On October 19th a team from Factum Foundation started the high-resolution recording in 3D and colour of Velázquez’ Saint Thomas at the Musée des Beaux-Arts in Orléans. St. Thomas, painted around 1618-1620 and part of Velázquez’ early works, is being documented using panoramic composite photography and the Lucida 3D Scanner. The data gathered during this recording will be handed over to the Musée des Beaux-Arts and will be used to create an exact facsimile for the Casa Natal de Velázquez, due to open its doors in 2021 in Seville. Previously this year, three other paintings from the Spanish master’s early years were recorded in the National Galleries of Scotland (An Old Woman Cooking Eggs, 1618) and in the Wellington Collection at Apsley House (The Waterseller of Seville, 1618-1622 and Two Young Men Eating at a Humble Table, 1622), in collaboration with Centro de Estudios Europa Hispánica.
Factum Foundation is delighted to collaborate with Fundación Banco Santander for the high-resolution recording in 3D and colour of El Greco’s Annunciation, from the collection of Banco Santander. The painting, one of El Greco’s final works and intended for the right side altar of the church in Tavera Hospital, is being recorded using the Lucida 3D Scanner and panoramic composite photography. The data will be essential for documentation and analysis purposes and will be used to create an exact facsimile of the painting.
On 21st September 2020, Otto Lowe and Pedro Miró from Factum Foundation arrived in AlUla to start the largest high-resolution 3D recording project to be undertaken in the Kingdom of Saudi Arabia. The work, commissioned by the Royal Commission for AlUla (RCU), is planned to last for more than a year and will result in the production of a high-resolution 3D model of the Nabatean archaeological site of Hegra (also known as Mada’in Salih or Al-Ḥijr) as well as Dadan, Jabal Ikmah and Abu Ud.
The data from the recording of the historic landscape at AlUla (Hegra is a UNESCO World Heritage Site), will be processed by Factum’s experts and will be handed over to the Royal Commission for AlUla. The RCU will own the data for all current and future applications. Extensive work is currently underway to find an aesthetically beautiful way to view the data so it can dynamically respond in real time.
This information will be critical for the preservation of this extraordinary site as it becomes the focus of the country's drive to attract cultural tourism. High-resolution recording will not only help attract visitors but it will be essential to record a site that has been overlooked for many years. Condition monitoring and conservation mapping will provide a detailed framework for the archaeologists working on the site.
Factum Foundation is delighted to collaborate with the Royal Commission for AlUla on this ambitious project to preserve the heritage landmarks and cultural legacy of the Nabateans in and around the AlUla oasis.
On the 6 October 2020 a planning inquiry commenced regarding the Whitechapel Bell Foundry, 32-34 Whitechapel Road, 2 Fieldgate Street and land to the rear (planning application reference numbers PA/19/00008 and PA/19/00009).
Your support and online presence are more than ever needed: this is the chance to make your voice heard and prevent the Whitechapel Bell Foundry from becoming a boutique-hotel, based on the model of Soho House.
If you want to get in touch with the inspectorate with further questions, to make a written statement or ask to speak on the 27 October – when the public inquiry is open to third parties to contribute – please contact the Government’s Planning Inspectorate at Elizabeth.Humphrey@planninginspectorate.gov.uk
For media enquiries, please email firstname.lastname@example.org and your email will be forwarded to Re-Form's communications partner.
In 2017 Factum Foundation and Tarek Waly restored Hassan Fathy’s mudbrick masterpiece Stoppelaëre House, at the entrance to the Valley of the Kings. It was opened by Irina Bokova, the Secretary General of UNESCO, who described it as a great example of high-quality architectural restoration.
The work was entirely carried out by a local team under the direction of Tarek Waly. The costs, estimated by heritage professionals to be 2-3 million euros, were in fact between 200,000€ and 300,000€. Since its opening it has been home to the Theban Necropolis Preservation Initiative, which now employs six local people who have been trained by Aliaa Ismail, a graduate of the American University in Cairo.
In a new initiative, Factum Foundation and Skene Catling de la Peña have acquired Alvar Aalto’s first industrial building, the Cellulose Silo in Oulu, Finland. The building has been neglected since it closed in the 1980's but is an inspiring example of concrete construction by one of the greatest architects of the C20th.
Renovation will start next year and the building will house a new centre for the preservation of Industrial heritage in the region. More news will be posted very soon! Hopefully the Bell Foundry in Whitechapel will be the next project in which the preservation and development of human skills sits hand in hand with the preservation of the building fabric.
In July 2019, Factum Foundation was invited to carry out two recordings at the British Museum’s Hirayama Studio – a specialist studio for the conservation of East Asian paintings, employing traditional East Asian scroll-mounting techniques combined with digital technology and contemporary approaches to cultural heritage conservation.
The Hirayama Studio were particularly interested in using 3D scanning to investigate the cut-gold leaf, or kirikane, used to decorate the figures’ garments on Amida sanson raigo zu, an exquisite 14th century Japanese scroll-painting. The Lucida 3D Scanner was able to record the reflective surface of the reflective surface, allowing conservators to see subtle relief patterns in detail.
A second object was also recorded: two panels from a 19th century Korean screen of pyeongsaeng-do (scenes of daily life) depicting successful stations in a man's life. The screen is of particular interest to conservators because it retained its original cotton mount. High-resolution 3D and colour data provided by Factum will serve above all as a precise record of the screen’s condition before conservation, but the recording and associated digital high-resolution viewer will be equally useful for the study of this unique painting in its original mount.
Factum Foundation is honoured to have carried out the recording of Caravaggio’s Burial of St. Lucy in the Chiesa di Santa Lucia alla Badia, Syracuse, between 24th and 30th June 2020. The equipment was then shipped to Seville for a major project related to the Spanish Golden Age.
An exact facsimile was created by Factum Arte for the exhibition 'Caravaggio. Il Contemporaneo - In dialogo con Burri and Pasolini' at Mart Rovereto (October 9th 2020 - February 14th 2021), where the original is now on display among a selection of contemporary works and photographs, encouraging new conversations and emphasising Caravaggio's spiritual relevance. The original will go back to the church of Santa Lucia alla Badia, in Syracuse, at the beginning of December and the facsimile will take its place in the exhibition.
A new report on the Theban Necropolis Preservation Initiative is now freely available.
The Coronavirus pandemic has restricted work in Luxor since April, but in line with Egyptian regulations, a reduced workforce was able to return to the tomb of Seti I in July and TNPI was the first team to resume work in the Valley of the Kings.
2020 has seen a new global recognition of the importance of digital recording for documenting, disseminating and displaying cultural heritage. The crisis has also underlined the importance of the high-resolution 3D and colour recording that is being carried out by the TNPI. It suddenly became clear that heritage managers and organisations were lacking the digital assets required for a meaningful online presence. With international travel severely restricted for the foreseeable future, there is a pressing need for high-resolution data which is accessible in innovative forms and which can be used by many different audiences, from specialised scholars to the curious looking for something interesting to attract their attention.
The launch of the 3D model of the Tomb of Seti I was one of the important events during COVID. It is the start of something very important which we hope to unveil soon. The virtual tour is the result of countless hours of work and brings together a complete LiDAR model of the tomb interior with the high-resolution recordings in colour and 3D of both the walls of the tomb and fragments removed at different times. There is a visceral and functional difference between this form of high-resolution 3D display and those recorded at lower resolution which are more commonly found online but are seldom satisfying, engaging or meaningful.
Factum Foundation for the V&A and Royal Collection Trust
In August 2019, a team of 3D-scanning and photography specialists from Factum Foundation carried out the recording of the Raphael Cartoons at the Victoria and Albert Museum in London. The seven Cartoons, lent to the V&A from the Royal Collection by Her Majesty The Queen, were recorded at high resolution in 3D, colour and infrared: this digitisation project is by far one of Factum Foundation’s most ambitious to date.
Over the course of several months, the digital information captured on-site was processed in the Foundation’s studio in Madrid to create a multi-layered browser of the painting: this online tool enables the visualisation of the 3D scanned surface, as well as the colour and infra-red data. Through this online platform, it is possible to move around the scanned surfaces and zoom in at macro-level photographic data with a resolution of 400 dpi on a scale of 1:1, from any computer or mobile screen. The tool developed by Factum after years of testing and improvement allows everyone, from museum conservators to the general public, to study in great detail the materiality of the recorded artworks.
Adam Lowe, founder of Factum Foundation, guides you through The Materiality of the Aura. New Technologies for Preservation, at Palazzo Fava, Bologna until 10th January 2021.
Facsimiles of sculptures, paintings and books, digital restorations and physical recreations, 3D renders, 3D models and a variety of objects are presented in the six rooms of the exhibition, focussing on: the surface of paintings, sculptures, cartography, video-mapping and projections, manuscripts and, finally, Factum Foundation's work in the Valley of the Kings. The city of Bologna, where the Foundation has been involved in projects since 2010, is also a unifying factor tying together many of the rooms.
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On August 17-18th a team from Factum Foundation worked in London's Apsley House to record two paintings by Velázquez: The Waterseller of Seville and Two Young Men Eating at a Humble Table. The work was carried out using panoramic composite photography and the Lucida 3D Scanner to document the originals' colour and surface texture in high-resolution. The recording of the two paintings at the Wellington Collection was made possible by the generosity of the Duke of Wellington and English Heritage, particularly the Keeper of the Wellington Collection and their Paintings Conservators who care for the paintings.
The facsimiles will be produced in Factum Arte's studios in Madrid in the next weeks while the data will be given to Apsley House to help draw attention to the remarkable collection of paintings and assist in the preservation and study of these two works.
Al-Qatt al-Asiri Pattern Book is a folio format publication produced in collaboration with Art Jameel, that has been designed as a teaching aid for the the women of Asir. The aim is to revive an art form that has been designated as 'intangible cultural heritage’ by UNESCO. These colourful geometric patterns have decorated the interior of the domestic buildings of the region for many years but are disappearing.
The book, designed by Factum, is printed and bound by Book Works in London. Copies will soon be made available to the public, pre-order yours by writing to: email@example.com
Launched by the Ministry of Antiquities in Egypt, Factum Foundation and the Theban Necropolis Preservation Initiative
In July 2020, Factum Foundation, the TNPI and Egypt's Ministry of Antiquities are launching the 3D virtual model of the tomb of Seti I. It is a work in progress but when finished it will be a complete record of the tomb from the time it was discovered to the moment at which recording ends.
The 3D virtual model is based on a LiDAR recording of the whole tomb, but it also includes high-resolution information that will continue to be fed into the platform as the work progresses. We are not only recording all the walls, pillars and ceilings but also all the elements that were removed from the tomb and are now scattered around the world in museums, store-rooms and private collections.
The platform works like a dynamic archive of the tomb that can allow closer study than is possible during a visit. By layering colour and 3D data, the walls can be seen at high magnification and the spectacular ceiling in the Sarcophagus Room can be studied as if you were on scaffolding with the painting in front of your nose.
But we are going further: the aim is to incorporate into the platform the watercolours made by Giovanni Battista Belzoni, the Egyptologist who discovered the tomb in 1817 (now in Bristol City Museum), Harry Burton’s black and white photographs from the 1920s (commissioned by the Metropolitan Museum in New York) and approximately 8,000 fragments from the tomb of Seti I, collected by the University of Basel, that are now stored in the tomb of Ramesses X and being analysed and relocated by Florence Mauric Barberio.
We have also incorporated the 3D recordings made by Factum Arte in the Sarcophagus Room in 2001, clearly establishing the importance of this approach for condition monitoring.