The burglary in the Green Vault in Dresden has shown it. There is no 100 percent protection. Neither against burglary, nor against fire and other forces. Even the best-protected museum is ultimately not safe if, for example, burglars have it in their heads to steal cultural assets.
So what is to be done?
The cultural property is to be recorded with the current state of the art in such a way that in the event of a case there is at least a digital 3D copy. Such a 3D copy can be stored permanently, replicated as a digital copy and as a reconstructable 3D copy. This means that the 3D copy can be stored in different locations, which virtually eliminates the probability of total loss. Such a 3D scan copy can also be used to research the objects worldwide at the same time without any problems. An exchange in research is no longer limited to a specific location. Evaluations can also take place at locations that are better suited for this in terms of space, technical equipment or simply because of the budget. And of course, should the impossible happen – the total loss of the original art object – this is not final. On the one hand, this can still be viewed as a 3D scan, worldwide. Research can continue even after the original has been lost, as 3D scans with an accuracy of up to 0.05 mm can reveal things that would otherwise be barely visible.
For exhibitions, there is always the possibility of bringing an art object scanned in 3D back to real life using 3D printing technology. Even with today’s state-of-the-art technology, these are almost on a par with the original. The actual material does not play a role here. Even metal and gold, for example, can now be 3D printed.
Talk to us about our expertise in the field of 3D museums for cultural assets and private collections.
