Additive manufacturing technologies in the representation and preservation of design works and material culture
Abstract
The study aims to identify developmental pathways for additive manufacturing methods in representing and preserving design works and material culture based on their systematic classification. The article classifies five technological families of additive manufacturing – material extrusion (FDM/FFF), photopolymerization (SLA/DLP/MSLA), powder bed fusion (SLS/MJF), binder and material jetting (PolyJet), and direct metal powder bed fusion (DMLS/SLM) – according to their physical principles of form generation, surface signature characteristics (“tectonic language”), quantitative precision and surface roughness metrics, material palettes, and direct applications in restoration and museum practice. The scientific novelty of the study lies in proposing a tectonic classification of representational strategies for additive modeling – honesty, neutrality, and imitation – as well as in formulating developmental trajectories based on a functional-communicative framework applied to the authenticity of digital replicas. The findings demonstrate that selecting an additive manufacturing and post-processing method should be guided not by an effort to achieve visual indistinguishability from the original, but by the communicative purpose of a specific representation, adhering strictly to the conservation principle of the discernibility of intervention. Future developmental vectors involve standardizing digital copies, expanding the palette of materials closely approximating the physical properties of historical substrates, and institutionalizing stylized fabrication practices.
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About this article
Publication history
- Received: August 7, 2026.
- Published: October 15, 2026.
Keywords
- аддитивные технологии
- классификация методов аддитивного производства
- материальная культура
- культурное наследие
- реверс-инжиниринг
- additive technologies
- classification of additive manufacturing methods
- material culture
- cultural heritage
- reverse engineering
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© 2026 The Author(s)
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