Med originalom in kopijo / 3D skeniranje in tiskanje kiparske likovne dediščine

Berden, Čila (avtor), Solina, Franc (mentor), Šeme, Blaž (mentor)

V teoretičnem delu magistrske naloge raziskujem vlogo in pomen kopij v konservatorstvu-restavratorstvu. S tem poskušam odstreti nekaj vidikov odnosa med originalom in kopijo oziroma odnosa, ki ga imamo do enega in do drugega – kako doživljamo originale in kako kopije? Pri tem povsem naravno nastopita vprašanji o avtentičnosti in avri umetnin, ki ju prav tako obravnavam. Predstavljam tudi tehnologiji 3D skeniranja in tiskanja, ki sta kopistiki prinesli novo razsežnost, ter orisujem nekaj novejših primerov uporabe obeh tehnologij v konservatorstvu-restavratorstvu, s poudarkom na kiparski likovni dediščini. Praktični del naloge je namenjen preizkusu tehnologij 3D skeniranja in tiskanja, ki se jim v teoretičnem delu posvečam in končni izdelavi kopije. Tu najprej predstavljam in ovrednotim rezultate skeniranja z večslikovno fotogrametrijo treh kipov na prostem, izbranih na podlagi materialov (bron, marmor in beton) in dostopnosti za ročno skeniranje ter rezultate skeniranja originalne rudarjeve svetilke s skenerjem s strukturirano svetlobo. Na koncu predstavljam kopijo izgubljene rudarjeve svetilke kipa Alojzija Kogovška Spomenik rudarju v Ljubljani, ki je bila izdelana s pomočjo tehnologij 3D skeniranja in tiskanja.

• Jezik: Slovenski jezik
• Ključne besede: konservatorstvo-restavratorstvo kopija original 3D tisk 3D skeniranje večslikovna fotogrametrija kopistika muzeji spomeniki na prostem kulturna dediščina magistrska naloga
• Vrsta gradiva: Magistrsko delo/naloga
• Organizacija: ALUO - Akademija za likovno umetnost in oblikovanje
• Leto izida: 2021
• PID: 20.500.12556/RUL-126407
• Datum objave v RUL: 21.04.2021

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Between the Original and the Copy / 3D Scanning and Printing of Sculptures in Cultural Heritage Preservation

Izvleček

In the theoretical part of my master's thesis, I explore the role and significance of copies in conservation-restoration. By doing this, I try to break down some aspects of the relationship between the original and the copy, or rather, the relation we have to one and the other - how do we experience original artworks and how copies? This is where the issues of authenticity and aura most clearly arise, which I also bring attention to. Furthermore, I present photogrammetry, as well as 3D scanning and printing technologies, which have brought a new dimension to the copying of artworks, and I outline some recent examples of the use of both technologies in conservation-restoration, with an emphasis on sculptures. In the practical part I have tested some of the 3D scanning and printing technologies discussed in the theoretical part. Firstly, I present and evaluate the results of scanning three outdoor sculptures – selected on the basis of materials (bronze, marble and concrete) and accessibility for manual scanning – with the use of multi-image photogrammetry, as well as the results of scanning an original miner’s lamp with a structured light scanner. Lastly, I present a copy made with the help of 3D scanning and printing technologies – a miner's lamp, which was part of a bronze statue in Ljubljana entitled Monument to a Miner by Alojzij Kogovšek, before being lost.

• Ključne besede: conservation-restoration copy original 3D print 3D scanning multi-image photogrammetry copying works of art museums outdoor sculptures cultural heritage MA thesis