Disclosing Architecture: 18 Stories of Heritage and InnovationDisclosing Architecture: 18 Stories of Heritage and Innovation

Digitisation has been crucial since large-scale efforts to digitise collections in archives, libraries, and museums began about 20 years ago. By digitising materials and making them available online, accessibility has increased to an unprecedented degree. Anyone with an internet connection can view, search and research the material regardless of physical location or time zone. But simply providing digital access is no longer enough. Connecting sources through linked open data (LOD) makes the process far more engaging. Think of LOD as a vast digital treasure hunt through different collections, sources and narratives. You become more than a passive observer – you become a digital explorer.

Internally, institutions benefit greatly from digitisation. Smoother workflows and faster access to information facilitate better collection management and knowledge sharing. Digitisation also plays a crucial role in conservation and preservation, allowing the original to be stored safely and requiring less handling. In exhibitions where an original cannot be hung for climatic reasons, we simply use a facsimile, which protects the original from harmful light or moisture. Digital copies also allow detailed analysis of objects in a way that goes beyond the possibilities of examining the original.

Until the late 1990s, we made our collection accessible through analogue photography using technical cameras and large-format film. Black-and-white photographs were mainly taken, printed and then stored in an extensive card index system in the reading room. These card-index trays contained around 50,000 prints, each with handwritten metadata securely taped to cardboard. Alternatively, parts of the collection were digitised onto microfiche: flat sheets of film containing multiple reduced-size images. These films could be viewed on a large microfiche reader in the reading room and copies made as required. Although this process was a step forward, the high contrast of the black-and-white documentation meant that fine details were often lost. In the 1990s, these methods were overtaken by digital colour photography, ushering in a new digital era.

The design drawings in the collection of the then Netherlands Architecture Instituut (NAI) were only occasionally photographed. A freelance photographer documented the pieces, usually on a large magnetic board in a specially equipped corner of the depot. A rail with large black curtains allowed the photographer to block out the fluorescent light. The items were hung using magnets and photographed in a horizontal position. Photographers brought flashes and cameras, managing all the equipment themselves, much as a roadie handles the set-up and equipment for a solo performer. Before the shoot, the pieces were collected, prepared, unpacked and hung with the help of a staff member.

The disadvantage was that the magnets were always visible in the images, and the drawings never hung completely flat, with parts obscured by the magnetic strip. Once the photographs had been taken, they were processed in the photographer’s studio, where they were straightened and cropped. After a few days, the images were delivered on CD, DVD, or zip drive. Later, they were sent via WeTransfer. Documenting a small number of items was tedious, given the effort required, and the results were far from consistent. Early digital colour photography faced challenges with its limited equipment calibration, limited colour range, modest resolution and a lack of guidelines for mass digitisation.

Around 2008, items such as sketches, letters and photographic material were digitised in-house by a member of staff using an AGFA A3 DuoScan in a makeshift space set up in the kitchen of the collections wing. It wasn’t exactly high-tech, but it worked, and coffee was always within reach. In 2010, it was decided that a larger and more comprehensive approach to digitisation was needed.

Policy plans were written, frameworks created and guidelines established, and an investment made in the initial digitisation of the architecture collection. A project manager was appointed, and eight part-time staff with barriers to employment were recruited to work in shifts, supported by volunteers and temporary staff. Equipment included several Oce A0 pass-through scanners and an A4/A3 Epson Expression scanner. This facility could process 20,000 to 30,000 items a year, up from a few hundred to a thousand previously.

The Disclosing Architecture programme, established with the aim of raising the profile of the National Collection and providing sustainable access to it, has led to a new approach where speed, high consistency and colour accuracy must become the norm. To meet the commitments of the Disclosing Architecture master plan, it was necessary to invest in new equipment. The search for a suitable space and equipment began. Our design drawings are a diverse collection, but they have one thing in common: they are all on paper and range from A4 to A0+ in format, transparent or opaque. Their dmensions are usually limited to those of the architect’s drafting table. Although there are exceptions, most originals are no larger than 100 x 150 cm. This still means that you need a large recording area.

We evaluated many systems, from large pass-through and flatbed scanners to all-in-one reprographic systems and medium-format and full-frame cameras. Each had its advantages, but also presented challenges, such as taking up too much space, being prohibitively expensive, or delivering inconsistent and often inadequate quality. Sometimes, the quality was excellent, but the software was either unusable or incredibly slow. While quality is crucial, ease of use, speed and stability are equally important. Given our need to work with originals in a variety of formats, we opted for a hybrid approach, using a professional full-frame camera and a medium-format camera with different resolutions. During testing, we quickly found that meeting the Metamorfoze guidelines for preserving and digitising cultural heritage was a challenge. Many of the lenses lacked sharpness, and some lens-camera combinations suffered from distortion, chromatic aberration and a long focal length that required a lot of space between the camera and object, making vertical setups impossible. We researched many brands, including Hasselblad, Sony, Nikon, Panasonic and Phase One.

The low ceilings at the Nieuwe Instituut were an additional obstacle, making height a crucial factor in our search for the ideal space. Proximity to the depot was essential to avoid transporting fragile archive documents around the building. We also needed plenty of space for our impressive array of equipment. Fortunately, we found a vacant office space on the east side of the building that proved ideal. Three floors were vacant, including a section with a sufficiently high ceiling and direct access to the depot through a vault door.

After extensive testing of several high-end systems, the Phase One IXG emerged as the ideal choice. Developed specifically for cultural heritage, this camera is robust, designed for serious production and built to last. The quality of this medium-format camera system is unrivalled. With its 100-megapixel resolution, it can digitise an area as large as 98 x 147 cm at 200 ppi. One of its most impressive features is the advanced lens system with the new 72mm MRK II, which captures images in razor-sharp detail. The IXG also uses advanced image processing software, resulting in outstanding image quality. The Cultural Heritage version of the Capture One software can automatically crop and straighten images and includes a PPI Assist function that adjusts the camera to the correct resolution.

In 2017, we began using a Nikon D810, operated by the freelance photographer in the ‘old’ photography studio on the opposite side of the collection wing. The Nikon camera paired with a 50mm Sigma Art lens proved to be an excellent combination and boosted our confidence in camera-based digitisation.

With the move approved, we began the process of converting the office space, which was no easy task. The space needed a complete overhaul: walls were painted black, the skylight was covered, and sunlight was blocked. We also had to reinstall all network connections, create a server room and reconfigure the layout of the space. To minimise dust, we opted for a hard floor, sturdy partition walls and no dust-trapping fabrics.

The reprographic systems were meticulously assembled, including a camera, daylight LED lighting and a custom-made imaging table with a built-in trigger that automatically captures an image when the glass plate is pressed – an ideal solution! In addition, a computer running Capture One software provides live camera control, an automatically adjustable column manages the camera resolution, and another custom-designed table handles the digitisation of transparent materials.

When we started working here in 2021, we decided it was time for a new name. We chose DigiLab to reflect our focus on more innovative developments such as 3D technology, and because the e-depot is also located here.

Digitisation at the Nieuwe Instituut has progressed from scanners to the use of advanced camera systems such as the Phase One IXG and professional full-frame cameras. These systems meet the highest national and international standards and produce flawless digital copies that look perfect. Thanks to this cutting-edge technology, the Nieuwe Instituut is one of a select group of institutions with a first-class digitisation department. The team consists of three digitisers, a project manager and a coordinator for rights and image orders.

Nieuwe Instituut usually collects the entire design process of an architect’s. Whether it’s the first sketch on a beer mat or the final design drawing in A0 format, we do it all in-house. There is no longer a need for freelance photographers or scanners, and even the magnetic wall is gone. Why do we choose to digitise in-house? Here are a few good reasons:

• Safe for fragile materials: Everything stays in-house and is handled with care.
• Quick turnaround: No long waits for users and researchers. We can respond immediately to urgent requests and unexpected situations.
• Custom prints: We can easily meet specific requirements for any object.
• Material flexibility: A wide variety of materials can be delivered without endless instructions.
• Highly trained staff: In-house expertise ensures high quality and accuracy.
• Quality control: We maintain direct oversight and can address problems promptly.
• Online visibility: Materials are available quickly and efficiently on online platforms.
• Knowledge sharing: We share knowledge with other stakeholders and institutions.
• Security and confidentiality: Sensitive materials remain internal and confidential.
• Consistency: Consistent digitisation and archiving without variation by external parties.
• System integration: Seamless integration with internal workflows and databases.
• Long-term cost savings: Reduced reliance on expensive external services.
• Innovation and development: Ability to test and implement new technologies and methods in-house.
• Continuity and stability: Reduced risk of disruption or delay due to external factors.

In recent years, we have digitised around 60,000 to 70,000 items annually, depending on the size and complexity of the material. About 90 to 95 per cent of the material can be digitised directly. The Nieuwe Instituut’s collection is diverse and often includes complete architect’s archives containing three-dimensional materials, models, photo albums, oversized items and thick panels. Such items may require a specialised photographic set-up.

Occasionally, we digitise exceptional documents. A notable example is a drawing of the exterior of the Rijksmuseum. Because of its intricate detail, we wanted to capture it at an extremely high resolution. As the drawing was too large to fit under the glass plate, a special device was constructed on top of the glass plate and table. The image was captured in 36 parts and then stitched together using a stitching software such as PTgui, which is also used for gigapixel documentation. Alhough we now handle oversized materials with ease, this project was particularly unique.

Of course, there are challenges. Changing standards raise questions about the futureproofing of our equipment. Significant investments in these technologies come with long depreciation periods, making quick adjustments difficult. External parties can often adapt more easily due to their higher production rates, which allow them to recoup investments faster and implement new technologies more frequently. While digitisation companies typically focus on quantity, we prioritise quality because we work with unique, culturally valuable and often fragile objects.

In 2020, using cameras was the fastest way to digitise design drawings. However, new technologies continue to enter the market. We now see significant potential in the emergence of all-in-one equipment specifically designed for digitising cultural historical material. These systems, equipped with reprographic setups and automated software, meet the highest international standards and require relatively little technical expertise, reducing the need for specialised staff. Quality is constantly monitored, and the software performs many tasks beyond just cropping and straightening. The technology is no longer just being developed by specialist digitisation companies but also by manufacturers who are responding to the need for efficient, high-quality digitisation with minimal effort. Gone are the days of black-painted studios, do-it-yourself systems and figuring out how to make it work. These systems are ready to use at the highest level straight out of the box. They have been developed over many years and improve annually. However, their high cost makes them inaccessible to many cultural institutions. They are ideal for large volumes of similar material and collections with limited diversity.

The current approach still has many advantages. It is cost-effective, and the strength of highly trained staff lies in their ability to adapt quickly and find creative solutions to complex challenges. Their expertise allows us to focus on the exceptions within an archive, including fragile materials, and handle them with care.

We live in a time of immense technological advancement and unprecedented opportunities for the innovative digitisation and presentation of heritage. AI, with its capabilities in image recognition and handwriting transcription, along with technologies such as augmented reality (AR), virtual reality (VR), extended reality (XR) and linked open data, are revolutionising how heritage is made accessible to the public, researchers and developers in new and exciting ways.

Using 3D digitisation techniques such as photogrammetry, we have discovered new ways of visualising our digitised material. This has resulted in successful pilot projects and stunning 3D visualisations of models on Sketchfab. Recent innovations, such as those at the Smithsonian, have also led to the development of an entirely new viewer, including the ability to annotate 3D models and add audio and video files.

Example of a model digitised with Photogrammetry.

In the future, a hybrid approach combining photogrammetry and advanced 3D scanners may offer even better opportunities to digitise complex items with predictable results. This approach improves interactive access and supports restoration, reconstruction, and conservation research. For example, you can digitally assemble a multi-part model, view it from the inside and outside, and add additional layers of information. The latest 3D scanners significantly reduce production time, making digitisation more practical, faster and more predictable. Although these scanners are expensive, renting them on a project basis offers a cost-effective solution.

In addition to our digitisation work, we are expanding into the 3D digitisation of exhibition spaces, enabling virtual navigation of exhibits. We provide support for e-depots and born-digital archival material, help to manage image orders efficiently and advise on copyright issues. We also provide guidance on best practice for digital archiving, ensuring seamless integration with existing processes and systems.