Problems
Digitization is one of the buzzwords of the 21st century. Also in restoration, conservation and the preservation of cultural assets. Our author Boris Frohberg attended a conference of the Association of Conservators in Dresden and provides information on the possibilities offered by digitization processes in the preservation of cultural assets
The interdisciplinary collaboration between restorers, archaeologists, engineers, architects and process engineers offers a wide range of possibilities.
The VDR conference from March 1 to 3, 2018 at the Dresden University of Fine Arts brought together around 120 scientists and conservators to listen to the twenty presentations.
The topics of the four blocks ranged from the basics of the technology to its practical application. The lectures covered a wide range of materials used in restoration, e.g. wood, metal, stone, wax and wall paintings – from the Middle Ages to the end of the 20th century.
A thematic introduction to 3D techniques by Christian Mulsow, Patrick Lackner and Tobias Reich was followed by practical examples of 3D scanning methods, the “Structure from Motion” method, inventory and damage recording, surveying in the context of photogrammetry, 3D monitoring and 3D documentation. It is important to clarify in advance what you want to do with the virtual three-dimensional model and which questions need to be answered. This results in the search for the appropriate technology for implementation and cost calculation.
The laser scan for the practical application of the technology for visualization and reconstruction can be conveyed very clearly. New worlds can be opened up for museum visitors and younger groups of visitors can be interested. This also applies to wet wood finds from medieval mining in the Ore Mountains and the Bremen cog. The impressive size of the objects alone convinced the participants of the technological possibilities. The recording of ancient, medieval and modern sculptures can also be very useful for virtual reconstruction, but also for comparative research.
The accuracy of fit of fracture edges after scanning is unrivaled by the possibilities offered by craftsmanship. The compatibility of the printed materials in relation to the original can certainly be assessed positively. The example of the “Luke from the Ashes” from Munich’s Theatine Church demonstrates the combination of digital technologies and traditional sculpture. The partial reconstruction could be tested beforehand on the 3D model. This also applied to the reconstruction of rock formations in the Neptune Grotto in Potsdam. Here, scale models could be printed in order to test the correct structure of the natural stones as a template for the reconstruction of the original artificial rock formation.
The costs of using the technology are still very high and are therefore limited to a few pilot projects, most of which are externally funded. In addition, the data volumes usually still present processing problems due to computer performance. This means that evaluation and storage are only possible to a limited extent. On the one hand, devices built from components that can be ordered can be an inexpensive solution. On the other hand, the performance capabilities of computers will continue to increase and the processing of data volumes will appear simpler. Nevertheless, the problem of data storage over longer periods of time remains. Whether the monitoring projects will still be available in a few decades’ time and usable for the desired increase in knowledge is desirable.
The conference began with a one-day workshop on the Structure from Motion method, hand scanners and 3D mapping and 3D reconstruction. Alexander Gatzsche, Kerstin Riße and Thomas Hackbeil explained the Structure from Motion method and the use of handheld scanners. Gunnar Siedler explained the possibilities of 3D mapping with Metigo Map to the participants.
Conclusion
The organizers and participants agreed that 3D technology offers many previously unknown possibilities. The questions of how far one should go when using scanning methods and when the technology will take on a life of its own were certainly discussed here. The opportunities and possibilities that this technology can offer and where the limits lie in dealing with virtual copies were explored. It remains to be seen whether this technology will also become increasingly established in restoration.
You can read more about the topic of digitization in cultural heritage preservation in the upcoming issue of RESTAURO 7/2018, which will be published on 12 September.