century work environment for our educators”, “supporting, rather than disempowering, with technology”.

There’s a long way to go, but broadly speaking we’re liking the feel of a framework that blends object-based learning and 21st century skills as our starting point.

We’ve already written a job description for an Education Producer – we know it’s a gap – but happily learning about this new, huge environment in the meantime. If you know of a good group or person who might be interested to fund a position like that (maybe a contract to the tune of ¬£10k?) then please tell us who we should talk to!

 

Ramesses in a Ramesses #DesignByCapture

MyMiniFactory, Autodesk ReMake, and Autodesk¬ģ Fusion 360 recently hosted a competition aimed at demonstrating the potential of their platforms¬†to integrate photogrammetry into the design process.

The competition asked¬†entrants to capture and modify an object that they use for their ‘favourite hobby’. We considered adapting a piece of our photography kit used for photogrammetry¬†but opted instead for a more playful approach and hacked a scan of Ramesses II, one of the largest sculptures in the British Museum:

Next we were required to customise it to best suit our needs, it may seem surprising but we have quite a few 3D prints hanging around our Bloomsbury HQ yet few cool places to store them. Cue light bulb moment, why not make a giant Ramesses and use him to store a bunch of smaller prints!

We identified six scans that we could place within niches inside the big Ramesses including a smaller Ramesses bust (Ramception) and then got to work using Fusion 360 to modify the original scan.

First we had to reduce the polycount in order to open and edit the sculpture in Fusion which was then swiftly sliced in half. A hinge was then created by extruding a circle into a cylinder and splitting it into five parts which were then alternately combined to the front and back bodies. We also modelled a simple pin to lock the two halves together completing the hinge that would enable the secret stash of models to be opened and closed.

Ramesses Fusion 360 development

The final steps involved scaling-down and reducing the polycount of the six smaller models and positioning them where best, then all that remained was to trace a rough outline of each onto the flat plane, cut away each niche and insert the models.

We were fairly chuffed with the outcome especially when we threw on a jade material layer and rendered it through Fusion’s cloud rendering service. Content, we uploaded the model to MyMiniFactory¬†and entered the competition.

Shiny jade render of Ramesses II

Unfortunately we didn’t win the competition otherwise we would almost certainly have our heads buried in VR right now but nevertheless we’re very happy with the outcome and the awesome job MyMiniFactory did of printing it!

ramsses-museum
3D Printed with a working hinge!

(Print images by MyMiniFactory)

It may not be jade but it’s still pretty swanky

C