Lucian Ratoiu et al., Restitutio 9 (2015), 80-86 Metoda alternativa de refacere, completare si reintegrare a unor detalii decorative folosind tehnica printarii 3D Lucian RATOIU, Dragos ENE, Roxana RADVAN Departamentul CERTO - Centrul de Excelent pentru Restaurare prin Tehnici Optoelectronice, Institutul National de Cercetare-Dezvoltare pentru Optoelectronic - INOE 2000 Rezumat: In aceasta lucrare este prezentatii o alterna- Holt viabilit la metodele deja existente in practica de refa- cere, completare gi reintegrare a unor elemente decorative lacunare, ce se adreseazit conseroatorilor si restauratoritor din cadrul muzeal sau din variatele domenii ale conseroitrii componentelor artistice. Pentru a puncta strict aria de apli- cabilitate, ca studiu de caz a fost selectat un obiect, neclasat in lista patrimoniului mobil nafional, ce ilustreazit in mod precis propunerea noastrié de interoenfie. Obiectul este re- prezentat de o cutie de lemn, caracterizatit de 0 decoratie Intensit dar repetitiog, bazatt pe principiul simetriei. Va- rriantele propuse de refacere, completare si reintegrare dar si metodologia de Iucru sunt prezentate pe larg altturi de nofiunile teoretice ce fundamenteazit aceste interventit Cuvinte cheie: printare 3D, scanare laser 3D, refacere Introducere Lucrarea igi propune si ofere conservatorilor/ restauratorilor din cadrul muzeal sau din variatele domenii ale conservarii componentelor artistice! o al- ternativa viabila la metodele deja existente in practica de refacere, completare gi reintegrare a unor elemente decorative lacunare. Avand la baz scanarea laser 3D, printarea - aceasta metoda de obtinerea fizicé a mode- lelor 3D - este precisa, rapida, reproductibila si carac- terizati de un cost redus. Pentru a delimita strict aria de aplicabilitate a me- todei sugerate, subliniem conform principiilor actua- le ale restaurarii? faptul ca etapele de refacere, com- pletare si reintegrare sunt in mod obligatoriu supuse ‘unui proces critic $i in nici un caz acestea nu trebuie sa rivalizeze cu materialul original al operei de arta. in aceeasi masura nu trebuie sa induca restauratorului saut publicului/observatorului ideea ci 0 completare este in mod fundamental o etapa necesar' conservarii in timp a obiectului*. Lucrarea nu face referire la o me- * Incadrare conform legii 422/2001 a monumentelor istorice din Romania ® ICOMOS Principles for the Preservation and Conservation Restoration of Wall Paintings -2008 http:/ / www. intenation- alLicomos.org/charters/wallpaintings e.pdf * Referindu-se la intreruperea texturii figurative prin lacu- 1, Cesare Brandi argumenta ca: ,lucrul cel mai grav nu este constituit de ceea ce lipseste, ci de ceea ce in mod nepotrivit se adauga.” Cesare Brandi - Teoria Restaurarii, Editura Me- ridiane, Bucuresti 1996, pag 50 * Aceste etape din procesul de restaurare fac trimitere strict Ja modul de prezentare estetica ~ la coerenja mesajuluiestetic 80 Alternative method for reconstruction, completion and reintegration of some decorative details using 3D printing technique Lucian RATOIU, Dragos ENE, Roxana RADVAN CERTO Department - Centre of Excellence for Restoration by Optoelectronical Techniques, National Institute for Research and Development in Optoelectropics ~ INOE 2000 Abstract: In this paper is presented a viable alternative to the already existing methods of reconstruction, comple- tion and reintegration for missing decorative elements (la- cunae) that addresses to conseroators and restorers, from museums and other various fields of artistic components preservation. In order to point out strictly the area of ap- plicability an object, unclassified in the national heritage list, was selected as a case study. The object designated a wooden box characterized by intense and repetitive decora- tion, based on symmetry. The proposals for reconstruction, completion and reintegration but also the work methodolo- gy is presented in detail, long with the theoretical concepts that sustain these interventions. Keywords: 3D printing, 3D laser scanning, recon- struction Introduction The paper aims to provide conservators/ restorers, from the museums and from other various fields of artis tic components preservation’, a viable alternative to the existing methods of reconstruction practice, completion and reintegration of missing decorative elements (lacu- nae). Based on 3D laser scanning, printing - this method of obtaining 3D physical models - is highly accurate, fast, reproducible and characterized by a low cost. In order to delineate strictly the area of ap- plicability for the suggested method, we emphasize according to the current principles of restoration? the fact that the reconstruction, completion and reintegra- tion must be critically evaluated and under no circum- stance these stages should compete with the original material of the artwork. In the same time it must not be induced to the restorer or the public ~ an idea that completion is fundamentally a mandatory step’ in or- der to preserve! an object. This paper does not refer to a method of restoration and is not addressed as well to * Classification according to law 422/2001 of historical mo- ‘uments from Romania 2 ICOMOS Principles for the Preservation and Conservation- Restoration of Walll Paintings - 2008 http://www.interna- tional icomos.org/charters/wallpaintings_e.pdf > Refering to the interruption caused by a lacunae as a figu- rative texture Brandi argued: ,the worst thing is not repre- sented by what is missing, but by what is inappropriately added.” Cesare Brandi - Theory of Restoration, Meridiane, Bucharest 1996, pp 50 “These stages implied in the restoration process strictly refer to the ‘aesthetical presentation mode — the coherence of the aestheticalLucian Ratoit et al., Restitutio 9 (2015), 80-86 tod de restaurare si nu trateaza\ in mod special aspec- tele teoretice ale interventiei de restaurare, ce privesc tehnicile de reintegrare cromatics, ci mai degraba se concentreaza si exemplifice capacitatea acestei meto- de alternative de producere a ceea ce se poate numi suportul reintegrarii, Revenind la solufia propusi, ea se adreseaz unei cazuistici particulare si anume a modelului sau moti- vului decorativ ce presupune repetitivitate si simetrie strica, excluzand aprioric orice interventie de reface- re sau completare fantezista. Pentru a puncta si mai clar, metoda de printare 3D se adreseaza reproducerii si completérii unor cimpuri de decoratie, reduse ca dimensiune, unde intervenfia are capacitatea de a re- stabili unitatea potential a operei de arti® - adic acolo unde discursul neintrerupt al decorafiei se impune in deslusirea mesajului (exemple: iconostase, ancadra- mente, rame, frize decorative etc.). Aplicafiile scanarii laser si a printarii modelelor 3D versus tehnicile aflate in uz Scanarea laser 3D si impreund cu ea printarea 3D s-au mpus, in domeniul cercetarii si conservarii patrimoniu- lui cultural material, ca mijloace de documentare com- plexa, caracterizate de un grad foarte inalt de acuratete’ Aceste moduri de elaborare a documentiei specifice bu- nurilor cu valoare de patrimoniu, au adus noi posibilitati de vizualizare si manipulare a datelor dar si de monito- rare in timp a morfologiei suprafefei unui monument istoric sau obiect cu dimensiuni mai reduse’. Imbunatafirea considerabilé a documentarii unui bun cu valoare de patrimoniu fafa de releveul clasic, desenat direct dup& model sau dupa o fotografie, este tradusi prin acuratefea tehnicii de scanare laser 3D. Aceasta permite atat vizualizarea integrala a obiectu- lui scanat, cat si posibilitatea observarii unor detalii de mare fineje cum ar fi caracterizarea planeitafii suprafe- {ei evidentierea fisurilor, a dislocarilor sau a diferene- lor de racord intre intervenfiile diverselor etape istorice de suprapunere - in cazul cladirilor. In cazul obiectelor de mai mici dimensiuni, imbunatafirea rezolutiei sca- nirii permite sublinierea unor detalii tehnologice (daca leexistd) cum ar fi zonele de imbinare, inciziile si sgra- fitarile sau aspectele ce privesc amprenia suprafefei: tex- tura si rugozitatea materialului, planeitatea. Scanarea 3 D este 0 metoda activa ce foloseste pro- prietifile coerente ale radiafiei laser pentru achizitio- harea, inregistrarea gi apoi procesarea imagini digitale 4 obiectelor, detectind radiafia reflectata de pe supra- fala aflati in studiu. Inregistrarile se efectueazi de {a distanta, sunt folositi laseri de mica putere, ce nu afecteaza in niciun fel suprafata studiata, dispozitivele de scanare tridimensionala sunt portabile, putand fi astfel folosite si in cele mai izolate locati, iar ca dis- lanfe de lucru se pot acoperi dimensiuni de la cajiva centimetri pana la sute de metri, In vederea obfine1 Fvitarea a ceea ce a fost doctrina unit de stil promovata de EE Viollet-le-Duc ‘In teoria lui Cesare Brandi nitatea poteniali a operei de artit ‘presintimperatvulrestaurri insane’ sete In functie de parametrii selectafi pentru scanare limitele pot ajunge la unitafi submilimetrice "Dragos Ene, Roxana Radvan - Accurate Tangible and In- tangible Replicas of the Basarabi-Murfatlar Rupestrial En- semble from Romania, SIC Thematic Network on Cultural Heritage, Electronic Newsletter COALITION, Newsletter No. 17, pp. 6-11, 2008. 81 the theoretical aspects of the restoration interventio which regards techniques of chromatic reintegratio but rather focuses to exemplify the capacity of this a ternative method to produce something that can | called the support of reintegration. Returning to the proposed solution, it addresses a particular casuistry namely to a decorative patte or motif which involves repetition and strict symm try, apriorically excluding any intervention based « hypothetical assumptions’. To point out more clear! the 3D printing method is addressed to the reprodu tion and completion of decoration fields, reduced : dimensions, where the intervention has the capaci to reestablish the potential unity of the work of art? ~ e pecially where the uninterrupted discourse of dec ration is required in discerning the original mesa; (ie,, iconostasis, frames, decorative friezes etc.) Aplications of laser scanning and 3D printing the models vs techniques currently in use Both 3D laser scanning and 3D printing have in posed, in the field of research and conservation of cu tural heritage, as complex means of documentatio being characterized by a high degree of accuracy ‘These methods of documentation applied to cultur heritage goods, brought new opportunities to visua ize and manipulate data but also to monitor in tim the morphology of a surface, either is designated by historical monument or a small object. The significant improvement of the documentatic process for a cultural good in comparison with the cla sical method of drawing after the real model or a ph tograph is translated through the accuracy of 3D las scanning technology. This enables both the full visua ization of the scanned object as well as the possibility outline details of high accuracy such as the characte ization of surface planarity, highlighting the cracks, disclosures or of junction levels between different hi torical interventions - in the case of historical building For objects of small dimensions, the improvement the scan resolution enables to underline technologic: details (if there are present) such as joint areas, incisior and sgraffiti or aspects which regard the surface finge print: texture and roughness of material, planarity. 3D scanning is an active method, that uses the c¢ herent properties of laser radiation in order to acquir record and process the digital images of objects, d tecting the radiation reflected from the surface unde study. The recordings are performed from distanci using low power lasers, that does not affect in any wa the investigated area, the three-dimensional scannin devices are portable, thus can be used in the most dif ficult locations, and the working distance can reac from a few centimeters to hundreds of meters. In 01 der to obtain a digital model, with a high degree accuracy that can record even the most delicate detail 5 Avoiding what was called the doctrine of unity of style pre moted by EE Viollet-le-Duc In Cesare Brandi’s theory the potential unity of the work of represents an imperative for the esthetic instance restoratior ? Depending on the parameters selected for scanning, th limits of accuracy can reach sub millimeter units * Dragos Ene, Roxana Radvan - Accurate Tangible and In tangible Replicas of the Basarabi-Murfatlar Rupestrial Ex semble from Romania, SIC Thematic Network on Cultura Heritage. Electronic Newsletter COALITION, Newslett No. 17, pp. 6-11, 2009Lucian Ratoiu et al,, Restitutio 9 (2015), 80-86 unui model digital, cat mai fidel si care sa respecte in cele mai mici detalii obiectul original, sunt efectuate inregistrari din mai multe unghiuri, astfel incat si fie inregistrate si cele mai ascunse elemente. Datele rezul- tate sunt procesate folosind pachete software dedicate in vederea obfinerii unui model digital perfect. Figie- rele sunt apoi trimise c&tre un printer 3D in care are loc realizarea fizica a modelului digital, dimensiunea, materialele constituente si finisajul fiind variabilele pe care operatorul le poate impune. Tehnicile practicate in mod uzual la refacerea unor componente sau modele decorative presupun, in cele ‘mai multe cazuri, fie obfinerea unei matrige prin tehni- ca mulajului, luat direct de pe suprafata obiectului, fie prin copierea cat mai fidela a acestuia. In primul caz un mulaj presupune contactul ne- mijlocit cu suprafafa obiectului original. Acest contact creste considerabil riscul degradarii, in mod neinten- tionat, a suprafefei (mai ales daca suprafata prezinti o rezistenf scAzut& a materialului, decoeziune sau pul- verulenfa, riscul straparii supefetei etc.) in al doilea caz refacerea va depinde in mod direct de capacitatea si abilitatea restauratorului de a copia cat mai fidel un model. Practic aceasta refacere, oricat de exacta ar pirea va ingloba in sine un nou act cre- ator, care din punct de vedere teoretic poate intra in conflict cu materialul original al operei de arta. in comparatie cu metodele mai sus amintite, printa- rea 3D reprezinta materializarea modelelor digitale 3D objinute in urma scanirilor laser. Astfel este evitat atat contactul cu materialul original dar gi orice interventie subiectiva asupra elementelor printate. Timpul de reali- zarea a unor astfel de elemente este mult mai redus (nu necesita pregitirea anterioara a piesei/ obiectului, nu presupune etape de uscare a pieselor, exclude la maxim interventia directa asupra modelului obfinut) si inde- plineste trei caracteristici foarte importante din punct de vedere a restaurarii: sunt recognoscibile, usor rever- sibile si nu produc modificari ulterioare intervenfiei - tensiuni fizice asupra materialului original (in special daca ne referim la obiectele din lemn). Prin urmare considerim c& impersonalitatea sti- listica si in acelasi timp acuratetea stiinfificd data de printarea modelelor 3D se pliazé in mod adecvat ce- rinfelor teoretice ale principiilor restaurarii - in ceea ce priveste completarile. Studiu de caz: Cutie de lemn, datata aproximativ sec XIX inceput de sec XX, colectie privat Acest obiect, neclasat in lista patrimoniului mobil nafional, ilustreazi in mod preci _propunerea noas- tra de interventie (a se vedea Fig. 1). Cutia este carac- terizata de o decorafie intens’ dar repetitiva, bazati pe principiul simetriei (a se vedea Fig. 2). Conform urmelor Lisate de adezivul folosit pentru fixare (a se vedea Fig. 2) se poate afirma cu siguranta ca inifial cu- tia prezenta in zona mediana o decoratie compusa din 12 colonete miniaturale, plasate pe alte 12 postamente. Din cauza expunerii lor la lovituri accidentale aces- tea s-au pierdut. Alte piese decorative lacunare sunt doi grifoni plasati in mod simetric la baza fiecérui colt al cutiei. In prezent mai sunt pistrate o coloneti, 2 postamente si 2 grifoni originali (a se vedea Fig. 3). Metodologia obfinerii modelelor 3 D Tehnica de realizare a elementelor decorative s-a bazat pe scanare laser si apoi printare 3D. Metoda de 82 of the original object, are acquired information from multiple angles, so that can be recorded even the most hidden elements. Resulted data are processed using dedicated software packages in order to obtain a per- fect digital model. Afterwards the files are send toa 3D printer, in which the digital model is physically produced, size, constituent materials and finishing be- ing variables that the operator may impose. ‘The techniques commonly practiced in the recon- struction of components or decorative models imply, in most cases, either a mold for casting technique, either by copying directly the model as accurate as possible. In the first case a mold requires direct contact with the surface of the original object. This contact increases the risk of unintended degradation for the surface - especially if the surface presents a certain fragility, decohesion or pulverulent aspect of the constitutive materials, high risk of tearing etc. In the second case reconstruction will depend directly on the capacity and ability of the restorer fo copy the model as accurate as possible. Practically this reconstruction, however accurate it may seem, invol- untary will contain a new and distinct creative act, which in theoretical terms might be in conflict with the original material of the artwork. ‘Compared with the methods mentioned above, 3D printing represents a materialization of the 3D digital models obtained from the laser scanning process. Thus is avoided any type of contact with the original material and also any subjective intervention of the printed items. ‘The time needed to scan and print these elements is sig- nificantly reduced (does not require any preliminary preparation of the sample/ object, does not implies dry- ing or other post-processing stage, excludes as much as possible direct contact with both the original model and the obtained) and meets three very important features concerning restoration: intervention is recognizable, re- versible and does not cause subsequent changes to the original object - like physical tensions induced in the structure (especially when referring to wooden objects). Therefore we consider that stylistic impersonality and scientific accuracy given by the 3D printing tech- nique properly applies to the theoretical requirements of restoration principles - in terms of completions and reconstruction. Case study: Wooden box, dated approximately at the end of 19th century or at the beginning of the 20th century, private collection This object, unclassified in the list of national movable heritage, clearly illustrates our proposal for the interven- tion (see Fig. 1). The wooden box is characterized by an intense and repetitive decoration, based on symmetry (ce Fig. 2). According with the traces left by the adhesive used for fixing (see Fig. 2) it can be said with certainty that initially the box was presenting in the middle area 12 columns, placed on other 12 postaments. Because of their high exposure to accidental me- chanical injuries these elements were lost. Other missing decorative parts were two griffins, placed symmetrically at the base of each corner of the box. Currently the box preserves only one original column, two postaments and two griffins (see Fig. 3) The methodology used to obtain 3D models The realization technique for the decorative ele- ments was based on laser scanning and 3D. The ap-Lucian Ratoiu et al., Restitutio 9 (2015), 80-86 Fig. 1. Imagine de ansamblu a obiectului/ Fig. 1. Overall picture of the object a Ver Fig. 2. Detalii ale decoratiei fitomorfe repetitive. in partea superioara se observa lipsa coloanelor si a postamentelor dar si urme ale adezivului folosit pentru fixare/ Fig. 2. Details of the repetitive decoration ~ phitoform motifs. In the superior area are highlighted parts of the missing columns and postaments but also traces of the adhesive used to fix these elements 83Lucian Ratoiu et al., Restitutio 9 (2015), 80-86 scanare utilizati foloseste principiul de proiectie a li- lor, in care o Tinie laser este proiectata pe obiectul studiat, si apoi prin intermediul unui senzor CCD (Charge-Coupled Device), se inregistreazi. proiectia Iiniei pe obiect Rezolutia selectata a fost de ordinul sutelor de micrometrii, in vederea inregistrarii cat mai exacte a detaliilor obiectelor scanate. S-a preferat aceasta teh- nica, deoarece asigura o acuratefe ridicata comparativ cu tehnicile fotogrametrice. In plus, tinand cont si de specificul obiectelor, s-a ales si nu fie inregistrata si culoarea, deoarece acest detaliu ar fi influenfat in mod negativ acuratetea modelului digital obtinut. In vederea realizarii unui model complet, fara umbre sau zone lipsa, obiectul a fost rotit automat, astfel incat a fie inregistrat din cat mai multe unghiuri. ‘Au fost efectuate 14 inregistrari iar timpul total de scanare a fost de 100 minute Pentru realizarea modelelor fizice s-a folosit 0 meto- dice se bazeaza pe principiul cresterii de straturi, Acest principiu consta in depunerea unui un strat de pulbere cu grosimea de 0.1 mm, care este impregnat cu un liant, in functie de forma modelului digital. Materialele folo- site pentru printare fac parte din categoria polimerilor. Viteza de crestere a straturilor este de 2-4 per mi- nut, in functie de complexitatea modelului. in cazul plied scanning method used the principle of projec- tion, in which a line is projected on the studied objec and trough a CCD detector (Charge-Coupled Device) is recorded the projection of the line on the object. In this case the selected resolution was ranging some- where at hundreds of micrometers, in order to record as accurate as possible the decorations of the recorded objects. It was preferred this technique because it en- sured a high accuracy scan in comparison with pho- togrammetric techniques. In addition, taking into ac- count the specificity of the objects was planned not to be record any color information, because this feature would affect negatively the accuracy of the digital model. In order to obtain a full model, without shad- ows or missing parts, the object was automatically r0- tated, so it could be recorded from as many angles. 14 recordings were performed and the total time of the scanning process was 100 minutes. To obtain the physical models a rfiethod based on an additive processes were applied - the growth of layers. This principle consists in depositing a layer of powder with a thickness of 0.1 mm who then is im- pregnated with a binder, according to the shape of the digital model. The materials used in the 3 D printing process are polymers. The growth rate of the layers is 2-4 per minut de- Fig. 3. Cu albastru sunt evidentiate elementele ce lipsesc iar in partea dreapta a figu- tii sunt ilustrate elementele originale inca prezente/ Fig. 3. With blue are highlighted the missing elements while in the right part of the. figure are illustrated the original decorations still preserved 840 1 realizarii modelelor color, acuratefea culorii este simi- lara cu cea a unui print 2D cu o rezolufie de 450 dpi (dots per inch). in vederea obfinerii unui model cat mai adecvat scopului completarii si reintegrarii acestuia in contex- tul obiectului restaurat, urmatoarele variante au fost propuse: Prima varianté a presupus imprimarea automata 2 unui ton de culoare care sa estompeze diferenfa cro- ‘maticd intre lemn gi materialul printului (a se vedea Fig 4, coloana numerotata 1); * A doua variant a vizat tocmai contrastul mare, atat cromatic cat si din punct de vedere al materialului utiliza, in idea recognoscibilitafii facile a interventiei(a sevedea Fig 4, coloana numerotati 2); © A treia varianta a presupus grunduirea? modelu- ‘ui printat, finisarea si reintegrarea cromatica prin me- {oda velatura - ton colorat sub nivelul de intensitate al materialului original, realizat in pata plata cu culori de api reversibile(a se vedea Fig 4, coloana numerotata 3); * A patra si ultima varianta de propunere a constat in grunduirea, finisarea si reintegrarea cromatica in maniera imitativa - tip retus, aceasta find si varianta extrema de completare(a se vedea Fig 4, coloana nu- ‘merotata 4). Coneluzii Cametoda alternativa la metodele deja existente in Practica de refacere, completare si reintegrare a unor clemente decorative lacunare, printarea 3D se impu- ne prin urmatoalele caracteristici: este 0 refacere ce se bazeaza pe documentatie stiinfifica de mare acuratefe siin acest sens este si o interventie lipsit de subiecti- vitate", nu necesita contact sau o pregatirea prealabila Compozitia grundului: clei de peste si praf de creta. S-a luat decizia folosirii grundului cu scopul obtinerii unui suport optim pentru reintegrarea cromatica ‘In mod automat nu poate pretinde o completare fantezistt 2 Fig. 4. Modelul original de coloana - 0 si cele ps completare si reintegrare cromatica: 1, 2, '§: 4. The original model of the column - 0 and the four proposed variants for completion and chromatic reintegration: 1 85 Lucian Ratoiu et al., Restitutio 9 (2015), 80-86 3 tru vai 4 riante propuse pentru 3,4/ 1 2,3,4 pending on model complexity. In the case of color mo- dels, the color accuracy is similar with that of a 2D Print, who has a resolution of 450 dpi (dots per inch). In order to obtain a appropriate model for the pur- Pose of completion and reintegration, in the context of the restored object, the folowing variants were proposed: * The first proposal was to give the print an at- tomatically color tone that will not create a contrast between the wood and the constitutive material of the print (see Fig 4, column 1); « The second proposal intended especially a high contrast of color and material - in order to express the principle of the intervention recognition (see Fig 4, col- umn 2); © The third ground layer? on finishing and col method - with al nal, made with 4, column 3); The fourth and final version of proposal consisted in the following stages: priming, finishing and chro- matic reintegration. The chromatic reintegration was made in an imitative manner - the retouching type — this was also the extreme proposal for the completion intervention (see Fig 4, column 4). Proposal consisted in applying a the surface of the 3D print but also lor reintegration trough the velatura less intense color tone than the origi- easily reversible watercolors (see Fig Conclusions As an alternative to the current practice in recon- struction, completion and reintegration of missing decorative elements, 3D printing can be characterized as: a reconstruction based on scientific accuracy and in this terms it can be understood as a non-subjective in- tervention”, does not require contact or a preliminary * The ground layer composition: fish glue and chalk dust, It was decided to use a primer in order to obtain optimum support for the chromatic reintegration "An intervention which is not based on assumptionsLucian Ratoiu et al,, Restitutio 9 (2015), 80-86 a suprafefei obiectului, este reversibila, reproductibila, rapida, are un cost redus si, in ciuda incompatibilita- fii" naturii materialului, nu produce modificdri sau tensiuni asupra materiei originale. Un alt avantaj im- portant il reprezinta posibilitatea evidenfierii discrete a integrarii - imprimanta 3D oferind 0 gama foarte mare de tonuri de culoare. Ca dezavantaj al acestei metode putem indica fra- gilitatea elementelor printate la socuri mecanice - situ- atie extrema pe care orice beneficiar incearca sa o evite. Daca modelele digitale 3D produse de scanarea la- ser impresioneazA prin acuratefe gi mod de vizualizare, atunci materializarea acestei metode genereaza auto- ‘mat un mare potential nu numai in sfera demonstrafiei ci gia practicii conservarii, Dublata de aparatul teoretic al principiilor de restaurairii aceasta metoda de refacere poate fi o alternativa viabild la metodele practicate in domeniul conservarii restaurarii operelor de arta. Multumiri Aceasta Iucrare este susjinuta prin Programul Na~ jional ,Contemporary Visual Art Conservation Plat- form’, finanfat de ANCS, CNDI - UEFISCDI, Parte neriate in Domenii Prioritare, numar proiect: PN-II-PT PCCA-2011-3,2-0342. ‘Autorii doresc si mulfumeasca pe aceasta cale dnei, Mirela Constantin - specialist restaurator, pentru amabilitatea si sfaturile referitoare la aspectele teoreti- ce si metodologice ale etapei de reintegrare cromatica. Bibliografie/Bibliography preparation of the original surface, is reversible, re- producible, fast, has a low cost and, despite incompat ibility" regarding the nature of the material, does not produce any changes or tensions over the original ma- terial. Another important advantage is the possibility to highlight discretely the reintegration stage the 3D printer being able to give a wide range of color tones. ‘As a main disadvantage of this method we can in- dicate the fragility of the printed items to mechanical shock - extreme situation that any beneficiary /collec- tor tries to avoid. If the digital models produced by the 3D laser scanning technique impresses with accuracy and the visualization mode, then the materialization of this method automatically generates a large potential not only in the demonstration field but also in the practice of conservation. Doubled by a theoretical approach concerning the restoration principles, this reconstruction method can be viewed as a viable alternative to the methods ap- plied currently in the conservation-restoration field. Acknowledgements Present activities are part of the national project “Contemporary Visual Art Conservation Platform’, funded by ANCS, CNDI - UEFISCDI, Partnerships in priority domains, project number: PN-II-PT PCCA- 2011-3.2-0342. The authors would like to express their gratitude to Ms. Mirela Constantin - specialist restorer, for her kindness and advices on the theoretical and method- ological aspects of the chromatic reintegration process. Caz de restaurare realizat in cadrul Muzeului Victoria si Albert din Londra, Anglia/ Restoration case study performed in Victoria & Albert Museum London, http:/ /www.vam.ac.uk/ blog /conservation-blog/the-conser- vation-of-marie-antoinettes-chair | ‘Caz de printare a unei statui in marime naturala - statuia imparatului Caligula aflata in Muzeul de Arta Fru- moasa din Richmond, Virginia realizata in cadrul proiectului Digital Sculpture Project/ Case study -3D printing of life-size statue of the Emperor Caligula in the Virginia Museum of Fine Arts in Richmond, Virginia produced in the Digital Sculpture Project, http://www. digitalsculpture.org/papers/frischer/ frischer_paper.htm| Caz de printare a unei statui reprezentand un leu - in Muzeul Semitic al Universitafii Harvard/ Case study - 3D printing of a statue representing a lion - in the The Harvard Semitic Museum, http:/ /www.wired. com/2012/12/harvard-3d-printing-archaelogy / Marinos loannides, Ewald Quak (Editori) - 3D Research Challenges in Cultural Heritage. A Roadmap in Digital Heritage Preservation, Editura: Springer-Verlag Berlin Heidelberg 2014 “Moritz Neumiiller, Andreas Reichinger, Florian Rist and Christian Kern - 3D Printing for Cultural Herita- ge: Preservation, Accessibility, Research and Education - Capitol de carte in: 3D Research Challenges in Cultural Heritage. A Roadmap in Digital Heritage Preservation, Springer-Verlag Berlin Heidelberg 2014 Dragos Ene, Roxana Radvan - Accurate Tangible and Intangible Replicas of the Basarabi-Murfatlar Rupes- trial Ensemble from Romania, SIC Thematic Network on Cultural Heritage. Electronic Newsletter COALITION, Newsletter No. 17, pp. 6-11, 2009 Cesare Brandi - Teoria Restaurarii, Editura Meridiane, Bucuresti 1996 Principles of Wall Painting - Ratified by the ICOMOS 14th General Assembly, in Vicoria Falls, Zimbabwe, October 2003 ‘Venice Charter -2nd International Congress of Architects and Technicians of Historic, ICOMOS 1964 Dragos Ene, Walter Maracineanu, Cristian Deciu, Roxana Radvan - Three Dimensional Imaging of Cultu- ral Heritage as a Basis for a Knowledge Cultural Assets, U-P.B. Sci. Bull., Series A, Vol. 70, No.2, 2008 © Termenul de incompatibilitate desemneazi in acest caz folosirea unui alt tip de material decat lemnul - materialul original -nu o nepotrivire a comportamentului materialelor care sa conduci la degradari ulterioare 86 The incompatibility term designates here the use of another type of material then the original one - the wood - and not a inadequacy of materials behavior that can lead to further degradation