The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.

Porosity, the measure of the open spaces within a fabric structure, is a decisive factor in the performance of textiles. It influences breathability, permeability to liquids or gases, and suitability for various industries such as apparel, medical, and technical textiles. This study compares classical porosity calculation methods with non-destructive image analysis for 24 woven fabric samples that differ in density and weave pattern. Factors such as fabric density, weave pattern, illumination conditions, magnification, and the influence of the Otsu and Yen threshold algorithms were considered. The multifactor ANOVA statistical analysis shows that fabric density and weave pattern significantly influence porosity, with illumination playing an important role, while the threshold algorithm has a minor influence. A strong correlation is found between the actual fabric porosity and the results of the image analysis, except for double-sided illumination (reflective and transmissive), where the correlation is weakest. This comprehensive investigation provides valuable insights into the reliability of different porosity assessment approaches, which is essential for applications in various textile industries.

3D printing is used to produce individual objects or to print on different substrates to produce multi-component products. In the textile industry, we encounter various 3D printing technologies in fashion design, functional apparel manufacturing (protective, military, sports, etc.), including wearable electronics, where textile material is functionalized. 3D printing enables the personalization of the product, which in the apparel industry can be transformed into the production of clothing or parts of clothing or custom accessories. Additive technology allows a more rational use of the material than traditional technologies. In the textile industry we meet different uses of it, one is the printing of flexible structures based on rigid materials, another is the printing with flexible materials and the third is the printing directly on textile substrate. All rigid, hard and soft or flexible materials can be integrated into the final design using 3D printing directly on the textile substrate. We speak of so-called multi-material objects and systems, which have many advantages, mainly in the increasing customization and functionalization of textiles or clothing. The article gives a broader overview of 3D printing on textiles and focuses mainly on the influence of different parameters of printing and woven fabric properties on the adhesion of 3D printed objects on the textile substrate. In our research we investigated the influence of twill weave and its derivate as well as different weft densities of the woven fabric on the adhesion of printed objects on textile substrate. Therefore, five samples of twill polyester/cotton fabrics were woven and their physical properties measured for this research. 3D objects were printed on textile substrates using the extrusion based additive manufacturing technique with polylactic acid (PLA) filament. Preliminary tests were carried out to define printing parameters and different methods of attaching the fabric to a printing bed were tested. T - Peel adhesion tests were performed on the Instron dynamometer to measure the adhesion between 3D printed objects and textile substrates.

The double-weave structure of a fabric allows for the use of different materials and weave structures for the upper and lower layer, which can be advantageous in the functionalization of 3D printed textiles. Therefore, the aim of this research was to investigate the influence of simple and double-weave structures on the adhesion of 3D printed fabrics. From this perspective, we investigated the influence of different twill derivates and weft densities on the adhesion force. We produced fabrics specifically for this study and printed them with a polylactic acid filament using Fused Deposition Modeling technology. The T-peel test was performed to measure the adhesion, and the results were statistically analyzed. A morphological study of the surfaces and cross-sections of the 3D printed fabrics helped us interpret the results. We found that adhesion was higher for double fabrics when printed with a smaller z-distance, where the molten polymer reached the lower layer of the fabric and adhered to it. The opposite was confirmed when printing with a larger z-distance, where adhesion was higher for simple fabrics. Both weave and density had a significant effect on adhesion in all cases. Surprisingly, different twill derivatives generally had a greater influence on adhesion than density.

The research was initiated by the Plečnik House gallery (Ljubljana, Slovenia) and focuses on the 3D architectural reconstruction of the unrealised monument of the Czech military leader Jan Žižka, designed by the Slovenian architect Jože Plečnik. In addition, the experience with the 3D reconstructed monument in the exhibition “Plečnik and the Sacred” was analysed. Using the available references and interpretative approaches, a digital and 3D-printed reconstruction was created that retains Plečnik’s architectural style. The experimental phase included a detailed interpretation of the studied references, 3D modelling, 3D printing, exhibition and experience analysis. The dimensions of the finished 3D-printed model are 52.80 × 55.21 × 44.60 cm. It was produced using stereolithography (SLA) for figurative elements and fused deposition modelling (FDM) for architectural components. The reconstruction was evaluated using participant testing, including semantic differential analysis, comparative studies, and knowledge-based questionnaires. The results showed that architectural elements were reconstructed with an average similarity score of 1.97 out of 5. Statues followed with a score of 1.81, and props, though detailed, met audience expectations, scoring 1.61. Clothing received the lowest score of 1.40. This research emphasises the importance of a hypothetical digital 3D reconstruction of never constructed monument for broader understanding of Plečnik’s legacy.

In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.