Earlier in the semester, I had been thinking about the challenges of incorporating sensory research into 3D modeling with a goal in mind to complete a 3D digital model of an artificial cave in a Roman villa, one of my case studies for my dissertation. Throughout the semester, I had a different set of challenges, which I did not realize were all part of the process, and from these challenges, I learned three important lessons.

The first lesson is that my project would not come into fruition without my consultation with one of my dissertation committee members, who imparted me with his knowledge on architectural modeling of complex ancient structures. I recall spending 7 long hours on modeling a ribbed, half-dome and failing to do so after creating over 20 different models that appeared nothing like the ancient dome that I was attempting to replicate. I was able to create a half-dome close to the original structure after the discussion with my professor, which reminded me that collaboration and incorporation of a set of different voices into a project are critical to the success of the project.

My multiple attempts and failures to recreate the ancient half-dome also taught me a second lesson, which is the importance of learning from the process. By creating over 40 different models of the structure, I have gained a more intimate knowledge of the complexities in ancient architectural constructions than I would have just from studying the floor plans and/or cross-section plans of the structure. I also find comfort in learning—after reading a few journal articles—that several art and architectural historians as well as engineers have also been running into the same issues and trying to answer the same questions I had about the architecture of this complex dome through digital modeling.

The final lesson I learned is about setting realistic goals regarding large ambitious projects, taking into account technical obstacles that may potentially arise. While I was able to create a 3D model, I am still waiting for access to a rendering plug-in that I need to create my final product. I lost access to Adobe Suite for a few weeks, but thanks to the Digital Studio (cheers, Ethan!), I regained my access to create textures required for the model. I learned that no project is final, and I am grateful that I have a long-term support beyond this digital capstone course for continuing and completing this project for my dissertation.

My project for the PDH certificate capstone involves a 3D digital reconstruction of art, architecture, and hydraulic amenities in the manmade dining cave at the villa owned by Roman Emperor Hadrian, using AutoCAD and 3Ds Max. This 3D model makes up one of the four case studies in my dissertation, which uses 3D digital modeling to contextualize ancient sensory experiences in natural caves and manmade cave-like spaces with water features that elite Romans incorporated into their villas. I have dabbled with different digital approaches to my topic since my Master’s, including two 3D models, an Omeka site, and maps, but faithful replication of ancient spaces has always been a challenge. In fact, I have started contemplating on ethics and authenticity of digital reconstructions since my time as a Studio Fellow in Summer 2020 when I tackled the question of who ultimately decides what is authentic in a modern digital reconstruction of ancient architectural spaces that have long lost their embellishments. This question has now become more complicated when I am attempt to represent ancient senses that are lost to us today through a digital medium.

Many of us are fortunate enough to experience the world through all five canonical senses, and yet art historical discussions are predominantly focused on sight. Arguments surrounding senses beyond sight are often prematurely dismissed, even though museums in the recent decades are pushing the boundaries of art and visitor experience in their exhibitions. Reconstructing ancient senses, however, has its own complex challenges. Most of what we could gather about ancient sensory experiences came from writings of ancient elites—in my case, Roman authors like Pliny the Younger—and these descriptions provided only one aspect of the diverse sensory experiences of the ancient world. Scholars who engage in discussions of ancient senses turn to archaeological evidence to support ancient writings and to fill in the blanks.

Contextualizing ancient senses in modern terms is already a difficult feat, so what do I hope to achieve through these reconstructions? Firstly, I want to digitally interpret the ways in which elite Romans curated their natural and artificial caves, including bodily senses, emotional responses, and interactions of ancient visitors with their immediate environments. Secondly, I want to explore changes in light, sounds, movements, and temporality in these caves throughout the day and in different seasons and the possible effects of these changes on ancient visitor experience. For these two goals, I hope to conduct field research in the near future to gather quantitative sensory data, including measuring temperature, as well as light, sound, and humidity levels to paint a relatively more accurate picture of ancient sensory environments. Finally, I want to draw modern audience’s attention to the potentials of digital reconstructions in experiencing ancient architectural spaces whose multisensory stimuli are not fully attested today.

While I am eager to achieve these goals, I am well aware of the limitations of 3D reconstructions alone in interpreting ancient senses. I do not have easy access to advanced technology and equipment, such as haptic devices for 3D touch, or means to replicate smells in my 3Ds Max models, which could only replicate visual and auditory experiences. But as we know in digital humanities, we all work collaboratively, and so I hope to continue my project in some shape or form in my career down the road. As of now, I will have to be satisfied with the creation of 3D digital model of one artificial cave as the first of many steps towards my aforementioned goals. By the end of the semester, I hope to have completed a 3D reconstruction of the architecture and decorative program, as well as the artificial waterfall and river in the imperial dining cave of Hadrian in Tivoli.

-Myat Aung