Our team from Factum Foundation is back after taking part in an inspiring pilot project to record a section of the frescoes of Dionisy (1440–1502) at the Ferapontov Monastery (Vologda region, Russian Federation) where they visited the monastery, a UNESCO world heritage site considered one of the best examples of late 15th century Russian monastic architecture. Read more here.
Factum Foundation’s Alex & Ferdy are back from Nigeria after spending a week recording the Cross River Monoliths: basalt slabs engraved with human faces and decorative motifs that come from a tradition thought to stretch back to 200 AD. Read more news here.
The miniature version of the 900 year old Great Windsor Park oak tree, made by Factum Arte, was presented to Queen Elizabeth II at the Royal Academy of Arts in London earlier this month to mark Her Majesty´s 90th birthday - and to launch a campaign to plant inner city woods in urban areas around the UK. Read more here.
The first textured renders of the interior of the mosque at Kala-Koreysh (pictured) have been generated from processed data gathered earlier this year when a team from Factum Foundation, together with the Peri Foundation collaborated to record objects of cultural significance in Daghestan using a range of 3D scanning techniques. More news here.
In the coming weeks, the Factum Foundation for Digital Technology in Conservation will begin routing the facsimile of doors belonging to the mosque at Kala-Koreysh, recorded with photogrammetry earlier this year in collaboration with the Peri Foundation. The two pairs of oak doors (12th-13th C.), will be routed in oak at the highest possible resolution. More news here.
Factum Foundation is proud to announce that the full excavation, 3D recording and safe reburial of the Cochno Stone is now complete. The Cochno Stone is Scotland’s largest and best examples of Neolithic / Bronze Age cup and ring markings dating from 3000 to 2000 BC. The 3D data is currently being post-processed and the team hopes this might shed some light on the reasons the markings were made. Read more news here.
Last week, the Egyptology department at the American University in Cairo invited Factum Arte’s Aliaa Ismail (on-site project manager for the Theban Necropolis Preservation Initiative) to give a lecture on Factum Foundation’s interest in preserving cultural heritage through the use of digital technology. The talk focused on the recording systems used in the tomb of Seti I, Aliaa´s personal experience in Luxor, and the positive impact such work can have on both the human and economic. Read more news here.
The remarkable restoration works at Stoppelaere´s House are progressing rapidly and efficiently. Tarek Waly’s team have now completed a vast majority of works using the knowledge and hands of a skilled local team from Qaurna. It is anticipated that the 3D documentation training center will start operating by the beginning of 2017. Read more here.
Tests are being developed at the Factum Arte warehouse in Madrid to evaluate the quality of the scans recorded in the tomb of Seti I over the last few months. The 3D and colour data obtained in the tomb has been processed and a 90 x 90 cm section of the West wall in the Hall of Beauties has been successfully routed onto a slab of polyurethane resin in very high resolution using a 3-axis CNC milling machine More news here.
In March this year, a team from Factum Foundation recorded the sarcophagus of Seti I in Sir John Soane’s Museum using photogrammetry. Over 4,500 images were taken on a Canon 5DSR over a five-day period and the data is now in the phase of reproduction. A CNC Miller is currently routing sections of the sarcophagus from the processed data and the facsimile if slowly coming together. Read more here.
The new book scanner that has been made to record fragile manuscripts in Daghestan is complete. This scanner is made to digitise the books in the State Archive in Makachkala and will also be used to record the manuscripts that are held around the country in the collections of Islamic Scholars, madrassas and Mosques. More here.
Factum Foundation has been working extensively with the Victoria & Albert Museum for the Venice Biennale 2016 on a special project running until Sunday 27 November. A World of Fragile Parts explores the threats facing the preservation of global heritage sites and how the production of copies can aid in the preservation of cultural artefacts. Read more news here.
Factum Foundation is working with Strawberry Hill House to create a series of facsimilies of paintings from Horace Walpole’s original collection (sold in 1842, now dispersed worldwide). Two works are complete and are currently on display at Strawberry Hill House - Eccardt's double portrait of Sir Robert and Lady Walpole together with its elaborately carved frame, believed to be Grinling Gibbons. Read more here.
A team from the Factum Foundation spent one week in Lebanon last June. While there, Alexander Peck and Ferdinand Saumarez-Smith recorded eight BC Stela from the monumental site of Nahr El Kalb with close range photogrammetry. This was the final recording effort on the site and a team is processing the data to hand over to the Ministry of Culture in Lebanon. More news here.
Lucida Lab Milano is a laboratory specialized in digital technology in conservation, launched thanks to a collaboration between Factum Foundation and Open Care Milano (a Milan-based conservation and restoration laboratory and art services workshop). The scanning studio is run by Carlos Bayod and Guendalina Damone. More news here.
The Veronica Scanner: Live 3D Portraiture opens at Waddesdon Manor
Oct 22 – 30, Mon – Sun (10am – 5pm)
Following the exhibition´s huge success at the Royal Academy of Arts in London last month, where more than 600 heads were scanned, The Veronica Scanner: Live 3D Portraiture event is now up and running at its second location, Waddesdon Manor. Situated an hour outside of London, Waddesdon Manor is one of the Rothschild family’s historic estates with a rich history in portraiture and advanced technologies.
Factum Arte’s Veronica Scanner, which uses photogrammetry to record highly objective portraits, generates 3D models in just 4 seconds - these are then processed on site and rematerialised through additive (3D printing) and subtractive (robot wood carving) processes. This iteration of the project welcomes an exciting new addition thanks to iMakr, the ROKIT INVIVO Hybrid Bio Printer; a 3D printer capable of printing organic material and live cells. This printer is a rare treat as it is not available on the public market. The 3D Bio Printer will run at Waddesdon Manor on October 24 and October 25, printing ears, noses and other body parts with data from the Veronica Scanner, in a skin like material. The Veronica Scanner has also been modified to accommodate children, allowing for a richer database of faces and expressions.
To watch the film about the Veronica Scanner at the RA, featuring a conversation between Factum Foundation’s founder, Adam Lowe, Pippa Shirley (Head of Collections, Waddesdon Manor) and Tim Marlow (Artistic Director, RA) please click here.
The Veronica Scanner: Live 3D Portraiture is the result of a partnership between the Factum Foundation for Digital Technology in Conservation, the Rothschild Foundation and the Royal Academy of Arts. 3D printers provided and operated by iMakr (MyMiniFactory). Software for processing on-site provided by Capturing Reality. Software for cloud processing, Ember: Precision Desktop 3D Printer and virtual online gallery provided by Autodesk. Original artworks lent by Tomasso Brothers, London & Leeds.
Please click the image below for the Veronica Scanner: Live 3D Portraiture booklet.
Peril in Venice
When one goes to Venice – which for many wonderful reasons large numbers of us will this year, we think often of preservation and the peril Venice faces. That’s because we all know that the land upon which the city sits is sinking. That has been slowed by the prohibition on drawing water from the aquifer but the high tide – acqua alta – levels are becoming more frequent and the lagoon is rising inexorably as well.
So we are always conscious of preservation and restoration in Venice as we are also conscious that the city still looks marvellous, floating almost and serene. Many of the buildings look worn – as they might, they’ve been there a long time – since the original slave trade made the city so rich. But many are copies of what was and many more are heavily restored. The Campanile in St Mark’s Square is one of Venice’s landmarks – built on a Roman and then C9th foundation - it has looked, as it looks now, since 1514 – except for a short interlude in 1902 when it collapsed and was carefully rebuilt over ten years. Yes, it is a copy, nearly identical, but a copy. It stands for Venice and it is in every visitor’s memory and every photograph’s background. It is authentically Venetian and its originality is not a question – it doesn’t need to be.
Across St Mark’s canal is the island upon which the Monastery of San Giorgio Maggiore stands – the glorious home of the Fondazione Giorgio Cini. Followers of the Factum story may know of the painting that hangs on the end wall of the refectory – where the building itself was designed by Palladio as its home. It is, of course, the Wedding at Cana by Paolo Veronese. Thought by many to be the greatest painting in the world – certainly that was true until colour reproduction, copies, became cheap and reliable – which is when the Mona Lisa became so well known that it became the greatest, a bye word for ‘art’. We have spoken before (see Viewed from Afar 31-05-2015 in Opinion) of the crush to view that small, hermetically sealed, painted image – but the people in the warm, humidity controlled, dimly lit crush in the Louvre hardly notice the great painting looming behind them. It was painted by Veronese and, though heavily restored, it is the painting that hung in Palladio’s refectory until 1797 when Napoleon decided it should be in the Louvre.
Adam Lowe and the Factum team, commissioned by the Fondazione Cini and with the collaboration of the Louvre, recorded the painting in high resolution 3D and colour and re-created the painting’s 67m² surface perfectly. It hangs now in Palladio’s bright, spacious, lofty refectory with whose perspective the painting’s horizon is aligned and for which it was painted – a copy, like the campanile – but its authenticity is not in question.
This question is the core of the Foundation’s being – we want to make sure we record – and help others record - in the highest possible resolution, works of cultural importance so that future generations may enjoy, analyse and understand what we inherited. We record in the highest resolution possible – sufficient to make an exact physical copy. And sometimes using that data we may do just that for a number of reasons - if the subject is in danger, as in Tutankhamun’s Tomb, or has been displaced, or dispersed, or damaged or even destroyed. Digital technology in conservation can have benign results, some perils to our cultural heritage may be averted though digital preservation.
[You might also like to see the V&A/Biennale/Factum Foundation collaboration concerned with digital preservation in Venice until 27 November 2016 called A World of Fragile Parts]
© Copyright 2016
Aviso Legal. LOPD