Arkeolojik seramiklerin tamamlanmasinda 3 boyutlu teknolojilerin kullanimi

Maritime context material culture presents unique challenges for study, conservation, and analysis - in maritime ceramics these issues include that of salinization, stability, and humidity, to name a few. These issues can be especially apparent in the context of loss compensation, wherein the ceramic is stabilized with the supplementation of a non-original fill material. Amphorae, due to their ubiquity in shipwreck excavation and seafloor survey, are especially prominent among maritime context material culture. The diverse applicability of 3D technologies through their responsive materials, added flexibility, and ability to pair with existing analyses, have the potential to solve some of these difficulties while at the same time streamlining the documentation process. The goal of this study, from virtual model creation to model manipulation, and reverse engineering to sensorization, is to provide a fill for an artifact's missing pieces through near-lossless reverse engineering. While the straightforward use of 3D printing for archaeological conservation is a burgeoning technique with even fewer studies, 3D printing ceramic and the pairing of this mode of 3D printing with sensorization offers unique benefits. Using sensors fabricated into the printed fill, these cutting-edge materials can respond to – and signal – changes in temperature, humidity, pH, or stress. These are all environmental factors important to the curation and stability of objects in a museum environment. Yet, this specific application of additive manufacturing for a collection has almost never been tested or applied at any scale. This leaves a distinct gap in the research that this methodology can fill. This study establishes, applies, and tests this new methodology through two case studies: the amphorae found in the Çamaltı Burnu I shipwreck cargo assemblage from the Bandırma Museum, Turkey and the Amalfi Coast maritime context assemblage from the Villa Romana e Antiquarium, Minori, Italy. I have selected these case studies as they provide simultaneously disparate and valuable contexts in which to apply this new integrated methodology. Through them I seek to demonstrate the diverse applicability of these 3D technologies for the purpose of loss compensation in regard to documentation, analysis, interpretation, and future innovations in conservation and curatorial practices.