3D Scanning and Tactile Replicas at The Amelia Scott

3D scanning can create records for research and models for interpretation. At The Amelia Scott, the practical work includes surface capture, preparing display models and making tactile replicas.

At The Amelia Scott in Tunbridge Wells, the collections team is collaborating with creative technologists and companies to redefine how museums digitise, monitor, and share their collections with the world. Its work with structured-light scanning and photogrammetry supports research and interpretation alongside, rather than in place of, collections conservation.

Reimagining the Museum Space

The Amelia Scott is a hub for civic experimentation and community engagement. The newly refurbished building seamlessly blends adult education, council services, libraries, and cultural heritage spaces, creating a multi-purpose environment that serves as a one-stop destination for learning, community engagement, and cultural exploration.

Visitors can take a language class, access council services, browse the library, or engage with local heritage collections, making the space an invaluable resource for the local community. It is also a net zero-inspired space, implementing sustainable solutions such as grey water reclamation and static air flow systems. But beyond the physical structure, it is their approach to collections care and accessibility that is capturing attention across the museum sector.

Simon Hedges, Senior Curator of Collections at The Amelia Scott and a seasoned professional with years of experience in collections care and curation, highlights the driving force behind their digital journey:

“Our primary responsibility is the care of objects held in trust for the people of Tunbridge Wells. By using 3D scanning, we are not only able to condition check and monitor objects over time but also unlock unprecedented levels of access to our collection.”

In their 2024 presentation, the team described a long-term ambition to digitise a collection of roughly 60,000 objects. That scope should not be read as a completed whole-collection scan.

Structured-light scanning

The adoption of 3D structured light scanning technology, which uses projected patterns of light to capture the shape and texture of an object with incredible accuracy, has been transformative. Matthew Simpson, Collections Officer and Digital Collections Lead at The Amelia Scott, explains how this innovation is revolutionising collections care:

“We can capture detail down to 0.04 millimetres, including colour and texture data. Whether it’s small objects on a turntable or larger artefacts scanned portably, this method is both fast and accurate, which is essential for digitising over 60,000 objects.”

The 0.04mm figure is the team’s stated capture detail. It does not establish that every finished or optimised model can measure change at that accuracy. A scan records information about an object; conservation of the physical object and preservation of the digital file remain separate responsibilities.

Innovative Partnerships with Creative Technologists

To push the boundaries of what is possible, The Amelia Scott has partnered with Polyplay, a company specialising in ultra-detailed 3D digital scans and their integration into XR (Extended Reality) and online spaces. Richard Peretti, Founder of Polyplay, underscores the importance of collaboration in developing new workflows:

“We work closely with the team to create high-resolution scans, optimise models, and experiment with new technologies. By refining our processes, we’re ensuring that digital twins of objects are as accurate and lifelike as possible, making collections more accessible and interactive.”

Polyplay described a photogrammetry workflow, using many photographs to build a point cloud and a raw model. This is distinct from the museum’s structured-light capture, rather than a required first stage of every scan. Display-model optimisation can include texture work, repairs and simplification; retain the original capture separately for research and document what was changed.

CT imaging inside collection objects offers a useful contrast with methods that record an object’s visible surface.

Tactile replicas in Collecting Tomorrow

The team also used scans to make tactile replicas in different materials for its Collecting Tomorrow exhibition. This gives the digital model a practical role on the museum floor. The original capture should remain separate from a model repaired or simplified for display, so that later users can distinguish recorded detail from presentation work.

Digital Twins and the Museum of Tomorrow

Looking to the future, the concept of the ‘digital twin’—a precise, virtual replica of a physical object—has profound implications for collections care and conservation.

The presentation discussed reducing handling while widening access through digital representations. Richard Peretti described that ambition:

“The Museum of Tomorrow may focus on digitally conserving objects while stabilising originals in climate-controlled environments. This reduces handling, avoids invasive interventions, and ensures objects can be ‘seen’ forever.”

The quoted aspiration to make objects visible “forever” is not a preservation guarantee. Digital access requires continued file management, migration and support, while the original object still needs conservation. The team also described digital loan boxes as a future route for educational access.

Access plans should be tested with intended users rather than assuming that a digital format suits every younger visitor.

The Australian Museum’s collection-specific digitisation workflows show why one capture method cannot meet every research and access need.

A Future Built on Innovation and Access

The useful lesson is to choose capture and display methods for a clear purpose, keep research records distinct from presentation models, and budget for both collections care and digital maintenance.

The Amelia Scott’s account offers practical examples of scanning and tactile interpretation, together with a longer-term digitisation ambition.

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