Before the Game of Thrones map sequence became a digital model, it was first a sketch. Take a look at the process with these design illustrations of Rustam Hasanov. With them he explores the mechanisms that move the cities, inspired by Leonardo Da Vinci’s invented machines.
http://www.awp.fr/project/paris-cbd-la-defense-strategic-masterplan/
In 2012, public institution DEFACTO, selected AWP, Office for Territorial Reconfiguration, (Marc Armengaud, Matthias Armengaud, Alessandra Cianchetta) in partnership with HHF, to provide design and implementation guidance for La Defense, Central Business District. The objective was to conceive a new strategic master plan for the entire (161 hectares) site that addressed issues of public space—green space, urban infrastructure, circulation, transportation and site evolution— specifically as they relate to the 30 hectare slab. —Continue article on website.
Designer: Architecture Drawing Studio
Year:2014
Size:40×40 in.
Location: Haikou, Hainan Province, China
110.351325N, 20.049624E
Invited by the the 2nd Haikou International Youth Experimental Art Festival in 2014, Drawing architecture studio created drawings for the Qilou Old Street in Haikou. Qilou Old Street was built by Chinese businessmen who traveled overseas in 19th century. The architecture here is a fusion of European and Asian styles and is also influenced by Indian and Arabian architecture. Chinese government today tries to protect these heritages but their protection work is only focusing on the elevation. But the studio was more interested about the life happening inside buildings. However, they couldn’t make further research since there was a time limit and they were not allowed in.
The author was inspired by Piranesi’s Campo Marzio plan, which was created by a combination of imagination and archaeology. Thus they envisioned an indoor & outdoor urban space based on the architectural outlines extracted from their survey, which can be seen at the upper half of the map. The lower half of Zhongshan Road depicts the plans of the roofs with the figure-ground method from Nolli Map. But the boarders between the figures and grounds are blurred by the inversion of black and white.
The combination forms of two different style Roman maps represent two different ways to read about cities. One is to explore the city from the ground floor plan, showing more about space inside buildings. One is to explore the city from the roof plan, showing more about space between buildings. This studio also intended to record everyday life happening in the buildings. So they added a lot of detail elements like furniture and cars to indicate the local’s activities. For example, we can see the street is in a messy state with tables, chairs, beach umbrellas and cars, which give us a sense that life here is busy and alive. And these furniture also help readers to know the scale of the place.
Image credit from: http://www.d-a-s.cn/en/projectdetail.php?currcategory=drawing&page=5
The map above of Tasiujarjuaq, which contains the city of Iqualuit, is part of the Nunavut Traditional Names map series currently being produced by the Inuit Heritage Trust. The initiative was created as part of the modern land claims agreement that resulted in the creation of Nunavut in 1999.
http://ihti.ca/eng/place-names/pn-index.html
https://www.canadiangeographic.ca/article/mapping-traditional-place-names-canadas-north
REM KOOLHAAS, Delirious New York, The Monacelli Press: 1978, 320p.
Illustration “Flagrant Delit“ by Madelon Vriesendorp
Through text and narrative first, then illustrations, Rem Koolhaas bring us, among other things, in the discovery of this vertical city where function does not follow form, where the outside contrasts with the inside. It is instead the delirious and chaotic realities of congested Manhattan that we can start to imagine and locate, as for the example of the “Downtown Athletic Club”. Here peculiar programs take place whose only relationship is the physical place; it is not surprising that the description of the floor is not linear. Images opposed and/or overlaid each others to create a rich mental map where real facts blend with speculation; there is enough space for your own interpretation.
We could perhaps also considered Delirious New York as “vertical mapping” since there is a great emphasize on the skyscrapers. However, this dimensional reality is inherently related to the existence of the grid, which works as a fixed armature and where every block transformed into an island making New York a sort of archipelago. As Koolhaas argued: “The Grid’s two dimensional discipline also creates undreamt-of freedom for three-dimensional anarchy” (p.15). (For the presentation I have added the City of the Captive Globe illustration to show the uniqueness of each block).
But Koolhaus mapping narrative goes beyond the content of the manifesto, since the structure of the book itself becomes a map. The book’s structure follows the logic of the grid where each chapter represents a different block: Coney Island, The Skyscraper, Rockefeller Centre, and The Europeans.
However, through the celebration of New York’s skyscrapers and ludique history is also the celebration of capitalism : the social, the vulnerable, often women, are forgotten. It is perhaps an apolitical manifesto.
A map of the British and French dominions in North America, with the roads, distances, limits, and extent of the settlements, humbly inscribed to the Right Honourable the Earl of Halifax, and the other Right Honourable the Lords Commissioners for Trade & Plantations.
Commonly Referred to as The Mitchell Map of North America, it is not navigational but political showing both the passage of time and shifts of power. More than most maps, the bias and intention of both the author and his patron are explicit.
Issues of political importance as evidenced by the map:
Although technically inaccurate, a copy of this map was used to establish the borders of the United States at the Treaty of Paris in 1783. It has been used as recently as 1980 to settle a fisheries dispute off the coasts of Nova Scotia and Maine.
Full resolution map can be found here: https://www.loc.gov/resource/g3300.ar004000/
TranslatTranslaAndy Huntington and Drew Allan
Cylinder (Series), 2003
3D Printed Plastic
20-40 cm
Huntington and Allan developed software that translates sound into STL files to be 3D printed. With this technology, they were able to map the auditory complexity of spaces, music and moments into visual and tactile objects. What is not apparent in this body of work is how scale comes into play. The small size of the objects suggests that the designers were limited by the size of their printers and that because of this, the scale that the sounds are printed at differs. The project “grew out of a desire to create truly complex objects which hint at the overwhelming detail present in nature,” and it is safe to say that the designers did succeed in producing complex objects but perhaps not ones that reflect nature. Some of the moments that they recorded like a breath, a Saturday market in Italy or Martin Luther King’s “free at last” are representative and provide a visual and tactile map of moments in the human experience. Not only can these objects help to illustrate the energy of a sound or a room but they serve as artifacts that can help us map out these moments that have passed.
https://www.youtube.com/watch?v=GkhZKaltQu8
Video: Google Maps: Hyperlapse Around the World (2017)
In the world today it is arguable that information is becoming more commonly absorbed through a rapid succession of images. In this video created February 8th 2017 Lebanese born Italian graphic artist ‘IDEANDO’ AKA Matteo Archondis utilizes the power of Google Earth’s mapping data fusion of US Geological Surveying, satellite imagery, and 45-degree aerial imagery to capture 6 European sites, 5 places in North America, and 2 in Asia. They are captured in 3305 screenshots using a frame-by-frame technique. This representational style is not unlike that of the Eameses’ multiscreen introduced at the 1959 American Exhibition in Moscow (Colomina, 2007, pg.15-20) that forces the viewer to selectively absorb information from the densely concentrated amount of geographical images being shown, arguably a skill that the millennial generation has more naturally adopted from the technology of the World Wide Web. It also plays with the idea of scale similar to the 1977 Eames short film ‘Powers of Ten’ in the use of ‘zooming’ inward and outward throughout this virtual Earth. These realms of technology, representation, and scale in the context of this video question the idea of a map as icon. An icon of how the 21st century uses a map on a daily basis, and how technology can start to 3-dimensionally inform the ways maps are used and understood around the globe.
Works Cited:
Beatriz Colomina, “Enclosed by Images: The Eameses’ Multimedia Architecture,” Grey Room 2 (2001): 6-29.
Powers of ten, 1977. Dir. Charles Eames and Ray Eames. Prod. Charles Eames and Ray Eames. By Elmer Bernstein and Philip Morrison. Pyramid Films, 1977. Powers of Ten (1977). Eames Office. Web. <https://www.youtube.com/watch?v=0fKBhvDjuy0>.
The text located at the top of the map (to the right of the main title) reads:
INDIAN AND INUIT COMMUNITIES
There are no Inuit Settlements or Other Indian or Inuit Communities in British Columbia.
Note:
No definite statement of the precise legal status of Indian Reserve or Settlement land can be made without extensive enumeration of particular cases. In general terms, an Indian Reserve is a tract of land the legal title to which is vested in Her Majesty, and which has been set apart for the use and benefit of an Indian Band. The Indian Reserves are administered under the terms of the Indian Act, R.S.C. 1970.
Indian or Inuit Settlements, although situated on Crown Land, are not subject to the terms of the Indian Act.
Other Indian or Inuit Communities represent distinct centres of native population.
No information is shown for Reserves, Settlements or Other Communities outside the Province of British Columbia.
Location information for Indian and Inuit Communities is based on data available as of October, 1990.
This map was prepared in consultation with officials of Canada Centre for Surveying, Legal Surveys Division, Energy, Mines and Resources Canada, Vancouver.
INFORMATION SOURCES:
Canada, Energy, Mines and Resources, Surveying and Mapping Branch, National Atlas Map No. NADM-5, 1984, Ottawa. Legal Surveys Division, Index Map of Indian Reserve in B.C., Unpublished, 1990, Vancouver. Legal Surveys Division, Indian Reserve and Band Name Computer Database for B.C., 1990, Vancouver. Canada Gazetteer Atlas, Macmillan of Canada, 1980
COMPUTER CARTOGRAPHY AND PLOTTING:
G.M. Johnson and Associates Ltd., Vancouver, B.C., Canada (604) 682-7074
DIGITAL BASE MAP:
Province of B.C., Ministry of Forests, Timber Harvesting Branch, Victoria, B.C., Canada.
It is a map of imagination.
Pokemon Go is a locational based mobile game. In the virtual Pokemon world, players will become a Pokemon trainers. Through their mobile screens, they can see virtual stops widely distributed on physical cityscape and they are called Pokststops. These stops allow players to obtain virtual supplement for doing virtual activities like Pokeballs for catching Pokemon and medicine for injured Pokemon after battling. As a locational based game, gamers have to physically arrive the stop and spin the ring of each stop on their screens. Also, the spectrum of the three-dimensional map is responding to the real-time location of the players. The primal purpose of the map is used for navigating the players to surrounding stops in order to continue their adventure. Such real-time interaction and physical engagement make the players believing they are really in the Pokemon world that they dreamed of in their childhood.
Another factor helps stimulating our imagination is the creation of the Pokestops. They are created in a crowd-sourcing method providing valuable Volunteered geographic information.(VGI) The operator called for players’ participation to create a landmarks which are educationally or historically significant, unique art or architecture, hidden local gem and networking places. Participants can snap the selected city object with GPS on, entitle the photo and share to the operator. It allows human act as sensor network to process data collection.
We all love brain-storming as we believe everyone will have something valuable to contribute. The bottom up formation of Pokestops allow people to discover the cityscape with a new perspective contributed by the crowd. As a result, we re-discover a lot of forgotten substances around us which are in fact existing and interesting but used to not come to our eyes.
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