Digital Dwelling at Skara Brae · Ann Marwick, Mary Dunnett and the staff at Skara Brae Alan Jones and the team at Maeshowe Alice Lyall Stephen Watt Kit Reid Richard Strachan Nick
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Digital Dwelling at Skara Brae A collaborative project in archaeological visualisation
Alice Watterson | Kieran Baxter | Aaron Watson
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The Research Problem At present the application of visualisation in archaeology often falls far short
of its potential .
Regardless of the medium used visualisation is still practised along the traditional “artists’ impression” methodology.
There are no defined archaeological methodologies which encourage and
embrace the creative process.
There has been a rapid uptake of new technologies for visualisation in recent years with little consideration of the impact on the interpretive process and
engagement with the archaeological record.
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Neolithic Orkney
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Skara Brae
The Focus Group
“How do you use visualisation in your own work?”
“What interpretations of the site would you like to see developed through our project?”
After turning the corner and passing the entrance to Hut 6 (which is a later addition), the passageway suddenly expands and becomes highly decorated. Where Hut 2 leads into this area of Passage A, two features serve to separate it
from this apparently important area. First, an elaborate porch-like addition to the entrance separates the house
doorway from the main passage. Second, both sides of the porch area are decorated. It is clear that this portion of passage A constitutes a space of special concern, or
even risk. Interestingly it also marks the beginning of Passage B and the journey to Hut 7…
...It is exactly at this point that further incised decoration is seen on the wall. Continuing along the passage a second
upright sill slab marks another step down which coincides with more elaborate decoration on the
right-hand wall face. The final step down places the subject in a substantially broader and higher area known as Passage C. Directly ahead is the entrance to a small cell within which the door bar of Hut 7 can be controlled.
On entering Passage C a further upright sill slab can is stepped over, and to the left the entrance to Hut 7 becomes
visible. A flagstone path now leads directly along the passage and into the entrance passage of Hut7. Proceeding along this pathway involved a gradual decent and the crossing of another upright sill slab, before reaching the doorway of Hut
7. This area was also decorated by a carved stone set high up in the passage wall (Childe and Paterson 1929, 247). In
reaching this point from Passage A, a descent of almost one and a half metres has been undertaken, and no less than five sill slabs and four areas of
decoration have been negotiated.
(Richards 1991, 31)
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What did we learn?
Thank you!
Follow the project at www.digitaldirtvirtualpasts.wordpress.com
Questionnaires available – please give your feedback!
Acknowledgements
Ann Marwick, Mary Dunnett and the staff at Skara Brae Alan Jones and the team at Maeshowe
Alice Lyall Stephen Watt
Kit Reid Richard Strachan
Nick Card Caroline Wickham-Jones
Antonia Thomas Peter Needham
Neil Firth Alastair Rawlinson Lorraine McEwan Rebecca Younger Jeremy Huggett Paul Chapman
This was a Historic Scotland funded project
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