|The blue wall is equally as wide as the orange wall in this elevation oblique|
from Kevin Forseth. Optically, it appears larger.
Monday, March 30, 2015
Sunday, March 29, 2015
|western drafted elevation oblique Japanese gyaku enkinhou visual narrative|
Friday, March 27, 2015
|materiality study at user touch-points|
|rapid visualization of space plan variant in elevation|
at 9:00 AM
Wednesday, March 25, 2015
|Paris, Bibliotheque Nationale, MS. lat.15158, fol.47. Dated 1289 CE.|
13th c. mass media communication
|Ron Kasprisin watercolor presentation document|
|J.F. Mahoney ink and watercolor presentation document|
at 3:00 PM
Monday, March 23, 2015
|John King, Jen Mahoney, Chip Sullivan|
|Proportioning parts of the body to the whole are a physiological constant. Size of figures in relation to one another changes with the beliefs of the culture that depicts them. Gods big; slaves small, etc.|
at 1:39 PM
Monday, March 16, 2015
|Detail, plan view of San Francisco Ferry Building|
|Proposed Dining Commons for Edible Schoolyard Project|
Friday, March 13, 2015
Let's get down to the workhorse signifier in a plan: lines.
1. Most abstractly, line in a plan makes a feature distinction between one side and the other, the way in linguistics, a single audio shift (vocalization) makes the difference between pear and bear.
|The bottom distinctive pair is crucial info for an Embarcadero-Telegraph Hill trip.|
The nature of the boundary remains ambiguous until third-dimension data is supplied, usually via elevation, section, annotation or a perspective drawing.
|Student work addressing access & transaction boundaries at a grocery store.|
Wednesday, March 11, 2015
|Screen shot of ©Google Maps view of SF. Scale bar on lower RH side.|
Anonymity, disengagement and superiority: some of the emotional color an aerial shot or a plan provides.
West to Coit Tower from Levis Plaza
|Greenwich steps looking down & east|
at 6:36 PM
Monday, March 9, 2015
|photo courtesy Belle Marko|
How about photos, then? Do photos work for maps? For communication of design ideas, sharing a photo does not guarantee mutual understanding of the subject depicted. Depending on the desired outcome, one may have to add –or subtract– elements to make a story clearer to an intended audience. This photo elicits my awe and admiration for the engineering of the Golden Gate Bridge. It may not engage the Egyptian brick-maker from the last post. He may have never seen a sea from on high, nor would he know that each of those light blobs can carry a family of six. What would he make of this image? If one could reach across a 3500-year culture gap, what addition to this image would tell the brick-maker what's going on in this photo?
We think of photos as carrying real information, because a camera reports everything in its field of view. Sometimes that's no help. The same view in fog, at dawn, or at high noon looks very different. A photo is merely a flat extraction of 3D data, whether taken from a satellite, a roaming van, or the end of a laparoscope. It's an abstract field of texture and color, unless it indicates scale or depicts a familiar item that gives the viewer a sense of his or her size in relation to the scene.
I'm glad my GPS doesn't send me "real" aerial photos for navigation! It reduces visual data to fewer colors, some arrows and scale indicators, and I can quickly choose a path.
Friday, March 6, 2015
|incised clay fragment 13-14c BCE map of Nippur (in Iraq)|
|Maps (plans) show how one piece of real estate is related to another. They typically show 2 dimensions. This worked to describe space for thousands of years. It's fun to look for ways image-makers have tried to weave in a third dimensional matrix into a plan view: height, the future, the afterlife, kinship or social hierarchy. We invented all kinds of systems for representing a 3rd dimension! Where we can't know the hierarchy between objects in images from distant times or unfamiliar cultures, we can only speculate why an image was created. Below is an early representation of all 3 dimensions around a body of water.|
|The Garden, fresco from Nebamun tomb, originally in Thebes, Egypt, now in the British Museum, London, U.K. Painting on plaster, 72 x 62 cm.|
|Nina de Garis Davies' reproduction of Rehkmire Tomb image,1500-1200 BCE|
at 4:52 PM