3D CRAFT brings together leading heritage, conservation and research institutions in Britain and Ireland to discuss new ways of recreating and experiencing lost historic interiors. The fire at Clandon Park in 2015 destroyed one of the finest works of surface ornament of early 18th century Britain and Ireland, it has also exposed the underlying framework, allowing new insights into construction and craft processes. Using Clandon as a case-study of the problems facing heritage professionals across Britain and Ireland, this network will foster a collaborative cross-border interdisciplinary discussion around the digital processes that can capture and communicate multi-layered building fabrics in all their complexity, including virtual and augmented reality. National Trust is the largest conservation charity in Europe with expertise in the conservation of highly significant historic buildings and landscapes. The salvage of Clandon has demonstrated this expertise and has created opportunities to pioneer new technologies. NT has a strong track record of engaging in digital technologies and has collaborated with organisations like Google to test how VR, AR and MR can widen access. Craft Value (a four-year Irish Research Council funded project in the Department of Art History and Architecture, Trinity College Dublin) is exploring archives of buildings in Britain and Ireland that reveal contemporary building practices, including the types, numbers, skill levels, and origins of craftsmen involved, the techniques they employed, the types of materials they used and how they were sourced. The challenge of lost 18th century interiors is familiar to the Office of Public Works who have responsibility for historic buildings with lost or damaged interiors, such as the Four Courts in Dublin. New and developing technologies, from 3D Visualisation, Photogrammetry and Augmented Reality, combined with art historical methodologies offer opportunities to virtually reconstruct this lost heritage and present it to a wider audience using sustainable digital platforms. The network also includes experts in Computer Science, Electrical Engineering, and Digital Humanities from University College London, King's College London, the University of Surrey, and Trinity College Dublin, who are at the cutting edge of digital visualisation. The proposal aims for new levels of authenticity in the digital recrafting of lost and damaged interiors by retrieving greater amounts of data from photographs, film, and architectural fragments. The project will harness contemporary digital craft skills to elucidate the creative craft skills of the past, allowing them to speak to each other in a new virtual environment. Public engagement is a core objective. The digital reconstruction of this material will facilitate new ways to enhance visitor experience at historic properties; revealing lost architecture. New technologies have the potential to allow visitors to revisit the past, to inspect architectural fragments of lost buildings in their original context and to understand the fascinating processes behind the construction of historic interiors. The craftsmen responsible for these richly ornamented historic interiors remain largely unknown to the public. This project aims to cast new light on their achievements. There is public appetite for understanding how things were made in the past, reflected in visitor numbers to heritage sites across Britain and Ireland. Digital media have the potential to highlight craft techniques that normally remain hidden under the surface, allowing them to step forward in the historic narrative. In addition, there is scope to provide greater access to historic properties which are inaccessible to the public due to their continuing use for other purposes, for example, many prominent 18th century buildings are working government offices where visitors cannot be accommodated. Immersive 3D technologies can open such buildings up to all.

The proposed joint UK-Ireland research in the digital humanities, will utilise novel digital twin technologies funded through the AHRC Capabilities for Collections scheme (PI: Wilson 2022-3) in order to digitally document two medieval walled towns in the South (Kilmallock) and North (Derry) of Ireland and link with historic records to reveal hidden insights into these settlements for wide-ranging use. The project aims to: 1) bring together cutting-edge digital heritage technologies (incl vehicle- and back-pack mounted mobile mapping and drone-based capture), alongside place-based humanities research to connect historic environment research with geospatially accurate 3D information of buildings and townscape heritage, including specific archaeological context for key buildings through targeted geophysical prospection (e.g. immediate surroundings of the Dominican Priory of Kilmallock that lies outside the historic town walls); and 2) raise the profile of townscape heritage assets for a variety of purposes ranging from conservation and regeneration initiatives in support of designated properties/ sites, through to education, tourism, health and wellbeing. Cutting edge 3D digital mobile mapping technologies enable accurate and rapid survey that offers a transformative step-change in safeguarding unique heritage assets for the future. The approach will also place community-focused records (maps, deeds, oral histories) and specific building interiors in context and will contribute to heritage understanding for residents and visitors alike. The scale and rapid speed of these mobile capture methods offers new potential use-cases for development of 'discovery' resources for interpretation, education, tourism and orientation of newcomers. Their accuracy serves as valuable baseline data for monitoring future change, as well as offering a lens for direct comparison with original 16th century map records for Kilmallock and Derry. The meaning and value of heritage assets are understood through their role in placemaking, and contribution to identity and community cohesion, offering benefits to health and wellbeing as well as generating economic value through tourism and regeneration. Beyond unknown/ unrecovered archaeological evidence, issues of access in a variety of forms, are key limitations for realising the value of heritage for society. The work will build from expertise at Bradford developed in previous projects, including via infrastructure investment through CapCo and knowledge exchange via the AHRC Place Programme, and via relationships established through pilot work conducted during the AHRC/IRC Digital humanities network. The proposed project aligns with aspirations of the Built Heritage Advisory Section of the National Monuments Service and the Irish Walled Towns Network of the Heritage Council to preserve the historic building fabric, with the community and building owners/ occupiers. The utility of digital twin technologies in place-based research will help to monitor and conserve heritage assets and to layer narratives and understanding of each place upon the digital twin, from the Medieval period up to present day and in this project, represents an important initiative that highlights historic, and creates new connections between North and South Ireland and England. Kilmallock and Derry are connected as members of the Irish Walled Towns Network and Bradford and Derry both have an industrial heritage linked to the textile industry. Derry was the first UK City of Culture and Bradford will be the next UK City of Culture. Transfer of knowledge and expertise between key stakeholders, including community groups and across three local authorities, will realise the potential of digital twinning between Kilmallock - Derry - Bradford in order to forge longstanding connections that offer key benefits past, present and future.

The development of the radiocarbon (14C) dating technique represents one of the most significant events in the history of archaeological thought; with this innovative method archaeology really started again in the 1950s. Identifying when things happened in time (as well as where things happened in space) is central to the archaeological endeavour. Since the 1950s millions of pounds/euro have been spent in Ireland and the UK producing 14C measurements in order to undertake archaeological research. These measurements have been funded by government heritage agencies, by academic researchers, by archaeologists in professional practice, by local societies, and by research agencies including the IRC and the AHRC. The numbers of these data have significantly increased in the UK with changes in central planning policy, from Planning Policy Guidance 16 onwards and with the development of professional archaeological practice as part of the construction industry. In the Republic of Ireland, the construction boom associated with the 'Celtic Tiger' economy had a similar impact on the scale of the production of 14C data. The rapid expansion in the numbers of 14C data also underlines how central they are to all forms of archaeology, produced from every type of archaeological site, from the whole 60,000 years of human history when the technique can be used. However, 14C data can only be used effectively in subsequent research if they are correctly reported (Bayliss 2015; Millard 2014); because of a lack of training across the sector essential data attributes are often not reported or made publuc by researchers. If these attributes are lost or removed from radiocarbon measurements their utility becomes compromised and their value lessened. Ironically, given the importance of these data, there has been a global failure to curate them effectively. Across the UK and Ireland, there is no single functioning 14C archive. Because of this, millions of euros/pounds of data are being made rogue - with inaccurate, incomplete, or otherwise compromised 14C attributes often present in research literature. Moreover, the absence of international digital archives for these essential data is a significant barrier to research that seeks to work across national historic environment agency jurisdictions. This has major issues globally for archaeological research, and is especially true for Ireland and the UK, where many research objectives exist across borders, with datasets that do not respect the confines of contemporary nation states. Further, reporting standards mean that many existing 14C data are not interoperable with existing historic environment data management systems. The result is that we are impoverishing vast quantities of data of huge value, and that our research into, analyses of, and curation of the historic environment are similarly compromised. This project will address this significant, international problem for all archaeological research periods by transforming available data from across Ireland and the UK, reconstituting the essential attributes, and safeguarding these data for the future. We will use these data to achieve innovative Big Data analyses into the management of the historic environment, and into archaeological research across all periods and regions of the UK and Ireland. Our lasting legacy will be making these data and our analyses discoverable, open access, sustainable and functional for researchers to come, providing a sector-wide training legacy, and developing schools resources to educate the next generation of digital humanities researchers in the historic environment. We are supported in this work by our historic environment partners in national government, and national heritage agencies, and the digital infrastructure provided by the Archaeology Data Service which will secure this invaluable resource for the future.

The aim of the Network of UK-IRL researchers and partners is to address the challenges of uncovering hidden archaeological landscapes, buildings and monuments through digital documentation and visualisation. Heritage landscapes may remain hidden because their significance is simply not recognised or because knowledge of them is specific to specialists and not conveyed to the public. The transformative effect on knowledge exchange will be seen through communicating new knowledge to a socially inclusive public audience. The network includes archaeologists and heritage scientists from the University of Bradford, University of Aberdeen, NUI Galway and University College Cork. The UK partner is Historic Environment Scotland. IRL national partners include the National Monuments Service, the National Museum of Ireland and the Discovery Programme. The Burren and Cliffs of Moher UNESCO Global Geopark, the Burren College of Art, the Caherconnell Centre, Clare County Council, Wicklow County Council and the Carlow Archaeological and Historical Society are the regional and local partners, with key input from independent artist Sarah O'Connor. Researchers, partners and participants will develop the project through three workshops and a public symposium. Five discrete archaeological landscapes, in Rathgall, Co. Wicklow and the Burren, Co Clare, have been selected to showcase the project. A range of digital documentation and visualisation technologies will be trialled on hidden elements of (1) the unexplored settled landscape of Rathgall hillfort linked with a new Bronze Age social elite; (2) a large enclosure/ long cairn on Turlough Hill, a highly significant place for ritual gatherings in Neolithic and Bronze Age Burren; (3) artefacts from archaeological excavations at the medieval settlement enclosure of Caherconnell/ its multi-period landscape setting; (4) the unknown northern extent of the Chalcolithic - Early Bronze Age landscape of farms, field walls, and ritual monuments at Roughan Hill; and (5) a late medieval building which may have a hidden identity as a brehon law school, at Toomullin on the Atlantic coast of Burren. The narratives that we can generate about the material remains of human activity in the past is often limited by partial and broken views of the places in which individuals and communities once went about their lives. Digital technologies have the potential to extend and develop existing stories of places and can bring new narratives to bear on established views of the meaning of past built environments. Encouraging people working in different fields, especially in the creative industries to respond to and use 3D imagery and visualisation produced through the activities of this network will be an important dimension of the project. The National Museum of Ireland, the Burren College of Art (BCA) and independent artist, Sarah O'Connor will contribute to this creative process of reimagining the past in landscapes of the Burren and Wicklow. The project will also be a training opportunity for postgraduate students from Irish universities and QUB who will be invited to attend the technology trials and the public symposium. The use of digital documentation within archaeology and the humanities has the potential to stimulate interest from new and under-represented user groups - including young, disabled or otherwise disadvantaged sections in society - using dynamic, flexible and accessible delivery modes. Economic opportunities for heritage and tourism enterprises may also be promoted by the use of engaging/ immersive mixed (virtual and augmented) reality content of local monuments/ landscapes and by the creation of replicas and 3D prints of associated artefacts. The network will share knowledge through an interactive website, film and other artistic media together with 3D visualisation, mixed reality, and 3D prints of monuments and artefacts and a peer-reviewed journal article.

The project's objective is to harness digital tools from different fields to transform scholarly and popular understanding of Ogham - an ancient script unique to Ireland and Britain. At a more general level, it provides a potential model of collaborative ways of working to ensure the long-term sustainability, continued development, and inter-operability of diverse digital resources for multi-disciplinary humanities research. It addresses the challenge of giving continued and renewed life to existing digital resources beyond the end of individual funded projects by integrating them with new data created using subsequent technological and intellectual advances. Through collaborative working, resource-sharing and skills-exchange the project will strengthen partnerships between academia, museums, libraries, and state heritage agencies across all 6 nations in the UK, Ireland and Man. It will also contribute to Europe-wide collaboration in digital epigraphy and place Ogham in the vanguard of global epigraphical studies. Ogham is highly unusual among world writing systems. It entirely lacks iconicity: like a barcode, it consists solely of a succession of straight lines. It is read vertically and is written in 3 dimensions across the edge of a solid object (using letters which consist of bundles of 1-5 short parallel lines, their value depending on their position relative to a baseline). Its heyday was the 1st Millenium CE, but knowledge of it never died out. Texts written in this ingenious script are of international significance to historical linguists as the earliest evidence for the Gaelic languages. We will digitally document all c.640 examples of Ogham writing in all media, from its origin in the fourth century CE until the dawn of the modern revival c.1850. We will build on the success of the 'Ogham in 3D' website (2012-15, 2016-17), created by our partner organisations, the Dublin Institute of Advanced Studies, the Discovery Programme, and the National Monuments Service which covers c.25% of surviving ogham and provides detailed supporting information, photographs, & 3D models. We will upgrade its data and metadata, enhance its searchability, and greatly expand its thematic, chronological & geographical scope by including Oghams from the whole island of Ireland (i.e. including Northern Ireland) and from outside Ireland. The latter - from Scotland, Wales, Man, England, and Continental libraries - comprise almost a third of the total surviving. We will also move beyond stone monuments to include portable objects, graffiti, and manuscripts. We will document in 3D all Ogham in the collections of the national museums (the British Museum; the National Museums of Scotland, Ireland, Northern Ireland, Wales; and the Manx Museum), with the support of state heritage agencies in 4 countries. Additional joint fieldwork in all six nations will allow us to more than treble the number of 3D models available to nearly 80% of the corpus. Uniting this scattered evidence will transform Ogham studies, and connect local communities with their heritage. We will work with the Discovery Programme to evaluate the effectiveness of different methods of 3D recording and visualization, and use for analysis techniques hitherto used only for documentation. We will refine new methods of digital groove analysis (to identify the work of individual carvers and establish the contemporaneity of different carvings) and digital reconstruction of worn detail. We will conduct analysis based on the new documentation, using analogue and new digital techniques, including computational corpus linguistics. The enduring social value of Ogham is reflected in its increasing popularity for decorative, symbolic, and creative functions. The project will support this use of Ogham in contemporary culture by responding to the need for authoritative guidance on writing accurate and authentic Ogham, and by inspiring new & innovative applications and artistic responses.