Project Three

Project Three
The (Sub)Urban Intervention
Effecting Affective Social Space


OVERVIEW

The street is not home territory. At best, it is a territory to be tamed, to which you need other weapons than those forged over the century in the sometimes complacent habits of the museum.

from Can Art Get Down from its Pedestal and Rise to Street Level?
by Daniel Buren, 1997

The Ontario College of Art and Design, in a joint venture with the City of Toronto and the Art Gallery of Ontario, has secured funds and permission to create an open-air gallery for the exhibition of a significant work of art within the boundaries of Toronto. With the AGO providing the work, the City providing the environment, and OCAD providing the environmental design, this initiative will serve to link two of Ontario's premier cultural and educational institutions with their host city. This permanent installation will create a premiere location for the consideration of a major work of art, as well as provide a quiet, contemplative retreat from the intensities of urban life. A Design Review Committee consisting of representatives from all three stakeholders has been created, and is currently holding an invitation-only competition for the design of a synthetic intervention that incorporates a work of art from a shortlist of artists within an architectural environment constructed from predetermined elements.



THE WORK OF ART

A shortlist of 20 artists has been compiled, representing a cross-section of contemporary installation practices worldwide. Some of the artists are well-established masters of their discipline, while others are emerging voices; all produce work of the highest calibre. Many of the short-listed artists do not typically produce the type of large-scale sculptural works traditionally considered most suitable for public installation - with limited precedent, these artists may prove to be particularly challenging. Each invited designer has been assigned an artist at random from the shortlist. Designers are permitted to exchange their artists with each other, at the discretion of the Chair of the Review Committee. The designer must select an appropriate piece from the artist's body of work. The shortlisted artists and their preliminary assignments are shown below.

All changes in artist must be finalized by November 13, 2008.


THE SITE

The City of Toronto has identified six areas of the city as being suitable for this intervention: the specific site is at the discretion of the invited designer. Five of the these areas are suburban locations at the termini of each arm of the Toronto rapid transit system: Kipling Station, Downsview Station, Finch Station, Don Mills Station and McCowan Station. In these cases, the designer must select a suitable site within approximately 500m of the station in question. The sixth site is a central downtown location, bounded by Toronto City Hall to the north, Bay Street to the East, Union Station to the south and York Street to the West. In this case, the designer must choose a site within the given boundaries.

Analytical studies in plan (for the suburban areas) and section (for the urban area) have established the character of these sites and highlighted locations where an intervention of this type would have a catalytic effect. Invited designers are encouraged to review these studies, available for review on the competition website.

Specific sites must be finalized by November 20, 2008.


THE INTERVENTION

The intent of the design of the open-air gallery is to enrich the experience of the visit to, and the viewing of, the work of art sited within it. The synthesis of the sited work and the surrounding architectonic apparatus should also improve the site as a whole. The environmental design should take into account the full range of experience, from the initial viewing of the enclosure from a distance, through the pedestrian approach, to the up-close viewing of the work of art. It should be possible to view the work in the round: the design of the gallery may or may not passively guide this procession. Given the extended nature of the gallery, it is suggested that the design include a central domain where the work of art will be installed, and a series of secondary domains, discrete or interconnected, where temporary exhibits may be installed.

Due to a limited budget, the enclosure will consist of a set of predetermined architectural elements that have already been acquired through an anonymous donation. These elements are:

• Five rectangular wall elements, each 3m high,8m long and 1/3m thick;
• Three cylindrical columns, each 3m in height and 2/3 m in diameter;
• Two rectangular volumes, each 1m by 2m by 4m;
• One cylindrical volume, 1m in height and 2m in diameter, and
• One cubic volume, 1m by 1m by 1m.

The elements are constructed from a recently developed fibre-reinforced recycled plastic, and are innately UV and weather-resistant. They can be sanded to a smooth, matte white finish, and their material continuity permit them to be modified as necessary. In order to maximize the utility of the donated elements, maintain their structural integrity, minimize the cost of their installation, and ensure a degree of visual cohesiveness, the Review Committee has established the following restrictions to their possible arrangements and modifications.

• At least 2/3 of the total volume of the elements must be used in the intervention.
• The wall and column elements must be used in their normative configuration, with their height oriented vertically.
• The volumetric elements may be used in any stable configuration.
• Portals may be cut into the walls, but they must be greater than 1/3m and less than 3m long.
• Portals must be exactly 2-1/3m high, and the spaces between adjacent portals must be equal or greater than 2/3m wide.
• Modifications are limited to a maximum of 25 discrete cuts, and all cuts are to be planar and orthogonal: no diagonal, crooked or curved cuts are permitted. Note that portals require three cuts each.
• Similarly, all elements must be arranged such that they form an orthogonal composition.
• Parallel wall elements must be greater than 1m apart and less than 3m apart. No element is to more than 3m from another element.
  

Proposal for a Brick Villa by Ludwig Mies van der Rohe, 1923

DELIVERABLES

Given an artist, propose an architectural intervention that uses the supplied elements to satisfy the desired outcomes within the defined constraints. Your proposal should consist of the following.

• A 1:100 scale model of the site. The site model should include, at a minimum, the full extents of the area that is to be converted into an open-air gallery. The site model should be constructed of brown materials only, such as corrugated cardboard and millboard.
• A 1:100 scale model of the open-air gallery, installed on the site model. The elements should be constructed of white materials only, such as illustration board, foam-ore and styrene.
  
• A full set of orthographic drawings, including: one plan; one north-south and one east-west section, each bisecting the work of art, and two elevations. The drawing set must be prepared on 11" x 17" sheets at 1:100 scale, and must consist of black lines only. All drawings must each include a 1" border and an appropriate title block.
• Three perspectival drawings. The perspectives should be composite images derived from photographs of the models and of the selected work of art. It is suggested that the perspectives cover a range of scales.
• One designer's statement of not more than 250 words, outlining the intent of the environmental design proposal.

Some proposals may require additional drawings for clarity, but these should be kept to a minimum.

Proposal for a Concert Hall by Ludwig Mies van der Rohe, 1942

You will deliver a progress report to the Chair of the Review Committee on November 20, 2008 for informal discussion and feedback. It is suggested that your site model and elements be complete at this time, though the elements should remain moveable. It is also suggested that free-hand drafts of your orthographic drawings be complete at this time. Your work-in-progress must be shown physically, but an electronic copy of your report must also be uploaded to the competition website prior to the beginning of this meeting.

You will formally present your proposal in final form to the Design Review Committee on December 4, 2008. At this presentation, you will visually curate your constructed material and read your designer's statement, as well as respond to any questions the Committee may have. You will not be permitted to provide any additional explanatory visual or oral material. It is expected that your presentation, including questions, will last no more than 10 minutes. The Committee will collect only electronic copies of your work for further review subsequent to this presentation: this must be delivered to the competition website no more than 48hrs after the conclusion of the formal presentation.


DEADLINE SUMMARY

November 13, 2008, 11:30AM: Finalization of all Artist Assignments
(AKA Exercise Seven)

November 20, 2008, 8:30AM: Electronic Progress Report Posted to the Competition Website (AKA Project 3, Part 1: post all work to-date to the blog)

November 20, 2008, 8:30AM-11:30AM: Progress Report Meetings with the Chair of the Design Review Committee
(AKA informal mid-project reviews with Jesse)

December 4, 2008, 8:30AM-11:30AM: Formal Presentation of Final Proposal to the Design Review Committee
(AKA formal final project reviews with Jesse and guest critics)

December 6, 2008, 11:30AM: Electronic Copy of Final Proposal Posted to the Competition Website
(AKA Project 3, Part 2: post all deliverables to the blog, clearly formatted with concise annotation - note explicit evaluation criterion below)


EVALUATION

Progress Report: /5
Model Style, Craft and Care: /4
Orthographic Drawing Style, Craft and Care: /4
Perspectival Drawing Style, Craft and Care: /4
Design - Responsive and Functional Qualities: /4
Design - Lyrical and Formal Qualities: /4
Final Presentation and Post: /5

Project Two Section Cut

If there are any major changes before next week, let me know and I'll adjust the image to reflect them.

Project Two, Part One Redux

As we discussed in class, the deadline for Project Two, Part One has been extended until Thursday, October 30, with the addition of a layout exercise. The deadline for Project Two, Part Two (the final drawing) is also extended, until Thursday, November 6. In this way, we can spend next class making sure that everyone's sections are well considered and well co-ordinated. It is essential that everyone have all three aspects of Part One complete for next week, so that your final drawing efforts can proceed in earnest during the following week.

As a result of this extension, my expectations for this Project have increased. I remain confident that with diligent effort from all of you, the results will be outstanding. Remember, there will be a gap in the collective section if any one of you fails to produce for November 6 - please stay on top of this!

* * *

Please re-read the original Project Two description carefully.

Of note regarding the section cut:

• Each of you has been assigned a 50m portion of the collective section. This portion is not the same as your site assignment for Exercise Five.
• The section cut (and, by extension, the plane of your drawing) is oriented north-south, though its position may vary east-west between York Street and Bay Street, depending on the content of your portion. It is suggested that your section cut through the most compelling environments possible; as we discussed in class, stretches of environment that are consistent east-west may be used to "jog" your section as necessary.
• I understand that the above statement is challenging to comprehend. We will review the exact position of your section cut together in class on October 30.

Of note regarding the final drawing (Part Two, due on November 6):

• Everyone's final drawing will be 150cm high and 50cm wide. This format is large, but it can be created from a single sheet of 36" x 48" paper.
• The final scale is 1:100. This means that people, which may or may not be present in your composition, will be about 1.5cm high.
• Everyone's ground plane should be located 25cm above the bottom of the page, which results in 25m of below-ground content.
• Everyone's final drawing should be full-bleed, or borderless, so that the individual portions of the section can be assembled into a collective drawing.
• Your final drawing should not include a legend, a scale, or a title.

* * *

For Thursday, October 30 at 8:30AM, prepare the following:

• A minimum of five samples of your site documentation: passages, sketches, photographs or otherwise (many of you have done this already).
• A minimum of three samples of possible representational strategies. These should take the form of 1:100 sketches of selected portions of your section, using the actual media you intend to employ in your final drawing (very few of you have done this already).

Post these items to the blog, and bring your 1:100 sketch samples to class, as indicated previously.

In addition, please prepare:

• The layout of your proposed section. Click here to download a PDF file that includes a layout template. The file also includes a copy of your portion assignments. Please print the layout template on an 11" x 17" sheet, and be sure to not scale the page (ask a friend if you don't know what this means). The template is at 1:300 - 1/3 the scale of your final drawing.
  

This item does not need to be posted to the blog.

Last, but definitely not least, please (please!) read Overhead and Underground: Building the Analogous City by Trevor Boddy, which we will be discussing. For real. You have been warned.

* * *

Email me if you have any questions, and see you next week.

Project Two

Project Two
Urbia
Social Space in the Sectional City

Plug-in City: Maximum Pressure Area by Peter Cook, 1964

OVERVIEW

Collectively, you will investigate and represent the urban condition through the creation of a continuous section. Each individual portion of the section will differ in representational strategy, but they will be carefully co-ordinated with neighboring portions so as to maintain sectional continuity.


PART ONE: DUE OCTOBER 23, 2008, 8:30AM

A 1000m stretch of downtown, from the centre of Toronto City Hall to the centre of Union Station, has been divided into 20 equal portions, each approximately 50m in length. Each of you has been assigned one of these portions, as shown below (click on the image to enlarge it, and right-click on the image to save it to disk).

Through actual and virtual exploration, determine the spatial qualities and quantities that exist within your assigned portion. Pay special attention to the interconnected spaces between your portion and adjacent portions; to adjacencies between private and public, solid and void; and to the variety of experiential conditions that exist within your portion. You will not be expected to produce an accurate measured drawing of your site - careful approximate methods are sufficient. Document your exploration through a combination of media: writing, sketching, photography, audio recording, video recording or any other technique you may be comfortable with.

Do not limit your explorations to the cutting plane of your section, as its exact position remains undetermined, though it will lie between York Street and Bay Street. Your section is "looking east," so be sure to account for objects and environments visible beyond your site in this direction. You are expected to account for environments occurring up to 125m above grade, and down to 25m below grade.

Next, develop strategies for representing the character of the spaces in question. Suggested strategies include pencil, pen, ink, watercolour, acrylic, collage and montage. Each of you has one or more media with which you are already familiar and facile - it is suggested that you play to your strengths for this Project. You will be operating at a relatively small scale, and the density of information is high, so precise, hard-edged techniques are especially suitable, but your final product will not be a technical drawing: it will be a highly personal representational response to your experience of the space. You may rightfully choose your representation so as to celebrate the positive aspects of the interconnected dynamism of downtown space. But remember, there are insidious forces at play here as well:

Where once streets and and sidewalks intervened between the islands of glass and spandrel panel, the new bridges and tunnels continue the same architectural order, and with them, the same socio-economic order, between blocks. Heretofore streets functioned as periodic reminders and enforcers of the civic domain; the new patterns of city building remove even this remaining vestige of public life, replacing them with an analogue, a surrogate.

from Overhead and Underground by Trevor Boddy, 1992

For Thursday, October 23 at 8:30AM, prepare the following:

• A minimum of five samples of your site documentation: passages, sketches, photographs or otherwise.
• A minimum of three samples of possible representational strategies. These should take the form of 1:100 sketches of selected portions of your section, using the actual media you intend to employ in your final drawing.

Post all items to the blog, and bring as many of them as possible in hard-copy form to class on Thursday. Please also read Overhead and Underground: Building the Analogous City by Trevor Boddy, which we will be discussing.


PART TWO: DUE OCTOBER 30, 2008, 8:30AM

You have quantitatively and qualitatively documented your assigned portion of the collective section, and have developed suite of representational strategies with which to represent it. You will now prepare a presentation quality drawing, which will conform to the following parameters.

• Each drawing will be 50 cm wide and 150 cm high
• The drawing scale will be 1:100
• The ground plane on each drawing will at a height of 25cm (although there is a slight elevation loss from north to south along the section, this will be ignored for the purposes of this Project)

These parameters are visually summarized below.

You must co-ordinate the continuity of the section with your neighbors. All spaces that continue from one portion to the next should be carefully aligned with adjacent portions. It is strongly suggested that the heights of all continuous lines relative to the ground-plane datum be firmly established on Thursday, October 23 (I will facilitate this process).

For Thursday, October 30 at 8:30AM, prepare the following:

• One presentation-quality drawing of your assigned portion of the continuous section

I will document the results for the class and post them to the blog.


EVALUATION

Five Samples of Site Documentation: /5
Three Samples of Representational Strategies: /3
Quality of Information Collected: /3
Representation Style, Craft and Care: /5
Group Co-ordination: /2
Insights Derived: /2

Project One, Part Three - Final Blog Post

Project One
Suburbia
Social Space in the Planametric City


PART THREE BLOG POST: DUE OCTOBER 16, 2008, 8:30AM

Having presented your final synthetic maps to me and the rest of the class, your group should now post them to the blog.

Please create one post per group that includes the following:

• Your group's final base map
• Each member of your group's final synthetic map,
• One or more overlays of your group's maps, possibly but not necessarily including your base map, with brief commentary describing the insights into the challenges and potentials of your site that this final creative recombination provides.

Please note:

• Each image should have a title.
• The overlays should be creative and well considered. It is unlikely that combining all of your maps into one will be a successful strategy. Instead, judiciously choose two or three maps that best combine to generate insight.
• Photographing your maps and overlay(s) may be a challenge, so don't leave it to the last minute.
• Please resize your images to 1600 pixels wide before posting them.
• Please include the name of your site and the names of all the members of your group in the post title.

Remember, this post is your last chance to curate your response to Project One, so prepare it with care. The quality of your post will largely determine your Group Co-ordination mark.

This final blog post for Project One is due at 8:30AM on Thursday, October 16.

Label for Project One, Part Three

Please use the label 2.1.3 Project One (Part Three) Submissions for Project One, Part Three.

Project One Support

Hi Class:

My apologies for not being able to cover everything I wanted to in class today. The fire alarm cost us an essential 15 minutes.

I will be available for questions during the following times:

Friday, October 3: 5:00PM-6:00PM
Monday, October 6: 9:00PM-10:00PM

I will either be in room 556 (our classroom) or in the 6th floor computer lab. If you have questions, but can't make either of these times, please email me before Tuesday morning.

Below are some notes regarding the things we didn't quite get to today. Note the links.

• John Snow's map of central London, showing the location of deaths from cholera in September 1854, is a historic example of how creative mapping practice can generate insight and precipitate change. I encourage you to watch this brief video that tells the story of this groundbreaking map.
• Exercise Four: Corner Reading Summary remains due. I understand that this reading is difficult. Please try your best and post what you can. We will be going over this reading next week. The Mapping Operations portion of the reading is especially pertinent to Project One.
• I have now established specific "Submission" labels for all deliverables, including Exercise Four. Please double check one last time that your blog posts are correctly labeled.
• I realize that some of you have not dealt with the Service Bureau before. This Project is an excellent opportunity to learn what they can do for you. They're very friendly and helpful, just don't leave everything until the last minute.

Lastly, below are a selection of maps from my aborted Parkdale mapping presentation. Note that these are not necessarily all examples of excellence - but they do provide an excellent demonstration of the variety of forces at play on a site, and different strategies for representing these forces.

Good luck with your maps, and see you next week.

Project One Marking Scheme Summary

The marking scheme for Project One is summarized below.

Annotated Observations: /5
Force Maps: /5
Base Map: /3
Quality of Information Collected: /3
Representation Style, Craft and Care: /3
Group Co-ordination: /3
Insights Derived: /3

Total: /25 (25% of your final mark)

Note that in order to promote creativity and permit flexibility, the marking scheme does not explicitly differentiate between Parts One, Two and Three, nor does it explicitly differentiate between group and individual activity. For example, your Base Map may improve between Parts Two and Three, and your Annotated Observations may have been a group effort.

Project One, Part Three

Project One
Suburbia
Social Space in the Planametric City


PART THREE: DUE OCTOBER 9, 2008, 8:30AM

Through imagery and prose, you have each identified five different forces affecting the social space of your site. You subsequently developed a base map, over which you created drawings which represented the spatial character of these forces. You will now prepare a final series of presentation quality maps which, through creative recombination, will synthesize your group's research and bring new insight into the challenges and potentials of your site.

Although drawn from measured observations in the world, mappings are neither depictions nor representations but mental constructs, ideas that enable and effect change. In describing and visualizing otherwise hidden facts, maps set the stage for future work. Mapping is always already a project in the making.

from The Agency of Mapping by James Corner, 1999

The orchid does not reproduce the tracing of the wasp; it forms a map with the wasp . . .

from A Thousand Plateau by Gilles Deleuze and Felix Guattari, 1980

With your group and your instructor, discuss the base and force maps you prepared in Part Two. Is the field of your base map appropriate? Does it include inadequate or superfluous spatial information? What other data might inform your individual force maps? How might you sort the different maps created by your group into categories, and what titles might you assign to these categories? How can the information your group has collectively collected and represented be creatively recombined?

With your group, plot your base map, scaled such that its largest dimension is no more than 35 inches and its smallest dimension is no less than 25 inches. You may need to alter or augment the quality or quantity of information provided by your initial base map as a result of discussion with your group and your instructor.

Le Corbusier's Plan Voisin for Paris, as reproduced in
Crisis of the Object: Predicament of Texture
by Colin Rowe and Fred Koetter, 1980

Collectively determine provisional titles for a series of synthetic maps that combine the information your group has collected and represented. Each member of your group is responsible for the creation one of the maps in your series. These maps are to be drawn or plotted onto sheets of mylar film that will be provided by your instructor. They should be presentation quality, and your group's efforts should be closely co-ordinated so that your maps, in combination, form a cohesive whole. Your maps will be overlain onto your base map, and onto each other, but they should also stand alone as analytical compositions of spatial information. Again, you may need to alter or augment the quality or quantity of information provided by your force maps as a result of discussion with your group and your instructor.

John Snow's map of central London, showing the location
of deaths from cholera in September 1854, as reproduced in
The Visual Display of Quantitative Information
by Edward Tufte, 1983

Notes:

• To summarize, the task at hand is to sort your group's force maps into categories, title each category, and draw or plot new maps that creatively combine the information in each category that can each be accurately overlain onto a plot of your base map.
• Plot your base map as soon as possible so that it can be employed by all the members of your group. Your group may choose to plot one copy of the base map for each member, but this is not required.
• If you are plotting onto mylar, you must bring your file to Mark at the main Service Bureau desk (located on the 2nd floor of 100 McCaul) by 12PM on Tuesday, October 7 in order to ensure that he has sufficient time to handle your file. Please review the instructions provided on the Service Bureau website, especially with regards to file preparation. Take care in handling your plot, as the ink doesn't dry immediately.
• If you are drawing onto mylar, take care to keep your sheet clean, as per John Reed's demonstration in class. You only have one sheet, so work judiciously.
• Your group's base map should include a scale; each individual synthetic map should include a legend and a title. In general, minimize all other text as much as possible.

Please be prepared for a formal review of your maps at 8:30AM on Thursday, October 9. It is not necessary to upload your maps to the blog prior to this review, though this will ultimately be required.


EVALUATION

Quality of Information Collected: /3
Representation Style, Craft and Care: /3
Group Co-ordination: /3
Insights Derived: /3

Label for Project One, Part Two

Please use the label 2.1.2 Project One (Part Two) Submissions for Project One, Part Two.

Project One, Part Two

Project One
Suburbia
Social Space in the Planametric City


PART TWO: DUE OCTOBER 2, 2008, 8:30AM

Through imagery and prose, you have each identified five different forces affecting the social space of your site. You will now map these forces.

With your group, develop a base map, derived from aerial imagery available online at maps.google.com or maps.live.com. This base map must cover the minimum extent of your preliminary observations - a 1km radius around the Station in question - but it may cover more area, and it need not necessarily be centred about the Station. The forces at play on your site may not be evenly distributed in all directions: choose your extents and your orientation carefully.

The design and set-up of the field is perhaps one of the most creative acts in mapping, for as a prior system of organization it will inevitably condition how and what observations are made and presented. Enlarging the frame, reducing the scale, shifting the projection or combining one system with another are all actions that significantly affect what is seen and how these findings are organized.

from The Agency of Mapping by James Corner, 1999

Print one copy of your base map for each member of your group on a single sheet of 8.5" x 11" paper.

Overlay a sheet of 8.5" x 11" transparency film, and using appropriate markers (Staedtler Lumocolor or the equivalent), posit the spatial character of one of the forces you identified in Part One. What are the different parameters of each force, and how might you represent them in plan? What physical information as found on your base map should be emphasized on your transparency in order to map your force? You may need to revisit your site, either in reality or virtually, in order to fully map your force.

Repeat this process for each force.

Upload all six maps (the base map, and the five force maps) onto the blog in a single post. Bring the physical maps to class on October 2. Note that each member of your group should make a separate post, and have separate force maps - only the base map should be prepared as a group.


EVALUATION

Base Map: /3
Force Maps: /5

Project One Site Assignments

Below are your assigned sites for Project One, Part One (click to enlarge).

There are precisely four students per group. If absolutely necessary, you may switch groups, but you must ensure that the number of students per group remains the same. Please email me if you switch groups.

Project One, Introduction and Part One

Project One
Suburbia
Social Space in the Planametric City

The map is open and conneciable in all of its dimensions; it is detachable, reversible, susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group or social formation. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a meditation.

from A Thousand Plateau by Gilles Deleuze and Felix Guattari, 1980

Mapping is a fantastic cultural project, creating and building the world as much as measuring and describing it. Long affiliated with the planning and design of cities, landscapes and buildings, mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of worlds in which people live.

from The Agency of Mapping by James Corner, 1999

OVERVIEW

In teams of four or five, you will investigate and interpret a large-scale suburban environment. Through a series of mapping studies, derived from personal observation and supplementary research, you will isolate and represent the historic, cultural, economic, ecological and spatial conditions that characterize your site. Subsequently, through the creative recombination of these variables into a synthetic analytical drawing, you will reveal insights into the challenges and potentials of your site.

The five sites in question will be the termini of each arm of the Toronto rapid transit system: Kipling Station, Downsview Station, Finch Station, Don Mills Station and McCowan Station.

Don Mills Station

Downsview Station

Finch Station


Kipling Station


McCowan Station

Your preliminary observations should cover a minimum area of approximately one kilometer square: 500m from the station exit in all directions.


PART ONE: DUE SEPTEMBER 25, 2008, 8:30AM

With your team, visit your site. Actively observe the forces at play. Record your observations through a combination of media: writing, sketching, photography, audio recording, video recording or any other technique you may be comfortable with.

On returning, review the results of your observations. Post five items to the blog - passages, images, clips or a combination - that you feel are representative of five different forces that affect the social space under investigation. In one or two sentences, describe the force that you are representing.

Possible forces include, but are not limited to: traces, decay, transformations, momentous occasions, groups, ethnicities, locals, festivals, boundaries, ownership, traffic, government, tags, formal exchanges, informal exchanges, illegal operations, scales, business type, business size, employment, employees, venues, variety, waste, production, human habitation, wild space, vegetation, forgotten places, water flow, toxicity, traffic, vehicles, corridors, forgotten places, vacancy, density, geometry, grids, axes, repetition, edges, hierarchy . . . to name but a few.

Lastly, please read James Corner's essay The Agency of Mapping: Speculation, Critique and Invention.


EVALUATION

Annotated Observations: /5