Watch the video by the Oxford Griffith Institute on the 3D printing of Tutankamun's tomb. Researchers from the University’s Griffith Institute for Egyptology and Adam Lowe, director of Factum Arte, talk about the cutting edge of conservation, and why it matters.
Short documentary about the building of the Mejorada del Campo Cathedral, a project by Justo Gallego where this building is compared with the cathedrals of La Almudena in Madrid and Sagrada Familia in Barcelona.
Watch the video that tells the story and the making of the facsimile of the Tomb of Tutankhamun just opened in the Valley of the Kings in Luxor.
Video about the process and protocols of creating a non-contact digital restoration - in this case the heavily damaged frescoes in the early C11th Mozarabe Hermitage of San Baudelio in Spain - the Chapel was in a bad state of disrepair and an important part of the frescoes were stripped early in the C20th - the resulting pieces sold and dispersed across the world. The virtual restoration follows the process of interpreting and re-unifing the heavily damaged walls - we watch as the process is revealed. This approach is of great importance in terms of how we work with the past - It separates the the act of restoration from that of preservation, creating a space in which art history, heritage management, forensic technologies and personal opinions can be discussed before they are imposed onto the original.
Short film made for Felsinae Thesaurus to present the work being done on the facade of the Basilica di San Petronio, Bologna. It was projected on Piazza Maggiore Cinema the 13th and 29th of July.
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3D Scanning San Petronio in Bologna, June 2013. In this time lapse video one can see the 3D scanner in action, trying to go around obstacles (scaffolding and other architectural elements) to scan from different angles to reach undercuts.
Factum Arte's Lucida 3D laser scanner, though still at a prototype stage, was used in the Museo Del Prado in April 20122 to record paintings by Titian and Rubens. The results demonstrated that the scanner had overcome many of the limitations that have restricted the use of 3D scanners for the documentation and monitoring of cultural artifacts.
The facsimile of La defensa de Zaragoza by José Álvarez Cubero was finally installed in Priego. La Defensa de Zaragoza depicts an important event in Spain's independence from Napoleon's France. The artist José Álvarez Cubero sculpted the piece after the end of the French occupation, this becoming his most important work.
The original sculpture is owned by Museo del Prado in Madrid. With its collaboration, Factum Arte produced the facsimile commissioned by the Ayuntamiento de Priego de Córdoba, hometown to the sculptor. The final piece is now on permanent display in a square of Priego.
This video shows the process of scagliola workshop carried out by Factum Arte's Sebastián Beyro. The object featured in the video is part of an altar designed by Piranesi now available as a limited edition along with other objects in a collection created by Factum Arte in collaboration with Fondazione Giorgio Cini.
One of the key elements of the exhibition Le Arti di Piranesi: architetto, incisore, antiquario, vedutista, designer is a 12 minute animation of Piranesi's Carceri series made by Gregoire Dupond at Factum Arte specifically for the exhibition. This series of sixteen visionary images, originally etched by Piranesi when in his late tweties, shows the workings of his imagination, merging his architectural ambitions with his obsessive interest in antiquity. Watching Gregoire Dupond's animation is literally like entering Piranesi's mind. A CD containing both high resolution reproductions of the prints and the complete video will de released soon.
Factum Arte has collaborated with voxelstudios in the complex process of 3D modelling Giambatista Piranei's engraving for the exhibition The Art of Piranesi: architect, engraver, antiquarian, vedutista, designer, to create three dimensional objects following his unrealised designs. The exhibition will be showcased at Venice Biennial of Architecture, in the Sale del Convitto on the island of San Giorgio Maggiore from 28th August until the 9th of January 2010.
Factum Arte and the Fondazione Giorgio Cini reached an agreement with the Municipality of Caravaggio in December 2008 to begin work on a research centre devoted to the work of Michelangelo Merisi (Caravaggio). The project begun with the high resolution recording of three paintings in San Luigi Francesi in Rome. The Research Centre will open in September 2010.
Progress on the North wall of the Tomb of Tutankhamun facsimile, Summer 2010.
The tripod in this video has been created in 3D Studiomax by Voxel Studio and Factum Arte, the fine textures were achieved in a program called Z Brush. The tripod is inspired by one of the etchings in Piranesi's Complete Etchings by John Wilton-Ely found near Naples. This is one of the objects made by Factum Arte for the exhibition Piranesi.
The high-resolution recording and production of an exact facsimile of the Tomb of Tutankhamun is part of a major initiative by the Supreme Council of Antiquities to preserve the tombs in the Valley of the Kings while making important tombs that are either closed or in need of closure accessible to the public and to scholars.
The project has been launched by Dr Zahi Hawass in collaboration with the University of Basel, The Friends of the Royal tombs of Egypt, the Factum Foundation for Digital Technology in Conservation and Factum Arte.
After all the recording of the tomb of Tutankhamun was completed, work on the processing of the data and the facsimile of the burial chamber and sarcophagus of Tutankhamun went underway.
This video shows the process of routing employing 3D data at a resolution of 100 microns to produce an exact relief surface of the wall of the room of Tutankhamun.
In the autumn of 2006, the Musée du Louvre reached an agreement with Fondazione Giorgio Cini and granted Factum Arte access to record Veronese's great painting les Noces De Cana
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Factum Arte produced a conservation facsimile of a section the tomb of Seti I from the Valley of Kings for the Desert Valley Project. The project had the support of both the Ministry of Culture of Egypt and the Supreme Council of Antiquities. Specific emphasis was placed on installing into the facsimile sections of the tomb removed in the nineteenth century by the British, French, Americans and Italians.
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