This passage reminds me of how when photography first came out it was considered to be the absolute truth, an exact representation of what was on the other side of the lens, and how the camera was a completely objective tool to use. However, nobody took into to account the artistic merit of a photo such as the cropping, the colour etc.
James Corner is saying that people consider a map to be an objective truth and never take into account the decisions the mapper made when creating a map. So when one simply traces a map he/she takes on the biases of creator leaving no room for further interpretation or creativity. Through this Corner is saying there are two different kinds of maps, a traced map and a creative map which aids even further in the planning and design process.
Showing posts with label 3.4 Exercise Four Submissions. Show all posts
Showing posts with label 3.4 Exercise Four Submissions. Show all posts
Thursday, October 2, 2008
Exercise Four: Amin shahinbakhsh
Mapping is a technique that brings new possibilities. It is more than tracing what is real. It can bring the past and possibility of future together in one perspective. Mapping is a design tool for the urban developers. Mapping is known to be an analytical process that records the facts for our use. This does not make the science of mapping any less imaginary or inventive. It stands to be as important as any other part of design. The initiative is to make the existing condition evident. This part of the design is the most important since it creates the platform for creation. The technique of mapping has integrated over time with changes in technology, although the scheme and overall process has remained the same. It is important to consider the influence of mapping on our perception of future. Mapping influences our perception of the world and imagination of the future world. Mapping brings the present and future together. The new techniques have to take these into consideration.
Exercise Four: Game Board and Rhizomes
GAMEBOARD MAPPING
-presented like a game board of contested territory with drifting and layering-the analytical seperation of different agendas and issues.
-Raoul Bunschoten-London based architect- developed a system fro mapping agents and players that draws out the urban potential. -different frames over the map represent conditions )ie: socio, economic,...)
-Rauol's plan for Bucharest can be shown on a larger scale relative to around cities situated around the Black Sea, depicting a sort of cartographic stage which shows grand scale relationships.
-Bunschoten memorized four fields:
TOPONYMY(masque) cultural plan of an ethnic society)
FLOW(market) new influx and regulatory mechanisms
BASIN(urban flotsam) regeneration of ecological environment.
INCORPORATION(liminal bodies) design of institutions for conflict and negotiation.
-He then created steeping stones between the four fields. mapping all possible scenarios between parties.
-the MAP evolves and is drawn and redrawn often by planners.
RHIZOME
-point to point connections arranged in hierarchal systems expanding outwards from a mid-point.
-milieu-defined as the urban center.
-difference between MAPPING and TRACING:
-MAPPING allows innovation, TRACING is redundant and often just repetitive overlaying.
- key is INTERCONNECTION-body of connections, graphic and notational systems depicting even the "unmappable."
-See: Joseph Minard's narrative map of the fate of Napoleon's Army-sythesizes relationships using geometric forms, vectors, etc. to tell the story of the terrain.-it is essentially a framework, a "data-scape" that may be read.
-frameworks such as these can use anything from images to infra-red photos of an aerial view-field plots to show agriculture.
-MAPPING should be a creative and immaterial representation of a multi-faceted world, free of hierarchal relationships, and depicting ideas that are able to affect change. -making logical but possibly fictional constructs- similar to a good argument.
"All perceiving is also thinking, all reasoning is also intuition, all observation is also invention." -Rudolf Arnheim
-presented like a game board of contested territory with drifting and layering-the analytical seperation of different agendas and issues.
-Raoul Bunschoten-London based architect- developed a system fro mapping agents and players that draws out the urban potential. -different frames over the map represent conditions )ie: socio, economic,...)
-Rauol's plan for Bucharest can be shown on a larger scale relative to around cities situated around the Black Sea, depicting a sort of cartographic stage which shows grand scale relationships.
-Bunschoten memorized four fields:
TOPONYMY(masque) cultural plan of an ethnic society)
FLOW(market) new influx and regulatory mechanisms
BASIN(urban flotsam) regeneration of ecological environment.
INCORPORATION(liminal bodies) design of institutions for conflict and negotiation.
-He then created steeping stones between the four fields. mapping all possible scenarios between parties.
-the MAP evolves and is drawn and redrawn often by planners.
RHIZOME
-point to point connections arranged in hierarchal systems expanding outwards from a mid-point.
-milieu-defined as the urban center.
-difference between MAPPING and TRACING:
-MAPPING allows innovation, TRACING is redundant and often just repetitive overlaying.
- key is INTERCONNECTION-body of connections, graphic and notational systems depicting even the "unmappable."
-See: Joseph Minard's narrative map of the fate of Napoleon's Army-sythesizes relationships using geometric forms, vectors, etc. to tell the story of the terrain.-it is essentially a framework, a "data-scape" that may be read.
-frameworks such as these can use anything from images to infra-red photos of an aerial view-field plots to show agriculture.
-MAPPING should be a creative and immaterial representation of a multi-faceted world, free of hierarchal relationships, and depicting ideas that are able to affect change. -making logical but possibly fictional constructs- similar to a good argument.
"All perceiving is also thinking, all reasoning is also intuition, all observation is also invention." -Rudolf Arnheim
Wednesday, October 1, 2008
"Exercise Four: Corner Reading Summary (Don Mills group)."
DRIFT
The Situationists were a European group of artists and activists in the 1950’s and 1960’s. They aimed somehow to disrupt any form of what they took to be the dominant regime or capitalist power. They drew from Dadaist practices, and later influencing other conceptual art movements such as Fluxus and performance art. The Situationists advocated a series of works that increased public consciousness and promoted direct action and systematic participation in everyday life. They were less interested in art objects and stylistic concerns but more with the engaging life situations and social formations. Guy Dubord is a key Situationist theorist who made a series of maps, or psycho-geographic guides of Paris by walking aimlessly around the streets and alleys of the city, turning here and there wherever the fancy took him and recorded these wanderings. The result of the map would reflect subjective, street level desires and perceptions rather than just a normal map we usually see. This activity became known as the dérive, or the dream-like drift through the city, mapping alternative itineraries and subverting dominate reading and authoritarian regimes. What is interesting about the dérive is the way in which the contingent, the ephemeral, the vague, fugitive eventfulness of spatial experience becomes foregrounded in place of the dominant, ocular gaze. If mapping had been traditionally assigned to the colonizing agency of survey and control, the Situationists were attempting to return the map to everyday life and to the unexplored, repressed topographies of the city. Earth-artist Richard Long shares little of the political and strategic agenda of the Situationists, his systematic play with maps and landscapes is very much in the same vein as dérive. Sometimes he will draw an arrow-straight line across a terrain and embark on the mission of walking it in actuality. It is important to understand that the primacy of both Long’s and the Situationist’s use of maps belongs to their performative aspects, that is to the way in which mapping directs and enacts a particular set of events that derive from a given milieu. These various practices of “Drift” use maps as instruments for establishing and aligning otherwise disparate, repressed or unavailable topographies; they are ‘set ups’ that both derive from and precipitate a series of interpretive and participatory acts. Their highly personal and constructive agency makes them quite unlike the detached work of conventional map-makers. All in all, drift discloses hidden topographies within ruling, dominant structures in an attempt to re-territorialize seemingly repressed or spent ground.
Marcel Duchamp's "Fountain"
LAYERING
Layering is to lie something or place it on or over something else to produce thickened surface. It is basically having different layers for individual and independent sections of a map and when it’s laid on top of each other it shows the relationships among the different parts. Bernard Tschumi and Rem Koolhaas were the first architects to develop this strategy. These kinds of montage and layering are also found in contemporary rock music genres. Combining different types of music with each other and trying to create new possibilities for new kind of music.
Another character of layering is its individuality the way that it can have different interpretation, uses and transformation through time. Just like a gymnasium floor that has different colour lines for marking a territory for different sports. Architect Peter Eisenman and landscape architect Laurie Olin developed a series of new composition made from whole series of local maps. It resulted in landscape and building maps to merge in to one large fractured ground-plane. A few significant events, such as the Gold Rush, the creation of the Campus and the ‘rediscovery’ of the museum led to the emergence of 7 key figures. These figures consist of discrete shapes, created by many layers. Eisenman, also created ‘scaling’ which is an important step in the manipulation of figures , which plays with a un-conventional reading of the relationship between form and intention. Tracing out repeated copies of the scaled overlays creates new analogic relationship (between the 7 key figures). The best combination is created when the overlapped layers don’t take precedence over each other and reveals new information, such as relationships and how culture organized itself. Einesman’s method of using layers are originally related to text however, others use it to anticipate future programmes which leaves little room for change. Nonetheless, both methods have the same goal of creating a heterogeneous environment. By throwing out traditional notions of centering, bounding, imparting meaning…etc, mapping becomes not only data collection and site survey but more involved on the level of design.
VOCABULARY
Subverting 1: to overturn or overthrow from the foundation 2: to pervert or corrupt by an undermining of morals, allegiance, or faith
Contingent 1 likely but not certain to happen 2: not logically necessary 3 a: happening by chance or unforeseen causes b: subject to chance or unseen effects : UNPREDICTABLE c: intended for use in circumstances not completely foreseen 4: dependent on or conditioned by something else
Ephemeral 1 : lasting one day only 2 : lasting a very short time
Fugitive 1: running away or intending flight 2: moving from place to place 3 a: being of short duration b: difficult to grasp or retain c: likely to evaporate, deteriorate, change, fade, or disappear4: being of transient interest
Valorization 1 : to enhance or try to enhance the price, value, or status of by organized and usually governmental action 2 : to assign value or merit to
Milieu 1: the physical or social setting in which something occurs or develops
Inchoate 1: being only partly in existence or operation ; especially : imperfectly formed or formulated
Disparate 1 : containing or made up of fundamentally different and often incongruous elements 2 : markedly distinct in quality or character
Poignant: 1a: pungently pervasive b: painfully affecting the feelings 2a: deeply affecting b: designed to make an impression
Iteration 1: the action or a process of iterating or repeating: as b: a procedure in which repetition of a sequence of operations yields results successively closer to a desired result
Analogic: 1 : of, relating to, or based on analogy 2 : expressing or implying analogy
Superimposition: To lay or place (something) on or over something else.
Autonomous: having autonomy; not subject to control from outside; independent.
Engender: To procreate; propagate
The Situationists were a European group of artists and activists in the 1950’s and 1960’s. They aimed somehow to disrupt any form of what they took to be the dominant regime or capitalist power. They drew from Dadaist practices, and later influencing other conceptual art movements such as Fluxus and performance art. The Situationists advocated a series of works that increased public consciousness and promoted direct action and systematic participation in everyday life. They were less interested in art objects and stylistic concerns but more with the engaging life situations and social formations. Guy Dubord is a key Situationist theorist who made a series of maps, or psycho-geographic guides of Paris by walking aimlessly around the streets and alleys of the city, turning here and there wherever the fancy took him and recorded these wanderings. The result of the map would reflect subjective, street level desires and perceptions rather than just a normal map we usually see. This activity became known as the dérive, or the dream-like drift through the city, mapping alternative itineraries and subverting dominate reading and authoritarian regimes. What is interesting about the dérive is the way in which the contingent, the ephemeral, the vague, fugitive eventfulness of spatial experience becomes foregrounded in place of the dominant, ocular gaze. If mapping had been traditionally assigned to the colonizing agency of survey and control, the Situationists were attempting to return the map to everyday life and to the unexplored, repressed topographies of the city. Earth-artist Richard Long shares little of the political and strategic agenda of the Situationists, his systematic play with maps and landscapes is very much in the same vein as dérive. Sometimes he will draw an arrow-straight line across a terrain and embark on the mission of walking it in actuality. It is important to understand that the primacy of both Long’s and the Situationist’s use of maps belongs to their performative aspects, that is to the way in which mapping directs and enacts a particular set of events that derive from a given milieu. These various practices of “Drift” use maps as instruments for establishing and aligning otherwise disparate, repressed or unavailable topographies; they are ‘set ups’ that both derive from and precipitate a series of interpretive and participatory acts. Their highly personal and constructive agency makes them quite unlike the detached work of conventional map-makers. All in all, drift discloses hidden topographies within ruling, dominant structures in an attempt to re-territorialize seemingly repressed or spent ground.
Marcel Duchamp's "Fountain"
LAYERING
Layering is to lie something or place it on or over something else to produce thickened surface. It is basically having different layers for individual and independent sections of a map and when it’s laid on top of each other it shows the relationships among the different parts. Bernard Tschumi and Rem Koolhaas were the first architects to develop this strategy. These kinds of montage and layering are also found in contemporary rock music genres. Combining different types of music with each other and trying to create new possibilities for new kind of music.
Another character of layering is its individuality the way that it can have different interpretation, uses and transformation through time. Just like a gymnasium floor that has different colour lines for marking a territory for different sports. Architect Peter Eisenman and landscape architect Laurie Olin developed a series of new composition made from whole series of local maps. It resulted in landscape and building maps to merge in to one large fractured ground-plane. A few significant events, such as the Gold Rush, the creation of the Campus and the ‘rediscovery’ of the museum led to the emergence of 7 key figures. These figures consist of discrete shapes, created by many layers. Eisenman, also created ‘scaling’ which is an important step in the manipulation of figures , which plays with a un-conventional reading of the relationship between form and intention. Tracing out repeated copies of the scaled overlays creates new analogic relationship (between the 7 key figures). The best combination is created when the overlapped layers don’t take precedence over each other and reveals new information, such as relationships and how culture organized itself. Einesman’s method of using layers are originally related to text however, others use it to anticipate future programmes which leaves little room for change. Nonetheless, both methods have the same goal of creating a heterogeneous environment. By throwing out traditional notions of centering, bounding, imparting meaning…etc, mapping becomes not only data collection and site survey but more involved on the level of design.
VOCABULARY
Subverting 1: to overturn or overthrow from the foundation 2: to pervert or corrupt by an undermining of morals, allegiance, or faith
Contingent 1 likely but not certain to happen 2: not logically necessary 3 a: happening by chance or unforeseen causes b: subject to chance or unseen effects : UNPREDICTABLE c: intended for use in circumstances not completely foreseen 4: dependent on or conditioned by something else
Ephemeral 1 : lasting one day only
Fugitive 1: running away or intending flight 2: moving from place to place 3 a: being of short duration b: difficult to grasp or retain c: likely to evaporate, deteriorate, change, fade, or disappear
Valorization 1 : to enhance or try to enhance the price, value, or status of by organized and usually governmental action
Milieu 1: the physical or social setting in which something occurs or develops
Inchoate 1: being only partly in existence or operation ; especially : imperfectly formed or formulated
Disparate 1 : containing or made up of fundamentally different and often incongruous elements 2 : markedly distinct in quality or character
Poignant: 1a: pungently pervasive b: painfully affecting the feelings 2a: deeply affecting b: designed to make an impression
Iteration 1: the action or a process of iterating or repeating: as b: a procedure in which repetition of a sequence of operations yields results successively closer to a desired result
Analogic: 1 : of, relating to, or based on analogy 2 : expressing or implying analogy
Superimposition: To lay or place (something) on or over something else.
Autonomous: having autonomy; not subject to control from outside; independent.
Engender: To procreate; propagate
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