We treat technology as an art as well as a science. We see digital and traditional technologies as part of a bigger picture, meaningless when detached from the social, cultural, and artistic uses to which we put them. From capturing or processing data to making facsimiles, we conduct as many input and output processes as possible under one roof, allowing us to constantly re-evaluate the connections between different technologies and different parts of the fabrication process. We are always innovating, designing new hardware, new software, and new techniques to meet the needs of specific projects.
Factum Foundation does not copyright its technologies, and does not seek to monopolise a market for their construction and repair. Our scanners are made using parts which as far as possible are readily available on the market or which can be designed and output using CAD technology and 3D printer, lathe or routing machine. Overall, we combine digital technologies, processes and outputs with physical outputs to ensure that our shared material culture is not lost to time and can be experienced by future generations
Factum Foundation employs advanced digitisation/recording processes to capture and document cultural heritage. Our approach involves using high-quality imaging techniques, such as photogrammetry and composite panoramic photography, coupled with specialised 3D technologies to capture detailed visual and surface information.
2.5D Data Digitisation
3D Data Digitisation
Our advanced digital processes, including image processing and the integration of multi-layered information, capture and document cultural heritage in incredible resolution. Through the use of specialised documentation and recording techniques, we extract and analyse multiple layers of 3D and visual data, revealing hidden details and information that may not be visible to the naked eye. These digital processes allow for in-depth analysis, research, and preservation of cultural heritage objects and sites, providing a comprehensive and layered understanding of the artwork or artifact.
At its simplest, digital output refers to the final visualisation of the data recorded and processed, this is in the form of RAW digital files, high-resolution viewers and 3D models.
These digital outputs can be used for documentation, analysis, restoration, virtual experiences, archiving, and accessibility and they play a significant role in their efforts to preserve, study, and disseminate cultural heritage. Digital output is an increasingly important element for restoration as it can be explored without any possibility of harm to the original object, it can also be used by traditional conservators as aids for conducting physical restoration. Augmented Reality, Virtual Reality and Mixed Reality are other possible digital outputs. Those experiences are rapidly developing, becoming a popular platform for sharing and communicating the importance of cultural objects.
One of the notable aspects of our work is our focus on producing physical outputs that accurately replicate the original objects or physical recreations of material culture that is damaged or destroyed. We use various fabrication methods to create these physical replicas and recreations. This includes robotic carving, 3D printing, CNC milling, and other additive or subtractive manufacturing techniques. Physical outputs can be used for display in museums or exhibitions, providing visitors with an opportunity to engage with cultural heritage that may be difficult to access or too fragile to exhibit in its original form. These rematerialisations can also be used for research, conservation, and educational purposes, allowing scholars, scientists, and students to study and interact with replicated objects or sites.