digital
reconstruction
based on research & archival data
We create research-grounded digital reconstructions of lost or inaccessible heritage objects. We fuse archival photographs, drawings, and texts with physically accurate 3D.
Its core objective was a radical concept: to reimagine the material world to reflect the unity of all the arts.
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what we do
our mission
heritage reconstruction
education
research
We reconstruct lost or inaccessible heritage objects at museum grade. We fuse archival photos, drawings, and texts with physically accurate 3D. Materials and mechanisms are modeled to documented standards. Each model carries transparent sources, version history, and a clear split between evidence and inference. Outputs fit research, exhibitions, risk-free display, and brand heritage. Delivery formats include web and AR where rights allow. Licensing and provenance are managed case by case.
We turn complex art history into practical skills. Courses, public talks, and workshops build visual literacy step by step. You learn to read imagery, map styles across periods, and understand materials and techniques. Sessions use originals and our reconstructions with guided comparisons. Cohort formats and certificates are available. Tailored sessions for museums, schools, and brands on request.
We work at the intersection of art history, digital humanities, and computer graphics. Our focus is method, validation, and ethics. We test pipelines, define quality metrics, and document decisions. Where rights permit, we publish datasets, protocols, and results. Partnerships with museums and universities ensure domain review and access to sources. The goal is reproducible reconstruction with measurable value for scholarship and display.
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UPCOMING COURSE
practice of Technique, Color and Semantics
Art History
The Art History course gives a clear framework for reading visual culture. For beginners and creative-industry practitioners, collectors, students, and anyone who wants to read the language of images with confidence. Outcomes: you see links across periods, recognize styles and materials, navigate museum contexts, and apply a basic method of artwork analysis. Format: focused lectures, case studies, close readings of originals and digital reconstructions.
Northern Renaissance and Mannerism. Silvery-cool hues and distorted forms as critique of the world.
Baroque: Contrast of light and darkness and the struggle for the soul. Baroque painters.
Rococo and Neoclassicism: Sugary pastels and the triad of virtue—white, blue, red.
Baroque: Contrast of light and darkness and the struggle for the soul. Baroque painters.
Rococo and Neoclassicism: Sugary pastels and the triad of virtue—white, blue, red.
THE 19th CENTURY, PRE-MODERN & PHOTOGRAPHY
OKTOBER - DECEMBER 2026
Northern Renaissance and Mannerism. Silvery-cool hues and distorted forms as critique of the world.
Baroque: Contrast of light and darkness and the struggle for the soul. Baroque painters.
Rococo and Neoclassicism: Sugary pastels and the triad of virtue—white, blue, red.
Baroque: Contrast of light and darkness and the struggle for the soul. Baroque painters.
Rococo and Neoclassicism: Sugary pastels and the triad of virtue—white, blue, red.
Transition & the Dramaturgy of light
AUGUST - SEPTEMBER 2026
Proto-Renaissance. Earthly perspective and heavenly symbolism. Brunelleschi.
Early Renaissance. The logic of line in creation. Warm and cool tones for spatial depiction. Architecture and numerical proportions.
Foundations and basic schemas of composition. Rules of composition and how to break them. From simple to complex.
Sfumato as psychology; vermilion and the symbolism of power. Leonardo, Raphael, Titian. Sacred geometry.
Early Renaissance. The logic of line in creation. Warm and cool tones for spatial depiction. Architecture and numerical proportions.
Foundations and basic schemas of composition. Rules of composition and how to break them. From simple to complex.
Sfumato as psychology; vermilion and the symbolism of power. Leonardo, Raphael, Titian. Sacred geometry.
Renaissance: vision, Number & the power of color
JUNI - AUGUST 2026
Early Middle Ages: Semiotics of color and the chromatic “echo.” Colored parchments.
Romanesque: The dualism of ochre and red; monumental sculpture. Architecture of the era.
Gothic cathedrals and stained glass. The language of light. Chartres blue contrasted with ruby red. Vault painting. The Gothic fleur-de-lis. Iconography and the attributes of saints.
Crusades and color alchemy. Reading heraldry and the color logic of the coat of arms (tinctures).
Romanesque: The dualism of ochre and red; monumental sculpture. Architecture of the era.
Gothic cathedrals and stained glass. The language of light. Chartres blue contrasted with ruby red. Vault painting. The Gothic fleur-de-lis. Iconography and the attributes of saints.
Crusades and color alchemy. Reading heraldry and the color logic of the coat of arms (tinctures).
the middel age in europe
MARCH - MAI 2026
Introductory course. Semiotics of art. Color as a cultural code; the myth of the “naturalness” of perception.
Art of Antiquity: Egypt, Persia, Babylon, Mesopotamia. Vase painting. Lapis lazuli and ochre.
Ancient Greece and Rome. Cultural continuity. Polychromy of statues and its symbolism; figural ceramics. Tyrian purple. Second-Style frescoes.
Byzantine art. The uncreated golden light; reverse perspective. Icon painting. The mosaicists of Ravenna.t. Color as a cultural code; the myth of the "naturalness" of perception.
Art of Antiquity: Egypt, Persia, Babylon, Mesopotamia. Vase painting. Lapis lazuli and ochre.
Ancient Greece and Rome. Cultural continuity. Polychromy of statues and its symbolism; figural ceramics. Tyrian purple. Second-Style frescoes.
Byzantine art. The uncreated golden light; reverse perspective. Icon painting. The mosaicists of Ravenna.t. Color as a cultural code; the myth of the "naturalness" of perception.
Foundations & Origins
JANUARY-FEBRUARY 2026
Have a question?
We are happy to contact with you
Many objects are lost, fragile, or inaccessible. Digital reconstruction restores context and enables safe study and display. It widens access for scholars, students, and the public. It preserves knowledge when originals cannot travel.
WHAT WE DO
Why we do it
We reconstruct museum-grade Fabergé objects from documented sources. We fuse archival photos, drawings, and texts with physically accurate 3D. We record sources, version history, and the line between evidence and inference. We deliver for web and AR where rights permit.
GOAL
WHAT WE NEED
Build a verified corpus of Fabergé digital objects. Establish a clear quality standard and transparent method. Support scholarship, exhibitions, and teaching. Create a foundation for partnerships and licensing.
Funding for archival work, image rights, 3D production, and infrastructure. Contributors who care about research and craft. Art historians, archivists, 3D artists, mechanism and materials specialists, editors, and IP counsel. Institutional partners with access to sources and collections.
featured project
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WE'RE CURRENTLY WORKING
PEOPLE
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OUR COMMAND
Miriam Carver
Zoe Gerard
eva maria frey
Control Design & Effectiveness
Lead designer
CEO & Founder
become a member
Membership provides sustained support for the mission and governance. Members receive early access to updates, invitations to previews, and periodic progress reports. Annual dues are fully reinvested in projects.
donate
Donations fund research, digital reconstructions, and open educational resources. All funds are allocated to the Verein’s statutory purpose with transparent reporting. One-off and recurring contributions are available.
support
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WE NEED YOU
Heritage is our legacy from the past, what we live with today, and what we pass on to future generations. Heritage is our legacy from the past, what we live with today, and what we pass on to future generations
Heritage is our legacy from the past, what we live with today, and what we pass on to future generations. Heritage is our legacy from the past, what we live with today, and what we pass on to future generations
FAQ
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GOOD TO KNOW
No. A reconstruction is assembled from sources: photos, drawings, descriptions, and measurements. Scanning captures geometry directly from an accessible object. If a scan exists, we use it as one source, but the final model still undergoes historical-technical validation.
Accuracy rests on verified data. In the model we mark what is evidence and what is inference, and assign a confidence level. We keep version history, conduct expert reviews, and update models as new information appears.
Yes. Licenses are available for research/education, exhibitions, and commercial use. Formats: glTF, USDZ, FBX on request. Submit a request via the form with purpose, venue, and timeline; source credit is mandatory.
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