We are excited to announce that Factum Foundation, in partnership with the Rothschild Foundation and the Royal Academy of Arts, will launch the exciting project, The Veronica Scanner: Live 3D Portraiture, in early September. It will be installed in the Royal Academy in London, and tour to Waddesdon Manor in late October. Sign up to be 3D scanned and receive your own digital portrait! Read more news.
Masterpiece Fair is over and Factum Foundation's elaborate stand, designed by Charlotte Skene Catling, has come back to Madrid. The team demonstrated that it really is possible to record an artwork at very high resolution in a short time, archive it, and process it so that the work can be re-materialised using an array of new technologies alongside traditional craft skills, and this was evidenced by the feeling of excitement mixed with shock by those who came across our facsimiles.
Factum Arte is working with the Redstone Press to produce a series of prints (both photographic images and tactile works) for The Blind Photographer, that opens at Galerie Huit on the 28th July, which will run until the 24th September 2016. The exhibition features the work of 29 blind photographers and will include a group of 10 tactile interpretations made by Constanza Dessain. these tactile prints have achieved a genuine shift from one sense to another allowing blind and partially sighted people to feel the images with their finger tips.
A team from the Factum Foundation returned to Lebanon to continue the photogrammetric recording of the stela of Nahr El Kalb. The is site enlisted on UNESCO's 'Memory of the World' list and all the stela made before the birth of Christ have now been recorded at high resolution. Once processed, the high resolution 3D data will be given to the Ministry of Culture and APSAD for archiving and a complimentary data set is being extracted for the Cuneiform editor, Professor Rocio Da Riva of the University of Barcelona to help study the Stela of Esarhaddon and Nebuchadnezzar.
Alexander Peck from Factum Foundation spent a day in the site of Little Petra testing mid-range photogrammetry on some of the site´s façades, in preparation for a potential pilot project to record the site using long, mid and short-range recording techniques, as well as potentially digitally restoring some of Little Petra´s frescoes in collaboration with the Inspirational Development Group (IDG) as part of a training course for a group of young Jordanians to record their own cultural heritage.
Work in the tomb of Seti I has come to a temporary pause as the temperatures in Luxor make work very difficult. As a result, the concentration focuses on processing and archiving the data while Work in Stoppelaere house continues under the direction of Tarek Waly. Work is now focused on the restoration of the mud brick using a team of local craftsmen. Follow the projects here.
Factum´s Otto Lowe is currently exploring ways of recording iron filing structures created by magnetic fields in high detail using photogrammetry. This is being done on an experimental level for the Saudi artist Ahmed Mater. The goal is to produce a sculpture of a photograph taken by Mater of iron filings surrounding a black cube, reminiscent of the pilgrims circumambulating the Kaaba in Mecca. Tests are ongoing to find a way to record hundreds of different models in order to remodel them to resemble the photograph.
Following the partial ‘unearthing’ of the Cochno Stone, both Historic Scotland and West Dunbartonshire Council have given Factum Foundation permission to start completely uncovering and 3D scanning the stone, as well as producing its 1:1 facsimile to then safely rebury it again. The project will begin on Monday 5th September 2016 and it will take approximately three weeks for the uncovering, scanning and post-processing of data to complete.
The table of Teschen is now in the Musée du Louvre, Paris, while the exact replica is back in the Chateau de Breteuil, after the work was featured at Factum Foundation´s stall at the Masterpiece Art Fair in London at the end of June, where it attracted a great deal of attraction. Table symbolises the intersection of art, design, politics and the natural sciences in the eighteenth century, and its facsimile is an excellent example of what can be achieved when digital crafts and traditional artisans meet to create something symbolic and beautiful.
Alexander Peck and Otto Lowe, from Factum Arte and the Factum Foundation, were experimenting with underwater photogrammetry in Sant Vincenç, Mallorca last month. They used a Canon 7D, in an airtight water-proof Subal housing, to try and make test scans of the rocks on the sea floor. The casing for the 7D was designed to be used by scuba divers to take high definition photographs.
Alex, Eva and Ferdinand from Factum Foundation are back in Madrid & London, post-processing the data they obtained during their month recording the mosque at Kala-Koreysh, Daghestan. The site involved recording with high resolution photograsmmetry, and is an initiative forms part of a collaboration between Factum Foundation and the Ziyavudin Magomedov Charitable Peri Foundation to record objects of cultural significance in Daghestan using a range of 3D scanning techniques. Read the full story here.
Lucida Lab Milano is a laboratory specialized in digital technology in conservation run by Carlos Bayod and Guendalina Damone, launched thanks to a collaboration between Factum Foundation and Open Care Milano (a Milan-based conservation and restoration laboratory and art services workshop). The Foundation is continuously looking forward to great things and the amount of work that we are seeing in Milan is encouraging because what we do and what we stand for is beginning to resonate strongly within the conservation and heritage communities
The primary objective of the Factum Foundation is to ensure that future generations can inherit the past in a condition in which it can be studied in depth and emotionally engaged with. We endeavor to create a living archive of a growing collection of all the wonders that we have inherited so that future generations - whose attitudes towards cultural heritage may, of course, be very different and who will certainly develop technologies well in advance of ours - will have a resource that we bequeath to them of raw, clean and un-manipulated data.
Te learn more about the aims of the Factum Foundation, click read our about us page and download both the 2013 and 2016 Factum Foundation books explaining the aims and work being carried out in collaboration with sister company, Factum Arte.
Facsimiles at Masterpiece
The Foundation was at the Masterpiece event in London during July and its stand was rather different from the others who clustered around it - they were there to present some of the wonders of our heritage and they were wonders - for sale.
The diversity of objects, the levels of opulence of some and the nihilistic blankness of others presented a marvellous journey through what the world's collectors want to see and own. The quality of all the works was breathtaking - the details of marquetry, painting, gilding, polishing, carving, engineering, metalwork and, of course artistic skill were tremendous and the sheer scale of the event and of its contents was breathtaking.
Quietly placed between two of the world's great antique dealers was the stand for the Foundation. Designed by Charlotte Skene Catling and Adam Lowe it was a discrete theatre , dramatically and beautifully exhibiting some of the work of the Foundation and its aims. The Teschen Table (now in the Louvre) facsimile enticed visitors past the Cluny Christ - created in Madrid and which baffled every inspection - and through a series of monochrome flats secreted behind which were shelves and boxes and openings containing objects that represented the variety of work of the Foundation.
All the objects were facsimiles - and they all had an important place in the story of preservation.
That was the play that was being performed - it was the physical proof that technology now allows us to do things we only dreamed of until recently. When Henry Cole wrote the 'Convention for Universally Reproducing Works of Art for the Benefit of all Museums’ in 1867 - 150 years ago and the basis for the creation of the V&A - what we can do now was not even a dream, but it was anticipated.
The work of the Foundation places the emphasis on recording, using highly advanced technology (much developed in house) sufficient to make an exact physical copy. The recording is deeply important - recording in as much detail as can reasonably be done. The creation of facsimiles like those tiny examples hiding behind the flats of the Foundation exhibit at Masterpiece - can then be a choice. What is important and what is unique about the Foundation is that the single criterion used for recording is matched with a profound desire to find ways to re-create where it is needed and that is what the Foundation does daily in its workshops.
So, surrounded by objects that have been cherished and polished and burnished and restored to a brilliance only dealers in antiques and works of art can do, the facsimiles in their little theatre told their story eloquently and forcefully and truthfully to the often bemused visitors.
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