The London Charter FOR THE USE OF 3D VISUALISATION IN THE RESEARCH AND COMMUNICATION OF CULTURAL HERITAGE

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1 FOR THE USE OF 3D VISUALISATION IN THE RESEARCH AND COMMUNICATION OF CULTURAL HERITAGE The Making Space Project Drew Baker and King s Visualisation Lab, 2006

2 Integrity Transparency Quality Community aims to establish internationally recognised principles for the use of three-dimensional visualisation by researchers, educators and cultural heritage organisations. King s Visualisation Lab, 2006

3 aims to define the basic objectives and principles of the use of 3D visualisation methods in relation to Intellectual integrity Reliability Transparency Documentation Standards Sustainability Access. How Kew Grew, Virtual Reconstruction of the Pagoda King s Visualisation Lab, 2006

4 Principle 1: SUBJECT COMMUNITIES The aims and objectives of this Charter are valid across all domains in which 3D visualisation can be applied to cultural heritage. Related specialist subject areas should therefore adopt and build upon the principles established by this Charter. Virtual Reconstruction of Palladio s Villa Rotonda (work in progress) by Daniela Sirbu, University of Lethbridge, Canada. Immersive Hybrid Environments for Architectural Research and Design Project, IHEARD - Phase II, a WestGrid Project funded by the Canadian Foundation for Innovation, 2006.

5 Principle 2: AIMS AND METHODS Numerous types of 3D visualisation methods and outcomes exist, and can be used to address a wide range of research and communication aims. A 3D visualisation method should normally only be used to address an aim when it is the most appropriate available method for that purpose. Visualisation of the House of Apollo, Pompeii King s Visualisation Lab, 2006

6 Principle 3: RESEARCH SOURCES In order to ensure the intellectual integrity of 3D visualisation methods and outcomes, relevant research sources should be identified and evaluated in a structured way. Virtual Reconstruction of the Theatre of Pompey, Rome by John Burge KVL, 2005

7 Principle 4: TRANSPARENCY REQUIREMENTS Sufficient information should be provided to allow 3D visualisation methods and outcomes to be understood and evaluated appropriately in relation to the contexts in which they are used and disseminated. Visualisation of the Villa at Boscoreale by Martin Blazeby King s Visualisation Lab, 2006

8 Principle 5: DOCUMENTATION The process and outcomes of 3D visualisation should be sufficiently documented to enable the creation of transparency records, the potential reuse of outcomes in new contexts, resource discovery and accessibility, and to promote understanding within and beyond the original subject community. The Body and Mask in Ancient Theatre Space Project University of Durham, 2006

9 Principle 6: TECHNICAL STANDARDS Appropriate standards and ontologies for documenting 3D visualisation methods and outcomes should be identified at subject community level in order to enable optimum interoperability and comparability within and between domains. Virtual Reconstruction of Palladio s Teatro Olimpico (work in progress) by Daniela Sirbu, University of Lethbridge, Canada. Immersive Hybrid Environments for Architectural Research and Design Project, IHEARD - Phase II, a WestGrid Project funded by the Canadian Foundation for Innovation, 2006.

10 Principle 7: SUSTAINABILITY Strategies should be planned and implemented to ensure the long-term sustainability of cultural heritagerelated 3D visualisation outcomes, in order to avoid loss of this growing part of human intellectual, social, economic and cultural heritage. Virtual reconstruction (2002) showing possible 12th-century appearance (application of colour to computer model is a separate project) Buddha, Japan, Kamakura period ( ); wood, painted decoration Edo period , World Museum Liverpool Conservation Technologies, National Museums Liverpool

11 Principle 8: ACCESSIBILITY Consideration should be given to the ways in which the outcomes of 3D visualisation work could contribute to the wider study, understanding, interpretation and management of cultural heritage assets. 70 cm Missing 12th-century elements restored Sculpture with 18th-century painted decoration, World Museum Liverpool 3D digital model with 18th-century decoration removed The computer model was obtained by 3D laser scanning and working on the digital model using haptic technology (SensAble Technologies Phantom arm and Freeform software). Conservation Technologies, National Museums Liverpool

12 People is chaired by Professor Richard Beacham, King's Visualisation Lab, Centre for Computing in the Humanities King's College London and Professor Franco Niccolucci, PIN scrl Servizi didattici e scientifici per l Università di Firenze Dipartimento di Urbanistica, Università di Firenze Director of the Secretariat Dr Hugh Denard November 2006 Material included in this presentation is protected by copyright and should not be used without written permission of copyright holders. Please contact the London Charter. +44(0) anna.bentkowska@kcl.ac.uk

13 Contact us Secretariat, JISC 3D Visualisation in the Arts Network King's Visualisation Lab Centre for Computing in the Humanities King's College London Strand London WC2R 2LS UK +44(0)