Together with our students of the International Master of Cartography, we went on a hike to Hermannskogel last week. In perfect weather conditions, we reached the highest natural point of Vienna – at 542 metres above sea level. Atop the Hermannskogel, we visited the Habsburgwarte, which marked the kilometre zero in cartographic measurements in Austria-Hungary until 1918.
Nowadays, the majority of people live in cities, consisting of ever taller building structures, occluding more and more sunlight. Thus, humans are getting increasingly restricted from direct access to the Sun. This thesis claims that a tool, enabling humans to gain a better understanding of solar shadows in cities and around the world, would be beneficial. […] Such a tool should be able to consider relevant three-dimensional occluding structures such as buildings, terrain, and vegetation, as well as the actual Sun position, and visualize respective shadows for arbitrary points in time, providing predictability of solar shadows. […] Therefore, a methodology towards a capable prototype implementation is framed […].
From October 10-12, 2019, the first Cartography M.Sc. Alumni Meeting took place, hosted by TU Munich. The alumni of all former intakes, fresh graduates, current students, and consortium members of the four cooperating universities met for the first time to learn, reconnect, and network.
During the three-day event, the alumni from different intakes shared their career stories, gave professional advice, motivational mantras, and presented lessons learned after they left the Alma Mater.
When doing monochrome design, cartographers can only use one “ink” color, but most of us at least use various tints of that ink: basically, mixing it with the background color to create a continuous ramp of colors (e.g., greyscale) that we can use to distinguish rivers, contours, and other feature types from each other. Continuous monochrome is tough enough, but Jakob Listabarth takes the challenge even further and uses this map’s sole ink at 100% strength only. He is only able to distinguish feature types from each other using line weight, dot/dash patterns, and hachure shading. This he does excellently, and I continue to be impressed by how much information is shown, and how clearly each layer is distinguished from the others when they are all, after all, exactly the same version of magenta.
It’s not only an attractive aesthetic choice, but one that ties into the map’s subject. In the 19th century cartographers were usually likewise limited to representing features using ink lines, printed from engraved copper plates. Listabarth still puts a modern spin on things with the sans serif typography and charming (whimsical?) illustrations. It’s a lovely blending of old and new.
Together with our students of the International Master of Cartography, we visited the Otto Neurath exhibition “Sprechende Zeichen“ at the Wirtschaftsmuseum in Vienna. The exhibition is dedicated to Otto Neurath, founder of the Society and Economic Museum. Otto Neurath developed new graphics techniques during the First World War. He was a member of the philosophical Wiener Kreis and developed the Viennese method of image statisticsto present statistics in an easily understandable, visual form.
Thanks to Alenka Poplin and her students from Iowa State University for visiting our Research Division during spring break! Together with our students from the International Cartography Master program, they were introduced to the research field of emotion mapping and jointly conducted interviews in which they explored how Vienna is perceived by its inhabitants and where people find restorative places in the city.