(IN)TANGIBLE HERITAGE(S)

Abstract

One significant artefact in the Manchester Metropolitan University Special Collections is a sculpture created in 1962 by Mitzi Cunliffe . Although American by birth, Cunliffe lived and worked in Manchester for from 1949-1965 and was well known for her cast sculptures, most notably on the Festival of Britain site and the BAFTA mask that is still used to this day. This paper examines the photogrammetry process that was required to reconstruct this important sculpture in order that it could be displayed in the way that that the artist intended (essentially constructing a 3D model from 2D photographs). Beyond that, using photogrammetry and a range of software packages the pieces of the sculpture were scanned to enable 3D computer models to be created; these were used as the basis for a 3D printed replica of the piece, as has been carried out in some other institutions. The research project that was undertaken looked at several different practical approaches that could be taken by smaller museums and collections to produce 3D printed replicas of collection objects. Creating a facsimile of an artefact from a museum collection is clearly a good way of understanding how an object is made and it does have the potential to allow a wider audience to become more familiar with it and in some cases has provided a new range of merchandise. However, drawing on Benjamin’s seminal work “The Work of Art in the Age of Mechanical Production” we see that digital replication can be problematic and still raises the issues of authenticity and accuracy, even if it increases the possibility of access and visitor engagement.