You are using an outdated browser that does not fully support the intranda viewer.
As a result, some pages may not be displayed correctly.

We recommend you use one of the following browsers:

Full text

New perspectives to save cultural heritage
Altan, M. Orhan

K. Kraus
Institute of Photogrammetry and Remote Sensing, Vienna University of Technology, GuBhausstraBe 27-29/El 22, A-1040
Vienna, Austria, kk@jpf.tuwien.ae.at
KEYWORDS: Heritage Documentation, Cellini's sculpture Saliera, Behaim Globe, Buddha statues of Bamiyan, National
Park Neusiedler See, archaeological excavations in Ephesos, Schloss Schönbrunn, Historic Centre of Vienna
The frame to this presentation is provided by the intermediatory role of CIPA with its RecorDIM initiative, between ICO-
MOS on the one side, and ISPRS on the other. Exemplified by seven relevant occasions and projects (see Keywords), ways
and potentials of special contributions to precise and comprehensive heritage documentation will be described - applying
methods and procedures as developed and provided by the ISPRS. Additionally, for each project, closing statements - in
some cases just keywords - are given to concern potential financing, and the main technical points exemplified by the project.
International organizations such as ICOMOS (Interna
tional Council of Monuments and Sites) and ISPRS
(International Society for Photogrammetry and Remote
Sensing) are energetically pursuing most of the aims as
formulated by their respective statutes and bylaws. Issues
connecting such organizations are not given sufficient
attention, however. CIPA (International Scientific Com
mittee for Documentation of Cultural Heritage) at the
seam between ICOMOS and ISPRS provides the corre
sponding bridging function; with its RecorDIM initiative
(Recording, Documentation and Information Manage
ment), CIPA has set ambitious goals for the coming four
years, closely connected with ICOMOS and with ISPRS.
Corresponding activities play an important role also in
the CIPA Symposium Antalya 2003.
This contribution to the CIPA Symposium is declared as
ISPRS presentation. I am going to deal with points of
ISPRS competence in Photogrammetry, Remote Sensing
and Spatial Information Sciences in correspondence with
§1 of its statutes. I am addressing in the first line the
ICOMOS community; to do this via the CIPA seems to
me appropriate and reasonable. - In the next half an hour
the CIPA can be considered as some relay station con
necting ISPRS and ICOMOS.
I am going to comment on several occasions indicating
the necessity to intensify heritage documentation. To
describe the very wide methodological and technological
spectrum represented by ISPRS, I will use typical exam
ples. I am asking for your understanding for presenting
several projects with involvement of our institute, the
Institute for Photogrammetry and Remote Sensing
(I.P.F.). In the literature (e.g. Proceedings of the CIPA-
Symposium in Potsdam 2001) one can find numerous
descriptions of similar and comparable projects, and also
of projects considerably more far-reaching than those at
the I.P.F.
For each project, first a short general description is given,
followed by a more detailed presentation of the special
methods and techniques applied. Statements or just key
words concerning on potential financing and the relevant
technical points is rounding up the description of each
There are numerous accounts of this robbery in the Inter
net. The following slightly modified citations are from
(Fleishman/Yee, 2003): ’’Climbing, scaffolding and
smashing a window, thieves slipped into Vienna’s Art
History Museum and - despite high-tech motion sensors
and round-the-clock guards - disappeared with a 16 th -
century gold-plated masterpiece sculpted by Benvenuto
Cellini. The sculpture, known as the Saliera, or salt cellar,
is valued at about € 50 million.”
Cellini wrote this about the Saliera: “In order to show
how the sea is connected with the Earth, I made two
figures ... The sea, depicted as a man, holds a richly
decorated ship which was intended to hold salt. The
Earth, I depict as a woman, of such lovely form and as
graceful as I knew how to create. Next to her I placed on
the ground a richly decorated temple, which was intended
to hold pepper.”