Pohl 🇩🇪
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We built a scale model of a Roman watchtower for the Limeskastell Pohl museum to show what such a tower might have looked like around 100 AD. Here's our detailed construction report!
Photo #3: Stephan Dingens
Limeskastell Pohl
The Limeskastell Pohl is a Roman open-air museum featuring a walk-in reconstruction of a earth-and-timber fort and watchtower. It illustrates what life along the Upper Germanic-Rhaetian Limes may have looked like around AD 100, the frontier line which separated the Roman Empire from the Germanic tribal territories for centuries.
The site was built in 2011 based on current archaeological research. In contrast to the better-known Saalburg, whose reconstruction around 1900 was heavily influenced by Wilhelmine-era ideals, this reconstruction is grounded in modern scholarship. It was built near the original site of a small Roman fort. The watchtower, which originally stood slightly apart, was integrated into the overall layout for practical museum use.
As part of the UNESCO World Heritage Site “Upper Germanic-Rhaetian Limes,” the fort offers a direct and tangible experience of Roman military architecture. For the 20th anniversary of the site's World Heritage designation, a new exhibition was created inside the tower, focusing on modern reconstructions and the broader World Heritage concept. And we had the opportunity to contribute to it.
Ancient Tracks meets Team Würfelkrieg
This model-building project brings together two sides of what we do. As Ancient Tracks, we focus on history, travel, and reenactment, organizing camps and supporting historical projects. At the same time, under the name Team Würfelkrieg, we are active as wargamers and miniature builders, always with great attention to detail.
The wargaming hobby revolves around collecting, painting, and crafting miniatures, building tabletop terrain, and playing tactical skirmishes, often with a historical background. For us, it’s a creative way to make history tangible on a small scale. Some may know the most famous brand in the scene: Warhammer, which was the entry point into the world of miniatures for many.
While building the tower model for the Limeskastell Pohl, we were able to bring both aspects together: our experience with Roman history and historical interpretation, and our craftsmanship in miniature scale. A true crossover project that unites both of our worlds.
We were supported by Torsten, with whom we not only organize the annual CONflict event, but have also completed many terrain-building projects together – from the “24 Hours in Benghazi” scenario to a fully scratch-built favela. We’re a well-practiced team and regularly combine our strengths in complex, detail-rich projects.
Photo #4: Stephan Dingens
The Concept
Das Limeskastell Pohl trat an uns heran mit dem Wunsch, ein maßstabsgetreues Modell des dort rekonstruierten Wachturms für die neue Ausstellung zu bauen. Mit dem Museum verbindet uns bereits eine längere Zusammenarbeit, bisher allerdings vor allem im Bereich Fotografie. Thomas Steffen, Leiter des Kastells, kennt aber auch unser Hobby und unsere Arbeit als Team Würfelkrieg und wusste, dass wir genau die richtigen für dieses Projekt sind.
It all began with a very practical question: What scale should the model be built in? The museum provided us with a 60 × 60 cm display base and gave us access to the original architectural plans of the Pohl reconstruction. After several tests and calculations, we decided on a 1:25 scale. This scale not only allows for precise representation of architectural details but also of small items like carrots, tools, or tableware. It also enabled us to include portions of the surrounding terrain, including the ditch and palisade, at least in cross-section. At the same time, 1:25 is easy to calculate and convert, making it especially suitable for our hybrid approach that combines traditional model building with digital techniques.
Since the model would be displayed in the museum without protective covering and freely accessible to visitors, it needed to be especially sturdy. To ensure this, we developed a load-bearing internal structure made of 3D-printed components. Our goal was to combine traditional craftsmanship using wood, styrodur, and fine plaster with modern techniques such as 3D modeling, scanning, AI-generated graphics, and 3D printing.
On the outside, and especially on the ground floor, we followed the Pohl reconstruction as closely as possible. Since the model is displayed inside the reconstructed tower itself, a high level of recognizability was especially important.
A particular challenge was the interior. While the exterior appearance is already based on theoretical assumptions, the interior is even more speculative. What would a believable interior of a watchtower around AD 100 look like? What kind of furnishings would belong on which floor? And what feels coherent without turning into mere scenery?
In developing the concept, we relied on current academic literature and consulted with Dr. Jenni Schamper. Where no definitive evidence was available, we followed plausible logic based on the everyday routines of modern soldiers.
Building the Model
The construction of the model was divided into three major phases, with the first two taking place largely in parallel. First, we transferred the concept onto the baseplate, which was made of ten-centimeter-thick styrodur. While commonly known as insulation material, it has long been proven and widely used in model building. At the same time, we began printing the designed tower framework from PLA, producing it level by level in our workshop.
Part 1 & 2: the Tower and the Landscape
Phase one focused on the surrounding terrain, particularly the ditch and the palisade. This part was mainly handled by Torsten, who completed it in his own workshop. The ground surface was modeled and textured using fine plaster to achieve a realistic soil structure.
Meanwhile, we worked on phase two – the tower itself. Once the printed framework was in place, we began the interior construction from the ground floor up. The floors were planked with wood, painted, and sanded to highlight wear and texture. The walls were made from thin styrodur sheets, which we textured and coated with plaster. For the natural stone wall on the ground floor, we used a texture roller, while the upper levels were hand-carved using a ruler and craft knife. After painting, the red mortar joints were highlighted using special markers.
Next came the installation of window and door lintels, followed by the surrounding gallery. For the roof, we deliberately omitted the internal wooden support structure seen in the original reconstruction for stability reasons and only suggested it visually. Representing the slate roofing at a 1:25 scale posed a particular challenge. After some research, we opted for a 3D-printed solution here as well: we designed narrow strips, printed them, and laid them across the roof in rows. Finally, we added a few traces of everyday life. For example, a small calling card from feathered visitors can be found on the roof.
We regularly met up throughout the process to join and align the two parts of the model that had been developed in parallel. One such moment was the collaborative design of the vegetation around the baseplate.
To give the entire model a believable sense of aging, we treated almost all surfaces with pigments. This created a slightly weathered, dusty look that enhances the impression of time and use without appearing exaggerated.
Phase 3: Details
With the third phase of construction, we reached the part we enjoyed the most: the details. This was where we could bring the model to life, create atmosphere, and apply all of our experience in miniature building.
We started with the cellar. Since we were able to base it directly on the walk-in reconstruction at the Pohl tower, the design was relatively straightforward. We furnished it as a storage room and equipped it with amphorae, supplies, and crates. Like many other objects, these were either traditionally handcrafted or custom-designed as 3D models and printed, depending on what was most suitable.
The upper floors were then fitted with their actual furnishings. We first built the basic furniture: a bed, table, chairs, shelves, and a simple cooking area. This was followed by numerous small everyday items such as food, dishes, pots, tools, and oil lamps. Many of these were digitally created as well, some based on historical references, others designed through logical interpretation of a soldier’s daily life, and then realized via 3D printing.
Our goal was not to fill the space with as many objects as possible, but to design the rooms in a way that felt believable and functional. The small kitchen, in particular, was intended to show how things might have actually worked with limited space, but clearly organized. We also added graffiti to two of the walls, small scribbles that could easily have existed in the daily life of real Roman soldiers.
The military function of the tower was also meant to be clearly visible. We included a simple torch stand to represent signal communication and placed piles of stones on the gallery for defense. Given the limited space, the use of spears, slings, or bows would have been impractical.
The room layout reflects this dual function: the living area on the lower floor, the guardroom above.
In the end, the interior reflects what Roman soldier life along the Limes might truly have felt like.
The miniatures
A special feature of the model is the miniatures. They don’t just depict anonymous figures but familiar faces. The three of us who built the model — Torsten, Tobi, and Evi — are all represented. However, to portray the tower’s full garrison, we needed four male auxiliary soldiers. Since Tobi and Evi are part of the core team behind the 2023 Limes March, which is also featured in the exhibition through photos and a video, the decision came naturally: we completed the group with Tommes and Michl, the remaining members of the Limes March core team.
This created a small scene with a personal connection and a sense of recognition for anyone viewing the accompanying media in the exhibition.
For the implementation, we used photos, AI assistance, and our experience with digital 3D modeling. The figures were individually customized, printed at a 1:25 scale, and then painted using both airbrush and fine brushwork. Our eye for detail, honed through years of wargaming, also played a key role here.
In addition to the human figures, we also created a mule, three chickens, and a falcon. The first were typical livestock at the Roman Limes, while the bird served as a symbol of alertness and long-range vision.
The result is more than mere decoration. It brings the model to life and also highlights the people who helped create it.
Final Thoughts
The finished model shows what a watchtower along the Limes might have looked like around AD 100. It combines research, craftsmanship, creativity, and personal history. Those who look closely will notice many small details and perhaps even a familiar face.
One of the greatest challenges was the high standard of accuracy we set for ourselves. The deliberate mix of traditional model-building materials and modern technology also posed its own demands, especially in light of the environmental conditions in the exhibition space, such as lighting, temperature, and humidity. Of course, the project could have been realized with less effort. But that wasn’t what we wanted. We were excited by the opportunity to explore what was truly possible.
Our collaboration and friendship with the Limeskastell Pohl has existed for many years and is built on a shared vision: history should be tangible and immersive. We’ve already brought this idea to life through several past projects, and the tower model gave us the opportunity to take it to a new level: three-dimensional, true to scale, and crafted with a lot of heart.
The model is part of the new exhibition inside the tower at Limeskastell Pohl and can be viewed during regular opening hours.
Photo #8 & #11: Stephan Dingens
The Model at a Glance
Exhibited at:
Limeskastell Pohl, inside the reconstructed watchtower
Scale:
1:25
Base dimensions:
60 × 60 cm
Model height:
approx. 70 cm (including baseplate)
Construction time:
about 4 months
Materials used:
Styrodur, wood, polystyrene sheets, fine plaster, PLA (3D printing), resin, paints, pigments, and more
Contributors:
Ancient Tracks × Team Würfelkrieg
Evelien, Tobias, Torsten
With support from Dr. Jennifer Schamper (historical consultation)