Project Overview

'Cryptoporticus' is one of the Latin words that can be interpreted as 'gallery'. But not a public gallery - a private or hidden one - like a cloister. It is, on purpose, difficult to access. But, once admitted, it surrounds the visitor with a sense of belonging. The game thus places the player within an initially empty and hostile architecture. It is composed of endless galleries and passages, all empty and without any guidance. The museum does not welcome the player's intrusion. 

But after some experience with the building the player will notice patterns and symbols. The player will begin to engage with the building; will begin to learn its internal language. Eventually, the player and the building will cooperate and the museum will reveal its collections. 

The Visualisation

Judges' Comments

“Inspiring” was the word that all three of our judges used to describe this evocative piece, commenting in turn how emotionally engaging, thought provoking and visually stunning the piece is. The judges quite simply couldn’t believe the scope of what had been achieved and marvelled at the way which the flow of the game took you on a journey from the cold, distant façade of museums into a warm, personal and reflexive space. They complimented the way which the museum was designed to not only host collections, but in a way, to itself become a collection, encouraging the player to reflect on the relationships and dynamics at play in the space. In addition the paradata provided was of an exemplary standard, leading our judges to crown this masterpiece as the winner of our individual, online participation category. 


About the Creator

Anthony Masinton is Digital Research Fellow in the Centre for the Study of Christianity and Culture at the University of York Department of History. He builds 3d models of churches and cathedrals, develops mobile apps for said churches and cathedrals, and does a bit of freelance moonlighting in digital humanities. For years he taught and researched digital heritage at the University of York Department of Archaeology – which he remembers fondly. Though based in York he currently lives in a tiny town at the foot of the Spanish Peaks in southern Colorado. (Google ‘Spanish Peaks’ – they’re awesome. Seriously.) 

Anthony is trying to come to grips with social media. He’ll be your friend on Facebook and he sometimes tweets at amasinton. 


Anthony gives high-fives to all Open Access data providers – particularly the Archaeology Data Service, National Gallery of Art, Stanford 3d Scanning Repository, and the contributors to

AuthorIan Kirkpatrick