protect the world’s cultural diversity and
development process through the 1972 Convention.
support the
The World Heritage Convention makes a significant
contribution to global natural and cultural heritage
conservation. It has 175 signatory States Parties. Currently the
World Heritage list consists of 730 properties and it is growing
yearly.
The main endeavour of the 1972 Convention is to ensure the
assistance for the member States for the identification,
protection, conservation, presentation and transmission of
cultural and natural heritage to future generations.
[http://www.unesco.org/culture/heritage] The achievement of
these goals is, in general, supported by two disciplines —
photogrammetry and cartography.
Research in photogrammetric methods, the development of new
techniques of recording and analysis and the management of
data are fundamental parts for the protection and conservation
of cultural objects. Results of this work — using geo-imagery,
photogrammetric images, orthographic textures and digital data
— are further used for the presentation and identification of the
relevant objects.
The main tasks of cartography may be fundamentally differed in
the class of “way finding” and “geo-visualisation”. The
objective of way finding research is the understanding on how
users navigate through an environment and how they learn
about it. The primary goal is to find and move to a particular
location, which is also relevant in virtual environments. The
results of this work are restricted to applicable themes of
cultural heritage — e.g. when thinking about finding properties.
In the context of presentation, the transmission and sustainable
communication elements of geo-visualisation seem to be more
important. The main objective is to assist in understanding the
Earth's environment with the help of new methods and thus to
support searches for the unknown and the construction of
knowledge. [Slocum et al 2000]
In a more traditional way, the main task of cartography would
be the visual documentation, archiving and communication of
spatially related topics. Therefore geometrical and semiotic
mapping rules were developed over the last centuries.
[Kretschmer 1986]
Asking for a sustainable communication methodology calls for
a definition of "sustainable". According to the definition of the
Brundland commission (World commission on Environment
and Development, Our Common Future, Oxford University
Press, 1987) it is defined as: “to meet the needs of the present
without compromising the ability of future generations to meet
their own needs". The author's understanding of this definition,
in context with cultural heritage and the work of
photogrammetry and cartography, means that the original
natural and cultural objects on one hand and models, recorded
data, cartographic applications and spatial connected knowledge
— including maps for reconstruction and cartographic
interpretations of real objects — on the other hand should be
"archivable" and usable for future generations.
From this point of view photogrammetric models and products
require open data standards. It can be expected that proprietary
formats will not be readable in near future. [http://www.rlg.org]
For the cartography point of view, the knowledge presented
with the help of maps should be available in the future. In
addition to seminal programming standards of an application,
+ maps need to be readable and understandable, independently
from its semiotics.
International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Vol XXXV, Part B5. Istanbul 2004
Knowing of the demands of sustainability and the differences
between cartographic tasks, the idea and vision to develop a
sustainable multimedia 3D presentation that integrates remote
sensing, photogrammetric modelling and cartographic
visualisation, should be encouraged and defined. Basically this
proposes an open standard cartographic application using
multimedia components to support an intuitive communication
process combined with an automated, or semi-automated,
placement of symbology, which is dependent on the scale,
beginning at the drafts of remote sensing, photogrammetry and
GIS.
3. 3D CARTOGRAPHY IN CONTEXT WITH
KNOWLEDGE ACQUISITION
Over the last decades the introduction of digital technologies
within the reproduction, archiving and presentation techniques
have expanded the flexibility of cartography. Independent
combinations of media, the use of different modalities,
interactivity and multitasking has enabled user-specific
presentations and created a new topic within this working field:
multimedia cartography [Cartwright et al 1999].
The new possibilities and different forms of presentation
provide new communication methods for spatially related
information, which can be seen as the main task in this new
technological era of cartography [Gartner 2002]. Thus the usage
of multimedia forms an effective adjunct to the cartographic
communication process [Cartwright et al 1999].
The addition of three dimensional visualisations within
multimedia cartography opens interesting perspectives for the
spatial communication process. Topographical information does
not have to be read from the map, but can be seen intuitively.
Surveys e.g.[Buchroither 2002] have shown that 60% of users
of topographical 2D maps have difficulties to extract a three
dimensional impression. In addition other polls [Schroth 2003]
revealed users preferred camera movements in a height of about
two meters (eye height) instead of fly overs. These results seem
to be based on physiological and psychological parameters.
3.1 Spatial perception
The main definition of 3D cartography is still geometrically
based and thus it is adapted from position of the projection
plane in space, excluding the horizontal or upright projection
[Hake et al 2002]. This definition only takes account of
analogue and geometrical visualisations, but it is not applicable
to the new presentation forms in multimedia 3D cartography.
Therefore one initial point may be the cartographic
communication process, where the type of user interface — the
computer to human being connection [Dransch 2002] - is
appropriate for the definition.
For the most part of visual presentation forms it is possible to
differ between "pseudo3D", “p3D” and “real3D”.
Most computer based 3D applications use the pseudo3D form.
A two dimensional surface visualises the presentation of a three
dimensional application. Here, apart from a screen, no
additional hardware is needed. Pseudo 3D provides perspective
monoscopic visualisations on flat devices — paper or screen -
and only uses psychological depth cues.
P3D stands for "Parallax 3D", which employs selected bi- and
monocular physiological and psychological depth cues. It
mainly includes the technologies of chromostereoscopy,
Pulfrich effect, stereoscopy and multistereoscopy (e.g. lenticular
lenses on a paper medium). In most cases additions to the
screen are needed to enable P3D (e.g. shutter glasses).
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