Over the past decade, the use of 3D scanning, virtual reconstruction and digital manufacturing in... more Over the past decade, the use of 3D scanning, virtual reconstruction and digital manufacturing in the preservation of cultural heritage (CH) has gained significant attention, among other for the restorative intervention of loss compensation. These techniques have been explored both in conservation-restoration (CR) practices and research facilities. However, despite this progress, there is a notable absence of an educational framework specifically designed for virtual restoration methods aimed at physical restoration. As a result, CR practitioners motivated to execute a virtual restoration are either challenged to find their way in a wealth of information or have to rely on 3D experts for guidance and digital tasks. This article discusses this gap by detailing the construction and validation of an educational framework for loss compensation on CH objects. Drawing upon an extensive review of past case studies, an "Overview of possibilities on the application of 3D technologies for restoration of CH objects" (shortened to Overview OP) is compiled of involved reasons, processes, methods and materials to consider within a virtual restoration workflow. The composed Overview consists of eight phases, distinguishing 22 steps, encompassing both traditional restorations steps, virtual steps and combined steps in which material, object, device and product-related possibilities are displayed. To assess its effectiveness, an experimental setup was devised, incorporating a pre and post-test, short-term and long-term usability testing, and an evaluation questionnaire. This setup was implemented within an educational context involving third-year bachelor students in CR at the University of Antwerp (n = 17). Although the Overview OP does require a learning curve and may initially appear overwhelming, the experimental results demonstrated it organisational structure. It was found to be highly useful, timesaving and capable of efficiently guiding CR practitioners towards relevant information tailored to their specific cases. Following the validation process, the Overview OP was improved based on the received feedback. Additionally, a literature update was conducted, expanding the Overview OP to include cases executed between 2020 and 2023. The finalised version, along with the accompanying "Inventory of cases" is now accessible open-source on an online platform.
Digital Applications in Archaeology and Cultural Heritage, 2023
By providing a virtual workflow, the reconstruction of missing parts of a porcelain figurine is f... more By providing a virtual workflow, the reconstruction of missing parts of a porcelain figurine is facilitated. A CT scan enabled the virtual reconstruction by repositioning an existing part. Ten materials were selected to find a suitable material for the physical reconstruction: two traditional restoration materials, six Additive Manufacturing (AM) materials and two ceramic AM materials. After artificial ageing, these materials were evaluated on their colour and shape, complemented by a visual observation survey and a literature search on Volatile Organic Compounds. For each of these parameters scores were given to rank the materials. None of the materials scored best in all aspects, so the final decision remains a trade-off. The overall most successful and safeto-use material is porcelain plaster Zellaan, cast from an intermediary 3D print. PLA (Fused Deposition Modelling) has the overall lowest score and is to be avoided for this case study and future case studies.
Vanuit de problematiek verbonden aan de restauratie van fragiel kantporselein, wordt onderzocht h... more Vanuit de problematiek verbonden aan de restauratie van fragiel kantporselein, wordt onderzocht hoe 3D-technologie dienst kan doen bij de aanvulling van een casusobject. De lacunes in het casusobject kunnen moeilijk tot onmogelijk manueel gerestaureerd worden gezien het om een uiterst fijne porseleinen stofimitatie gaat. Kantporselein is vervaardigd door echt kant in een porseleinen slip te dippen en vervolgens te bakken op hoge temperatuur. Een aanzet tot restauratie wordt gegeven door de implementatie van 3D-scannen, 3D-modelleren en 3D-printen. Tijdens iedere fase wordt naar de meest geschikte state-of-the-art methode gezocht, binnen de beschikbare opties. Voor het 3D-scannen bleek (micro)computertomografie de beste optie omdat zo het hele volume gedetailleerd in beeld kan worden gebracht. De aanvullingen werden gemodelleerd met Rhinoceros 5.0 in combinatie met manuele technieken. De 3D-modellen werden met een PolyJet-printer getest en de prototypes werd geprint door Materialise, Leuven. De in deze casus gebruikte methodes illustreren dat een digitale workflow een cruciale rol kan spelen om fijne en accurate resultaten te bereiken, maar ook dat manuele methodes noodzakelijk blijven in het restauratieproces.
Digital Heritage: Progress in Cultural Heritage: Documentation, Preservation, and Protection, 7th International Conference : EuroMed 2018, October 29-November 3, 2018, Nicosia, Cyprus, 2018
Lace porcelain is a fragile type of ceramics that used to be in fashion in 19 th century Dresden ... more Lace porcelain is a fragile type of ceramics that used to be in fashion in 19 th century Dresden artworks. Because of its fragile nature, it is known to break easily while manual repair is nearly impossible. Instead, we considered digital scanning, reconstruction, and 3D printing of the damaged areas. One reference case was used throughout testing various technologies. Combining computed tomography, hybrid modelling strategies and high resolution 3D printing proved to be promising. However, defining a proper workflow and specifically digital modelling of porcelain lace requires complex modelling strategies, especially to make it fit for 3D printing. While there are many limitations to overcome , the discussed techniques can be used as an advantage in restoration of complex cultural heritage.
Emerging technologies offer many advantages for cultural heritage preservation, and as such, 3D t... more Emerging technologies offer many advantages for cultural heritage preservation, and as such, 3D technologies can also be considered a new tool in the conservator-restorer’s toolbox. 3D scanning and printing are particularly useful for reconstructing missing parts on cultural heritage objects. However, the application of these innovative methods and materials is difficult for inexperienced users such as emerging, academic and professional restorers. The aim of this research is to make 3D technologies more comprehensible, by bridging the gap between the restorers’ expertise and 3D specialists, and to make them more applicable to the restoration practice, by aligning 3D technologies to the needs of restoration theory and practice. The research has enabled the construction of a digital toolbox, containing relevant information and previous case studies to guide the target audience in the generation of knowledge on the applied and suitable use of 3D technologies for loss compensation of missing parts. This toolbox consists out of three tools and is presented online on www.3drestorationtoolbox.com: the first tool, the Mind maps for decisionmaking, lay out the documented pros and cons of using 3D technologies, the second tool is an Overview of possibilities, which guides the restorer in a 3D restoration workflow that combines traditional, digital, and hybrid restoration methodologies, and the third tool is an Inventory of cases of the cases consulted in the other tools. This dissertation and the 3D Restoration Toolbox are as such presented as a contribution to the integrated implementation of 3D technologies in the restoration practice.
Over the past decade, the use of 3D scanning, virtual reconstruction and digital manufacturing in... more Over the past decade, the use of 3D scanning, virtual reconstruction and digital manufacturing in the preservation of cultural heritage (CH) has gained significant attention, among other for the restorative intervention of loss compensation. These techniques have been explored both in conservation-restoration (CR) practices and research facilities. However, despite this progress, there is a notable absence of an educational framework specifically designed for virtual restoration methods aimed at physical restoration. As a result, CR practitioners motivated to execute a virtual restoration are either challenged to find their way in a wealth of information or have to rely on 3D experts for guidance and digital tasks. This article discusses this gap by detailing the construction and validation of an educational framework for loss compensation on CH objects. Drawing upon an extensive review of past case studies, an "Overview of possibilities on the application of 3D technologies for restoration of CH objects" (shortened to Overview OP) is compiled of involved reasons, processes, methods and materials to consider within a virtual restoration workflow. The composed Overview consists of eight phases, distinguishing 22 steps, encompassing both traditional restorations steps, virtual steps and combined steps in which material, object, device and product-related possibilities are displayed. To assess its effectiveness, an experimental setup was devised, incorporating a pre and post-test, short-term and long-term usability testing, and an evaluation questionnaire. This setup was implemented within an educational context involving third-year bachelor students in CR at the University of Antwerp (n = 17). Although the Overview OP does require a learning curve and may initially appear overwhelming, the experimental results demonstrated it organisational structure. It was found to be highly useful, timesaving and capable of efficiently guiding CR practitioners towards relevant information tailored to their specific cases. Following the validation process, the Overview OP was improved based on the received feedback. Additionally, a literature update was conducted, expanding the Overview OP to include cases executed between 2020 and 2023. The finalised version, along with the accompanying "Inventory of cases" is now accessible open-source on an online platform.
Digital Applications in Archaeology and Cultural Heritage, 2023
By providing a virtual workflow, the reconstruction of missing parts of a porcelain figurine is f... more By providing a virtual workflow, the reconstruction of missing parts of a porcelain figurine is facilitated. A CT scan enabled the virtual reconstruction by repositioning an existing part. Ten materials were selected to find a suitable material for the physical reconstruction: two traditional restoration materials, six Additive Manufacturing (AM) materials and two ceramic AM materials. After artificial ageing, these materials were evaluated on their colour and shape, complemented by a visual observation survey and a literature search on Volatile Organic Compounds. For each of these parameters scores were given to rank the materials. None of the materials scored best in all aspects, so the final decision remains a trade-off. The overall most successful and safeto-use material is porcelain plaster Zellaan, cast from an intermediary 3D print. PLA (Fused Deposition Modelling) has the overall lowest score and is to be avoided for this case study and future case studies.
Vanuit de problematiek verbonden aan de restauratie van fragiel kantporselein, wordt onderzocht h... more Vanuit de problematiek verbonden aan de restauratie van fragiel kantporselein, wordt onderzocht hoe 3D-technologie dienst kan doen bij de aanvulling van een casusobject. De lacunes in het casusobject kunnen moeilijk tot onmogelijk manueel gerestaureerd worden gezien het om een uiterst fijne porseleinen stofimitatie gaat. Kantporselein is vervaardigd door echt kant in een porseleinen slip te dippen en vervolgens te bakken op hoge temperatuur. Een aanzet tot restauratie wordt gegeven door de implementatie van 3D-scannen, 3D-modelleren en 3D-printen. Tijdens iedere fase wordt naar de meest geschikte state-of-the-art methode gezocht, binnen de beschikbare opties. Voor het 3D-scannen bleek (micro)computertomografie de beste optie omdat zo het hele volume gedetailleerd in beeld kan worden gebracht. De aanvullingen werden gemodelleerd met Rhinoceros 5.0 in combinatie met manuele technieken. De 3D-modellen werden met een PolyJet-printer getest en de prototypes werd geprint door Materialise, Leuven. De in deze casus gebruikte methodes illustreren dat een digitale workflow een cruciale rol kan spelen om fijne en accurate resultaten te bereiken, maar ook dat manuele methodes noodzakelijk blijven in het restauratieproces.
Digital Heritage: Progress in Cultural Heritage: Documentation, Preservation, and Protection, 7th International Conference : EuroMed 2018, October 29-November 3, 2018, Nicosia, Cyprus, 2018
Lace porcelain is a fragile type of ceramics that used to be in fashion in 19 th century Dresden ... more Lace porcelain is a fragile type of ceramics that used to be in fashion in 19 th century Dresden artworks. Because of its fragile nature, it is known to break easily while manual repair is nearly impossible. Instead, we considered digital scanning, reconstruction, and 3D printing of the damaged areas. One reference case was used throughout testing various technologies. Combining computed tomography, hybrid modelling strategies and high resolution 3D printing proved to be promising. However, defining a proper workflow and specifically digital modelling of porcelain lace requires complex modelling strategies, especially to make it fit for 3D printing. While there are many limitations to overcome , the discussed techniques can be used as an advantage in restoration of complex cultural heritage.
Emerging technologies offer many advantages for cultural heritage preservation, and as such, 3D t... more Emerging technologies offer many advantages for cultural heritage preservation, and as such, 3D technologies can also be considered a new tool in the conservator-restorer’s toolbox. 3D scanning and printing are particularly useful for reconstructing missing parts on cultural heritage objects. However, the application of these innovative methods and materials is difficult for inexperienced users such as emerging, academic and professional restorers. The aim of this research is to make 3D technologies more comprehensible, by bridging the gap between the restorers’ expertise and 3D specialists, and to make them more applicable to the restoration practice, by aligning 3D technologies to the needs of restoration theory and practice. The research has enabled the construction of a digital toolbox, containing relevant information and previous case studies to guide the target audience in the generation of knowledge on the applied and suitable use of 3D technologies for loss compensation of missing parts. This toolbox consists out of three tools and is presented online on www.3drestorationtoolbox.com: the first tool, the Mind maps for decisionmaking, lay out the documented pros and cons of using 3D technologies, the second tool is an Overview of possibilities, which guides the restorer in a 3D restoration workflow that combines traditional, digital, and hybrid restoration methodologies, and the third tool is an Inventory of cases of the cases consulted in the other tools. This dissertation and the 3D Restoration Toolbox are as such presented as a contribution to the integrated implementation of 3D technologies in the restoration practice.
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