Vladimı́r Hain*

Faculty of Architecture
Forgotten Industrial Heritage in
Institute of Constructions in Virtual Reality—Case Study: Old
Architecture and Engineering
Structures
Power Plant in Piešt’any, Slovakia
Slovak University of Technology in
Bratislava
Námestie slobody 19, 812 45
Bratislava, Slovak Republic
Abstract
Michal Ganobjak
Faculty of Architecture An industrial heritage provides one of the most important records of urban develop-
Institute of History and Theory of ment and of the progress of human civilization in the last two centuries. Monumental
Architecture and Monument industrial buildings reflect extraordinary technical and economic development and pro-
Restoration gress in science and technology. Even after the termination of their original function,
Slovak University of Technology in industrial heritage buildings and equipment, along with their architecture, still partici-
Bratislava (STU BA) pate in a significant way in the atmosphere of many cities. The research process in our
Námestie slobody 19, 812 45 study used the methods of industrial archaeology. In combination with the identified
Bratislava, Slovak Republic preserved and still valuable parts of the building and preserved original equipment and
and archival plans, it was possible to reconstruct the hypothetical virtual appearance of the
Department of Civil and historical monument. For this purpose, the article examines the case study: virtual real-
Environmental Engineering ity reconstruction of the Old Power Plant in the city of Piešt’any. The contribution of a
Massachusetts Institute of brief experience in the VR scene of Machinery Hall in the exhibition with its high
Technology immersion, located in the historical environment of the original Machinery Hall, had an
77 Massachusetts Avenue educational effect (understanding by experience), bringing out the look and functional-
Cambridge, MA 02139 ity of the lost industrial heritage. This effect appears to be an appropriate and meaning-
ful use of VR in practice.

1 Introduction

Virtual reality (VR) is one of the most progressive and evolving segments
in information technology. VR is a digital environment simulating reality
through a headset by generating visual and acoustic incentives. Such a simula-
tion can create a perception of the real world (e.g., by a virtualized city or archi-
tecture of the present), or it can vary considerably (e.g., city/architecture of the
future, a city in the past, fictional places, etc.).
Our research group at the Faculty of Architecture STU BA systematically
addresses the issue of virtual reality and keeps looking for practical applications
in a number of areas. The potential of virtual and augmented reality was identi-
fied and verified by researchers in the presentation of a defunct monument
building, specifically an industrial heritage (see Figure 1). ‘‘The concept of
monuments was extended from the prevailing historical or artistic significance
to the next meanings, giving attention to the less important architectural exam-
ples, important in terms of social or technological concepts. These events
helped industrial heritage’’ (TICCIH, 2003). Industrial monuments are still
Presence, Vol. 26, No. 4, Fall 2017, 355–365
doi:10.1162/PRES_a_00309
ª 2018 by the Massachusetts Institute of Technology *Correspondence to vladimirhain@gmail.com.

Hain and Ganobjak 355

356 PRESENCE: VOLUME 26, NUMBER 4
Figure 1. (a) The Machinery Hall of the power plant is currently used for various educational and cultural
purposes (photo: Pat’o Safko). (b) Picture of the virtual Machinery Hall with machine equipment—diesel
engines and generators at the first stage of the power plant in 1906 after start of operation (3D model:
O. Virág, M. Ganobjak, V. Hain, 2015).
highly regarded by society. By raising awareness about
the industrial heritage, it can help society to approach
heritage with protection in mind.
2 Methodology
The article is a review and a case study of VR
implementation. The case study is the Old Power Plant
in Piešt’any, a Slovak industrial heritage. In the process,
industrial archaeology methods were used (Bartošová,
2015). Based on archival research, historical documents
were obtained from the National State Mining Archives
(a standardized project from the period of the Austro-
Hungarian Empire) (see Figure 2 [a]), and from the
National Archive in Trnava (documents about used tech-
nical equipment).
Creating credible virtual reconstructions required
interdisciplinary cooperation comprising experts from
several fields. For acquisition of data: from the Slovak
University of Technology (STU BA)—electricians, me-
chanical engineers, chemical engineers (infrastructure of
fuel flows) (see Figure 4), heritage methodologists from
the National Monuments Board who helped to identify
historical items in the Inventorization (Král’ová &
Kubica, 2011) of valuable monument elements, archi-
tects of a refurbishment/restoration proposal, former
employees from the electricity sector, and a group
representing power plant owners (ZSE a.s., energy
distribution company). It was by means of this multidis-
ciplinary cooperation and the Methodological Heritage
Inventory that it was possible to identify and methodo-
logically describe all the valuable technical elements and
most of the construction details (Hain, 2014), to obtain
exact measurements and dimensions, as well as to iden-
tify used material and technologies from the existing
building. For processing the acquired data for producing
virtual reality, the work of architects, graphic designers,
and IT programmers was required.
The building of the Power Plant in Piešt’any
(Slovakia), formerly working by burning unrefined heavy
oil, was built in 1906 as one of the first of its kind in the
former Austro-Hungarian Empire. Expanding demands
for electricity generation in the Piešt’any area led the
plant to be expanded in a short time in 1936; it provided
electricity generation until the end of World War II.
Since 1945, when the generation of power was ended,
the electricity units were taken away. After that, the
power plant secured distribution, respectively energy
transformation, until the 1990s. The original equipment
of the Machinery Hall, diesel engines and generators,
has not been preserved.
Today, after conversion for new purposes, the build-
ing is used as a technical museum of the hands-on
science type, which in an interactive way educates the
 Hain and Ganobjak 357

Figure 2. (a) Standardized proposal for a power plant from Budapest, 1902—longitudinal section. (b) Undated postcard with the
Machinery Hall of the power plant. (c) Archival documents for extension of distribution tower 1924. (d) Original archival proposal for place-
ment of machines—cross-section 1906. (e) Plan for placement of power plant machines from 1906 and 1936, used for VR scene of the
power plant in 1906. Red rectangle—Machinery Hall in VR. Right: - Floor plan for extension of the power plant, envisioned for next stage of
VR Machinery Hall development, with two more engines and the exterior, with mineral oil tanks. (f) Blueprint—floor plan of Machinery Hall
ending with extension of Machinery Hall, plan 1936 (rotated clockwise, from the National Archive in Trnava).

public in the area of energy and electricity in particular.
The Machinery Hall, which originally had three diesel
engines and three generators, now serves as a multipur-
pose hall for exhibitions. The Hall occasionally serves for
exhibits with an educational purpose, explaining the
physical phenomena of so-called ‘‘science toys’’ and sci-
ence shows or cultural events. Thanks to the preserved
archival documents (see Figure 2) about the original
state of the Machinery Hall, hypothetical appearance of
high accuracy was replicated through virtual reality (see
Figures 1 and 9).
The materiality metals (brass–yellow copper ele-
ments), colors, and reflectivity of surfaces and textures,
were parametrically set out in 3D texturing programs.
Proportions and details have been analogically derived
from preserved and functional historic diesel engines
from the Technical Museum in Vienna through photo-
grammetry. For initial scanning of every engine we used
cca 1000 photographs captured with Camera Canon
Eos 20D and Nikon D7000, which were processed by
photogrammetric processes lasting 3 days. The resulting
model does not satisfy visual criteria (see Figure 3[b])
for a functional VR scene because of missing details and
disturbing reflections caused by interior lighting and the
reflective black painting of the scanned diesel engines.
A more exact 3D model, made to achieve realistic poly-
gonization (see Figure 5[a, b, c]) of the historic diesel
engine according to a plan by (see Figure 2[d, e]) Bieli-
kova, Archive Trnava was created thereafter. Based on an
analysis of the documents and information with interdis-
ciplinary cooperation at STU, the historic appearance
and hypothetical scene of the power plant Machinery
Hall was hypothesized and presented via VR, later on
being fully animated. The animated VR scene was
accompanied by the sound taken from functional diesel
engines of the same category. The original sound of the
358 PRESENCE: VOLUME 26, NUMBER 4

Figure 3. (a) Historical diesel engine from Vienna Technical Museum. (b) and (c) Photogrammetry via software
CaptureReality and AGISoft (photo and 3D model: Ondrej Virág, 2016).

Figure 4. Interdisciplinary consultation of the findings—technology equipment. Modeling of a rough

model—piping, fuel distribution, and machinery by BAT engineering (Ing. Martin Takáč, 2015, beginning of
work on the VR scene).

Figure 5. (a) Computerized 3D model (photogrammetry) of the existing historical diesel engine from the Technical
Museum in Vienna. (b) New model according to original plans and with details analogically inspired by a digital model from
photogrammetry, other details from Gázmotorok. Technical book on diesel engines as inspiration material (Jasloviczky, 1921).
(c) New high polygonal model optimization for VR headset—decreasing the number of polygons for real-time computation.

engine was cut from YouTube videos with similar diesel via Adobe Premiere Pro and AGIsoft. This model serves
motors by a microphone and camera (Canon Eos 20D as a 1:1 reference from which it was possible to analogi-
and Nikon D7000) with microphone (after permission cally capture the proportions of the details (see Figure 3)
was granted in 2014) and then optimized and purified and draw them in a new precise 3D model.
 Hain and Ganobjak 359

Figure 6. The results of virtual presentation in Unreal engine 4. 3D

model—BAT engineering 2015, 3D model and with details acquired
by photogrammetry Virág O., 2016, and details from Jasloviczky (1921).

2.1 Archival Documents

Based on archival research and measurements in

situ, we sought to find out whether the initial building
was built according to standardized plan for a power
plant in 1907 (see Figure 2 [a], plan with same measure-
ments but later dating) and a plan for the placement of
machines (see Figure 2[d, e]). Further research identified
all the periods of building additions and removal in the
construction phases with various stages of the finished
appearance (1920–1945) (see Figure 2[b, c, d, e, f]).
For this case study, it was decided to visualize just the
first and oldest initial period from 1906 (see Figure 2).
2.2 Procedures of the VR Scene
At the beginning of 2015, a rough 3D model of
diesel motors, generators, distributions pipes, and a 3D
model of the historic Machinery Hall in 1906 were made
in 3D Studio Max. Computation of the shape of the die-
sel engine by photogrammetry via Capturing Reality
software showed not to be sufficient for the prepared VR
scene (see Figure 3), so the engines were modeled from
scratch according to the original plans (Figure 5[a, b,
c]), animated, optimized for Unreal Engine (see
Figure 5[d, e], and installed in the modeled virtual
Machinery Hall.
The digital model of the building was created in ac-
cordance with the current measurements and compared
with historical plans and construction phases as those
Figure 7. Top: Results of the virtual presentation were presented by
VR headset Oculus Rift in the Power Plant Piešt’any, where it was possi-
ble to compare the current and historical status on site, an overlay of
physical and virtual reality (photo: V. Hain, 2016). Bottom: HTC Vive
allowed more versatility in the synchronization of physical/virtual move-
ment and real-time visual rendering without noticeable delay.
were identified. Some standard components of the
models (Industry Props Pack, Handyman Tool Pack) are
from UE marketplace & Turbosquid (screws, watering-
can), graphic works have been carried with texturing,
UV mapping (UV Layout), animation, and program-
ming (Textured: Quixel NDO, DDO, Substance Painter
& Designer). The final application runs via the Unreal
Engine (see Figure 6). Initially the scene was tested with
Oculus Rift (see Figure 7), which had delays in the syn-
chronization of head movements and caused dizziness of
VR users, but finally the new, more developed version is
compatible with HTC Vive as well.
360 PRESENCE: VOLUME 26, NUMBER 4
3 Potential of VR
Industrial heritage represents considerable qualita-
tive and quantitative economic potential for future
development. In this context, architects often find them-
selves in the role of mediators between investors, the sci-
entific community, monument preservation professio-
nals, and the general public (Dubı́ny, 2016). Active
cooperation and interaction between these groups is
lacking. This occurs throughout the whole process of
care of the industrial heritage. It is clearly seen and sum-
marized by the Municipal Building Commission
Utrecht, Netherland (1990s) in its 7 Theses of Monu-
ments vs. Town Planning:
1) Not only buildings are monuments.
2) A building is a monument in relation with its
environment.
3) A monument is part of a living and continually
changing society.
4) Not only protected monuments are worth keeping.
5) Respecting cultural history is not possible without
public support.
6) Cultural heritage is too vulnerable to be dependent
on the question of competence.
7) Losing the historical context in case of town
planning is generally not due to the unwillingness of
the planner, but rather to a lack of knowledge.
The case study, Reconstruction of the Old Power
Plant Piešt’any, is an example of an interdisciplinary
partnership (see Figure 4) set up in order to implement
the VR (see Figure 9) aspect into practice within the
restoration process. The result of this case study charac-
terizes the interdisciplinary teamwork at a level where
architects and several cross-field individuals work to ac-
quire data: electricians, mechanical engineers, chemical
engineers (infrastructure fuel supply), heritage method-
ologists, former employees of the electricity
sector, and power plant owners. The processing of
acquired data for virtual reality requires the work of
architects, graphic designers, and IT programmers.
These professions could use virtual reality technology
to exceed the limits of their specialization in order to
solve partial problems in understanding the value of the
industrial heritage: ‘‘Search out an effective tool for
industrial heritage education’’ (Hain, 2014). In the
near future, it is envisaged to complement the exhibi-
tion with augmented reality description tags, by mark-
ing and describing important and valuable power plant
technological items identified in the monument’s in-
ventory (Král’ová & Kubica, 2011).
There are more possibilities for use of virtual reality
(VR) devices in the presented space (Novotný, Lacko,
& Samuelčı́k, 2013). From this position, the user is able
to see an atmosphere of characteristic time-period design
of space and its original exploitation in photorealistic
quality (see Figure 9), along with animations and sound
in real time. The scene and presented objects were pre-
pared in the Unreal Engine 4 (see Figure 6), which pro-
vides a photorealistic 360-degree view, the possibility to
walk freely in the VR scene; with its high-quality tex-
tures, lights, and sounds, it is suitable for the chosen
device (Oculus Rift, HTC Vive, Cyberith, etc.) (Hain,
Löffler, & Zajı́ček, 2016).
4 Results
The VR scene for the Old Power Plant created in
1906 (see Figure 9) is designed for the visual communi-
cation of technical information, but it also ties in with
the diversity of the educational and multisensory exhibi-
tion, which is more universal (e.g., for people with dis-
abilities; see Figure 10 [b]). The target audience repre-
sents all the visitors to the hands-on science center EP
(Elektrárňa Piešt’any, Power Plant Piešt’any), who can
be entertained but also educated by an exhibition cre-
ated in this way. Such a presentation is suitable for peo-
ple with various disabilities; the possibility of virtual
movement without physical movement for people in
wheelchairs (see Figure 10), for the deaf a visual scene,
for the visually impaired an intensive contrast of colors
and brightness, and for the blind a sound experience.
The project target group consists of professionals and
the general public. Primary school pupils can gain addi-
tional educational support from the exhibition. Anima-
tors, tutors, lecturers, heritage methodologists, curators,
artists, and culture administrators can present new find-
ings from the interactive history in practice, in addition

to mediating facts from the world of science and tech-
nology history (see Figures 7, 9).
4.1 Practical Benefits of the Results
The project was of a research and innovation char-
acter: it arose from interactive applications with educa-
tional heritage content (Mendoza, Baldiris, & Fabregat,
2015). Although the output of the project is intended to
create a science popularization center at the Piešt’any
Power Plant, its results and process have a reproducible
nature: they can be used for supporting educational
activities in the electricity and energy sectors, in other
educational institutions, or in schools. It is designed to
render the VR scene in several 360-degree views which
will be accessible online through internet connection,
which makes it possible to visit the virtual tour by
tablet/smartphone/PC so as to secure greater audience
outreach. The average visitor spent approximately two
minutes with a headset in the VR scene. Spherical 360-
degree views of the VR scene will allow faster on-site
processing when a larger audience is visiting the exhibi-
tion. Outputs create the conditions for dissemination
of the project results to remote areas of Slovakia,
inspiring its repeatability for other areas of science and
technology.
Raising awareness about the industrial heritage can
bring a better understanding of its significance within
the wider heritage group (Král’ová, 2007). The created
VR scene provides (see Figure 9) a rapid educational
impact (understanding through experiencing) as com-
pared to a video or model format. Visitors of the VR
scene independently spent around 2 minutes on average
to understand the VR scene. The possibility of synchro-
nizing the movement (see Figure 7) and the sound sen-
sations while walking and looking around in a VR envi-
ronment delivered personal, interactive, self-guided
experiences and memories.
The VR scene enables the creation of new exhibition
attractions with virtually unlimited dimensions through
this overlapping of the virtual and the real, while also
saving actual physical space in the exhibition area. This is
an undeniably enriching exposure. The ‘‘overlap’’ of the
virtual and real worlds (after seeing the physical historical
Hain and Ganobjak 361
scene, the visitor can view the virtual historical scene
placed in same location) and the related synchronization
of body and head movement enhance the immersion
(recognition) effect by personal experience (Bustillo,
Alaguero, Miguel, Saiz, & Iglesias, 2015). The multisen-
sory experience provided at the scene of the Power Plant
Piešt’any involves multiple senses (sight, hearing, smell,
touch), applies the principles of universal design (multi-
sensory perception, easy operation, etc.), and allows for
exhibition versatility and its usability by different catego-
ries of visitors.
Within the year of the Slovak Republic’s European
Union Presidency, the VR scene was presented on an
international level at a number of events in Bratislava
during the second half of 2016 (see Figure 8). The cre-
ated Machinery Hall (see Figure 9) VR scene attempts to
minimize extreme negative emotion situations related to
space (Riva et al., 2007). Virtual reality does not create
visual or audio impulses in these areas and tries to elimi-
nate the undesirable effects of space that could evoke
boundary negative emotions (space-related phobias).
The goal of the VR exhibition is to be universally appro-
priate, including for people who suffer from such space-
related phobias. The virtual environment to a bearable
degree evokes sensations by visual and audio experience,
with the authentic sounds of diesel engines inducing an
industrial atmosphere.
5 Discussion
The research raises questions about usefulness,
relevance, and controversy, and there are also entertain-
ing VR applications. Numerous psychologists also sug-
gest that inappropriately applied virtual reality presents a
risk. Cut off from the real world and creating a brain fal-
lacy by optical illusion is in the long term unnatural for
the brain, with a plethora of noticeable negative effects.
There are reported cases of space-related fear, confusion
while in VR, dizziness, motion sickness, disorientation in
VR and temporarily after (Cobb, Nichols, Ramsey, &
Wilson, 1999; Sharples, Cobb, Moody, & Wilson, 2008),
as well as vomiting after dizziness. Isolation from the real
world with filtering of visual/audio stimuli represents
potential danger from the physical world—crashes, falls,
362 PRESENCE: VOLUME 26, NUMBER 4

Figure 8. (a) Presentation of the virtual Power Plant Piešt’any project at the Night of Architecture event
and (b) within the Pan-European Conference Digital Assembly, where the contemporaneity of virtual reality
and the quality of its processing as a tool at the Faculty of Architecture was appreciated by visitors, professio-
nal IT journalists, and Peter Pellegrini, the SR (then) Vice-Prime Minister for Innovation.

Figure 9. The results of virtual presentation in Unreal Engine 4, with realistic outputs—visual and
audio-animated VR experience (3D model, BAT engineering 2015, VR processing, Virág, 2016). Project
of reconstruction of Old Power Plant Piešt’any: Ganobjak, Hain, Paško, and Zacharová (2014).

and impacts with physical obstacles. In the case study, various controversial effects of VR use (Sharples et al.,
the use of VR as a practical tool made it possible, by 2008), this example of VR use may be considered mean-
means of a short presentation, to educate the public ingful and beneficial in practice (Guttentag, 2010). The
about a heritage that no longer exists. Even with the virtual visit to the industrial space teleports the viewer
 Hain and Ganobjak 363

Figure 10. (a) Created VR scene—hypothesis of historical status—allowing visitors to ‘‘teleport’’ to the
history of the year 1906 in order to experience the original industrial heritage during the time of its functional-
ity. It creates a personal experience and thus mediates direct contact with a nonexistent cultural industrial
heritage, raises the awareness of its value, and thereby creates the conditions for the future relationship nec-
essary to protect its remains. (b) Virtual reality allows virtual movement without physical movement, with low
effort experience. For disabled people, the VR scene can be experienced from the eye level of the
pedestrian (higher horizon), and visitors in general can feel giant or tiny by scaling the VR model and shifting
the horizon along a z-axis (position of eyes).

into a virtual scene where it is also still possible to look
around in a traditional manner. Virtual reality allows
handicapped people to perform virtual movements
without physical effort to places/through places (see
Figure 10) where it would otherwise be impossible
to go.
The same virtual scene is perceptible from the perspec-
tive of a pedestrian. It was possible to change the percep-
tion of users and adjust their feeling of size. The visitor is
like a giant and the scene is only a scaled model whose
horizons were moved along a z-axis according to the
level of the visitor’s eyes, while it gives disabled people in
wheelchairs the experience of a pedestrian or where the
visitor is virtually small and the space appears gigantic
in size.
The application possibilities of virtual reality are wide,
and the future will doubtless open up more opportuni-
ties (see Figure 10) which are a challenge for research
teams, not only VR presentations but VR space design
and its verification. In architecture, art, design, in the
construction of machinery and buildings, as well as many
other fields, virtual reality brings a significant enrichment
of interactive, animated, real-time visualization, with
360-degree viewpoints and with the added value of
sound. However, to achieve the desired effect and qual-
ity, it is necessary to use a large number of software pro-
grams, for example, Unreal Engine combining model,
textures, lighting, and scene animation. Agisoft and
RealityCapture were used for photogrammetry, 3D scans
calculated from acquired photographs. Xnormal was
used for ‘‘baking’’ of a normal map from a high polygo-
nal to a low polygonal model. A Substance Painter was
used ‘‘to bake’’ normal maps that do not work in X
normal and also for the design of materials. Adobe
Photoshop was used for editing of textures and creating
new specific materials. Quixel plugin for Photoshop was
used for textures and materials for specific objects.
Adobe Premiere Pro provided video editing. 3D Coat
was used for cleaning mistakes from polygonal models
following photogrammetry, textures, and retopology of
exterior building scans acquired by photogrammetry.
Marmoset Toolbag was used for viewer control of model
mesh and material settings. UV Layout was used for
UV texture mapping of models.
The opportunity to experience a future, fictional world
(Razuvalova & Nizamutdinov, 2015), to take a walk in
364 PRESENCE: VOLUME 26, NUMBER 4
the past (see Figure 9), or to virtually teleport to other
points (see Figure 10) of interest is opened up through
VR presentations. Visual perception is supported with
realistic materials and textures. Experience in a VR scene
installed in the original Machinery Hall is supported by
the real in-situ scent of heavy oil, which it is still possible
to smell in the existing premises. Virtual reality with
synchronized movement (see Figure 7) enables from
anywhere, even from outside Piešt’any, a walk in the his-
toric yet nonexistent interior of the Machinery Hall of
1906. Synchronized movement in virtual and physical
reality (see Figure 7) is compelling and confirms the
meaningful use of virtual reality as a vehicle for present-
ing the defunct cultural (industrial) heritage against the
backdrop of a direct comparison of the contemporary
and original state.
The absence of a virtual avatar body in the VR as
reported by visitors was a strange experience eliciting
feelings of disorientation and confusion, although it is
disputable if the presence of an avatar body in VR would
have avoided those feelings. Augmented reality, accom-
panied with the use of physical reality as an anchor for
position and navigation, appears to be a further tool for
effective education, with the brain effectively distinguish-
ing the essence of a variety of information at a real place.
Virtual reality has also shown in this case study to be use-
ful for presentations at several events outside the indus-
trial heritage site (see Figures 7 and 8).
6 Conclusion
The case study through VR has reinterpreted the
history of the cultural heritage which it was not possible
to recover in physical reality and has brought it to a con-
temporary audience. Through this practical interactive
tool, it becomes possible to raise the awareness of the
public about the heritage that no longer exists but which
should not be forgotten. The principle of interdiscipli-
nary cooperation is not only a synergistic element in a
complex organized design process scheme, but also a key
educational element in the protection of the local indus-
trial heritage for involved participants.
By the VR presentation the research group achieved a
multisensorial historical experience in the electricity
industry sector. A brief experience in the VR scene of
Machinery Hall of the Power Plant Piešt’any in an exhi-
bition with a neutral level of emotionality but with high
immersion in a historical environment provides an effi-
cient educational effect (understanding of the past by
personal experience) on the look and functionality of the
lost industrial heritage and appears as an appropriate and
meaningful use of VR.
Acknowledgments
This project has been supported by public funds provided by
the Slovak Arts Council FPU 16-362-03415 Elektrárenstvo na
Slovensku interaktı́vne—Neformálne interaktı́vne vzdelávanie
približujúce problematiku priemyselného kultúrneho dedičstva
and KEGA 038STU-4/2017 From the laws of nature to tech-
nology by experience—A project of informal interactive learning
of pupils and students encouraging interest in technical fields.
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