Cartographic Grounds - Projecting the Landscape Imaginary

251 aspirations to be plugged into social imagination and to stand apart as objective documents that transcend a naive representation of reality. While being part of a collective imagination, maps are also meant to twist it in specific ways. Conventional signs reveal themselves instrumental in this process. They give more or less importance to objects and phenomena, thus channeling the attention of the observer and suggesting new ways to interpret what they see. This is to say that maps are never neutral, even when they claim to be objective. Maps are inextricably assessment and project, whether this project be about the possible mobilization of natural resources, about military stakes, or about social and urban futures.2 Conventional signs also relate to aesthetic ambiguity, which is seldom acknowledged in contemporary cartography—contrary again to ancient maps, in which geographical information and ornamentation went hand in hand, from the elaborate cartouches that embellished their corners to the monsters and savage tribes that animated their uncharted parts. Notwithstanding this tendency toward denegation of aesthetics, our conventional signs are seldom chosen solely for their legibility. They usually appear within the frame of a graphic chart imbued with aesthetic concerns. A critical inquiry regarding the nature and use of conventional signs has become all the more urgent, now that the development of digital tools and digital media is currently challenging a number of traditional notions about cartography. For instance, the distinction between image and database is being blurred to a degree rarely reached before. With tools like Google Maps, the impression of realism has become so strong that one may be tempted to forget the constructed nature of the images of the earth that appear on our computer screens. Never has the frontier between imagination and objectivity been so porous. As digital media artist Laura Kurgan reminds us that maps are more than ever meant to convey intentions.3 It is worth remembering in this connection the military origin of many of the key technologies behind contemporary digital mapping, beginning with GPS. In our digital lives, conventional signs have multiplied. They no longer indicate simply the position of classical landmarks like mountaintops or

252 churches. They now signal the presence of nearby shops, restaurants, or nightclubs. The localization of friends may even appear on some social media maps. Such proliferation challenges the very notion of cartographic codes. Everything, or almost everything, can be mapped, and there seems to be no limit to the variety and number of items that can be displayed, often in a dynamic way, on a single map. In such a context, it may be worth rethinking the role of cartographic conventions. We might be entering a new magic kingdom, no longer populated with monsters and savages, but now covered by an unlimited sprawl of signs and icons, a kingdom on the maps of which ever-changing commercial and social suggestions are engulfing the stable references privileged by traditional cartography. Afloat on an ocean of dynamic references, it seems that we have no other choice than to navigate. But maps have always been both about contemplation and action. A critical reflection on cartographic conventions, as appears here in Cartographic Grounds: Projecting the Landscape Imaginary, may constitute a necessary step toward the reintroduction of a much-needed meditative stance in the rapidly expanding contemporary cartographic realm. 1 See Carlo Pedretti, Leonardo: Il Codice Hammer e la Mappa di Imola (Florence: Giunti Barbera, 1985); Mario Carpo and Francesco Furlan, eds., Leon Battista Alberti’s Delineation of the City of Rome (Descriptio Urbis Romae) (Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2007). 2Denis E. Cosgrove, ed., Mappings (London: Reaktion Books, 1999). 3Laura Kurgan, Close Up at a Distance: Mapping Technology & Politics (New York: Zone Books, 2013).

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Bunschoten, Raoul. “Energy-Conscious Design Practice in Asia: Smart City Chengdu and the Taiwan Strait Smart Region.” In Sustainable Energy Landscapes Designing, Planning, and Development, edited by Sven Stremke and Andy van den Dobbelsteen, 235–59. Boca Raton, FL: Taylor & Francis, 2013. Burton, Alfred H. Conquerors of the Airways: A Brief History of the USAF—ACIC and Aeronautical Charts. St. Louis, MO: US Air Force Aeronautical Chart and Information Center, 1953. Campbell, Tony. “Portolan Charts from the Late Thirteenth Century to 1500.” In The History of Cartography. Vol. 1, Cartography in Prehistoric, Ancient, and Medieval Europe and the Mediterranean, edited by David Woodward and J. B. Harley, 371–463. Chicago: University of Chicago Press, 1987. Crone, G. R. “Early Aeronautical Charts.” The Geographical Journal 126, no. 4 (1960): 553. 256 CARTOGRAPHIC GROUNDS

Federal Aviation Administration. Aeronautical Chart User’s Guide. 10th ed. Glenn Dale, MD: National Aeronautical Navigation Products, 2012. ———. “VFR Aeronautical Chart Symbols.” Aeronautical Chart User’s Guide: AeroNav Products. 10th ed. 14–39. Silver Spring, MD: Federal Aviation Administration, 2012. Keates, J. S. “Signs and Symbols.” In Understanding Maps. 2nd ed., 67–84. London: Longman, 1996. Main, Duane O. Three-Dimensional Portrayal of Aircraft Instrument Approach Procedures. Washington, DC: Naval Oceanographic Office, 1965. Meine, Karl-Heinz. “Aviation Cartography.” The Cartographic Journal 3, no. 1 (April 1996): 31–40. Misrach, Richard, and Kate Orff. Petrochemical America. New York: Aperture, 2012. Sieber, René, Christoph Schmid, and Samuel Wiesmann. “Smart Legend— Smart Atlas!” 22nd International Cartographic Conference, The International Cartographic Association. Coruña, Spain, July 11–16, 2005. US Department of Homeland Security. “IFR Aeronautical Chart Symbols.” http://www.uscg.mil/auxiliary/ missions/auxair/ifr_symbols.pdf. Usery, E. Lynn, Dalia Varanka, and Michael P. Finn. “A 125 Year History of Topographic Mapping and GIS in the U.S. Geological Survey 1884–2009, Part 1.” The National Map, United States Geological Survey. http://nationalmap.gov/ ustopo/125history.html. US Geological Survey. “Topographic Map Symbols.” http://egsc.usgs. gov/isb/pubs/booklets/symbols/ topomapsymbols.pdf. Wood, Denis. Everything Sings: Maps for a Narrative Atlas. 2nd ed. Los Angeles, CA: Siglio, 2013. World Digital Library. “Maps of Ezo, Sakhalin, and Kuril Islands.” Accessed July 23, 2014. http://www. wdl.org/en/item/3/#contributors= Fujita%2C+Tonsai. FRONT MATTER P. 4. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 0.0. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University. NOTES ON SCALE FIG. 0.1. Courtesy of USGS. FIG. 0.2. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 0.3. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 0.4. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 0.5. Extrait de la série TOP 25 n°3335OT publiées par l’Institut Géographique National. © IGN–2014. Autorisation n° 80–1461. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 0.6. Reproduced by permission of swisstopo (BA140296). Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. SOUNDING / SPOT ELEVATION FIG. 1.1. Courtesy of Jill Desimini. FIG. 1.2. Courtesy of Robert Gerard Pietrusko. FIG. 1.3. Courtesy of the David Rumsey Map Collection. FIG. 1.4. Courtesy of NOAA. FIG. 1.5. Courtesy of Great Lakes Maps FIG. 1.6. Reproduced with permission from the Museum of Science, Boston. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 1.7. Images courtesy of Future Cities Lab. FIG. 1.8. Courtesy of Atelier Girot. FIG. 1.9. Courtesy of Atelier Girot. FIG. 1.10. Courtesy of the David Rumsey Map Collection. FIG. 1.11. Courtesy of the Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania. FIG. 1.12. Courtesy of Anuradha Mathur and Dilip da Cunha. FIG. 1.13. Courtesy of Archivo Histórico José Vial Armstrong, Escuela de Arquitectura y Diseño, Pontificia Universidad Católica de Valparaíso. ISOBATH / CONTOUR FIG. 2.1. Courtesy of Jill Desimini. FIG. 2.2. Courtesy of Robert Gerard Pietrusko. FIG. 2.3. Courtesy of Bibliothèque nationale de France. FIG. 2.4. Courtesy of and © James Corner Field Operations. FIG. 2.5. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 2.6. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 2.7. Reproduced with the permission of the Canadian Hydrographic Service. Courtesy of Cabot Science Library, Harvard University. FIG. 2.8. Courtesy of Estudi Martí Franch. FIG. 2.9. Courtesy of NOAA. FIG. 2.10. Courtesy of West 8 Urban Design and Landscape Architecture. FIG. 2.11. Courtesy of Stoss Landscape Urbanism. FIG. 2.12. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 2.13. Courtesy of Hargreaves Associates. FIG. 2.14. Courtesy of OLM. FIG. 2.15. Courtesy of ARO and dlandstudio. FIG. 2.16. Courtesy of OPSYS. FIG. 2.17. Courtesy of Joost Grootens and Clemens Steenbergen. FIG. 2.18. Courtesy of USGS. FIG. 2.19. Courtesy of the Library of Congress Geography and Map Division. FIG. 2.20. Reproduced with permission from Ng Maps/National Geographic Creative. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. CREDITS 257 CREDITS

HACHURE / HATCH FIG. 3.1. Courtesy of Jill Desimini. FIG. 3.2. Courtesy of Robert Gerard Pietrusko. FIG. 3.3. © The British Cartographic Society, 2012. Used with permission. Courtesy of Patrick Kennelly. FIG. 3.4. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 3.5. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 3.6. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 3.7. Courtesy of the David Rumsey Map Collection. FIG. 3.8. Courtesy of Groundlab. FIG. 3.9. Courtesy of Groundlab. FIG. 3.10. Courtesy of Claude Cormier + Associés. FIG. 3.11. Courtesy of LCLA Office. FIG. 3.12. Courtesy of LCLA Office. FIG. 3.13. Used with permission. Courtesy of Junya Ishigami. FIG. 3.14. Courtesy of Estudi Martí Franch. FIG. 3.15. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. SHADED RELIEF FIG. 4.1. Courtesy of Jill Desimini. FIG. 4.2. Courtesy of Robert Gerard Pietrusko FIG. 4.3. Reproduced with permission from Ng Maps/National Geographic Creative. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 4.4. Courtesy of the Royal Collection Trust / © Her Majesty Queen Elizabeth II 2014. FIG. 4.5. Courtesy of the Library of Congress Geography and Map Division. FIG. 4.6. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 4.7. Courtesy of Swi 635.7. Widener Library, Harvard University. FIG. 4.8. Courtesy of the Alpines Museum der Schweiz. FIG. 4.9. Courtesy of Zaha Hadid Architects. FIG. 6.4. Courtesy of David Grahame Shane. FIG. 6.5. Courtesy of Bas Smets. FIG. 6.6. Courtesy of Joan Busquets. FIG. 6.7. Courtesy of Bas Smets. FIG. 6.8. Courtesy of Bernardo Secchi and Paola Viganò. FIG. 6.9. © 1979 Massachusetts Institute of Technology, by permission of The MIT Press. FIG. 6.10. Courtesy of and © OMA. FIG. 6.11. Courtesy of and © OMA. FIG. 6.12. Courtesy of Xaveer de Geyter Architects. FIG. 6.13. Courtesy of Bernardo Secchi and Paola Viganò. FIG. 6.14. Nr. 40—New York. © Bollmann-Bildkarten-Verlag, Braunschweig, Germany. Used with permission. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 6.15. Courtesy of Global Arquitectura Paisagista. FIG. 6.16. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. STRATIGRAPHIC COLUMN FIG. 7.1. Courtesy of Jill Desimini. FIG. 7.2. Courtesy of Robert Gerard Pietrusko. FIG. 7.3. Courtesy of Mosbach Paysagistes. FIG. 7.4. Reproduced by permission of the British Geological Survey. © NERC. All rights reserved. CP14/085. FIG. 7.5. Courtesy of Cabot Science Library, Harvard University. FIG. 7.6. Courtesy of the Geological Survey of Japan. FIG. 7.7. Courtesy of NASA. FIG. 7.8. Courtesy of the David Rumsey Map Collection. FIG. 7.9. Courtesy of the David Rumsey Map Collection. FIG. 7.10. Courtesy of Stoss Landscape Urbanism. FIG. 7.11. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 7.12. Courtesy of the David Rumsey Map Collection. FIG. 4.10. Courtesy of Ernst Mayr Library, Museum of Comparative Zoology, Harvard University. FIG. 4.11. Courtesy of Gustafson Guthrie Nichol. FIG. 4.12. Courtesy of PROAP. FIG. 4.13. Courtesy of the Library of Congress Geography and Map Division. FIG. 4.14. Courtesy of the Library of Congress Geography and Map Division. FIG. 4.15. © Hofer & Co. A.G. Graph. Anstalt Zürich. Courtesy of ETHBibliothek Zürich. LAND CLASSIFICATION FIG. 5.1. Courtesy of Jill Desimini. FIG. 5.2. Courtesy of Robert Gerard Pietrusko. FIG. 5.3. © British Library Board, Maps K.top.6.95. Courtesy of the British Library Board. FIG. 5.4. Courtesy of Michel Desvigne Paysagiste. FIG. 5.5. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 5.6. Courtesy of the Geospatial Information Authority of Japan and Mark Mulligan. FIG. 5.7. Courtesy of Michel Desvigne Paysagiste. FIG. 5.8. Courtesy of Stan Allen Architect. FIG. 5.9. Courtesy of USGS. FIG. 5.10. Courtesy of USGS. FIG. 5.11. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 5.12. Courtesy of Valerie Imbruce. FIG. 5.13. Courtesy of the Architectural Archives, University of Pennsylvania. FIG. 5.14. Courtesy of Turenscape. FIG. 5.15. Courtesy of Stamen Design. FIG. 5.16. Courtesy of the LSU Coastal Sustainability Studio. FIGURE-GROUND FIG. 6.1. Courtesy of Jill Desimini. FIG. 6.2. Courtesy of Robert Gerard Pietrusko. FIG. 6.3. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 7.13. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 7.14. Courtesy of Ian L. McHarg Collection, the Architectural Archives, University of Pennsylvania. FIG. 7.15. Courtesy of the Ministry of Northern Development, Mines and Forestry; Courtesy of BRGM; Courtesy of the Arizona Geological Survey; © Commonwealth of Australia (Geoscience Australia) 2014. This product is released under the Creative Commons Attribution 3.0 Australia Licence (clockwise from top left). CROSS SECTION FIG. 8.1. Courtesy of Jill Desimini. FIG. 8.2. Courtesy of Robert Gerard Pietrusko. FIG. 8.3. Courtesy of Cabot Science Library, Harvard University. FIG. 8.4. Courtesy of the David Rumsey Map Collection. FIG. 8.5. Courtesy of Anuradha Mathur and Dilip da Cunha. FIG. 8.6. Courtesy of Cabot Science Library, Harvard University. FIG. 8.7. Courtesy of Bernardo Secchi and Paola Viganò. FIG. 8.8. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 8.9. Courtesy of Michael van Valkenburgh Associates. FIG. 8.10. Courtesy of the Harvard Map Collection, Harvard Library, Harvard University. FIG. 8.11. Courtesy of Felipe Correa. FIG. 8.12. Courtesy of Mosbach Paysagistes. FIG. 8.13. Courtesy of Vogt Landscape Architects. FIG. 8.14. Courtesy of Vogt Landscape Architects. LINE SYMBOL FIG. 9.1. Courtesy of Jill Desimini. FIG. 9.2. Courtesy of Aaron Straup Cope. FIG. 9.3. Courtesy of the David Rumsey Map Collection. 258 CARTOGRAPHIC GROUNDS

FIG. 10.8. Image courtesy of © British Crown Copyright. Reproduced by permission of the Controller of Her Majesty’s Stationery Office and the UK Hydrographic Office. Not to be used for navigation. FIG. 10.9. Dyke, Seawall, Breakwater Port Protection Structures, after Paul Boisser. FIG. 10.10. Courtesy of the Pusey Map Collection, Harvard Library, Harvard University and the United States Federal Aviation Administration. FIG. 10.11. Courtesy of U.S. Department of Homeland Security. http://www. uscg.mil/auxiliary/missions/auxair/ ifr_symbols.pdf. FIG. 10.12. Courtesy of United States Federal Aviation Administration. FIG. 10.13. Courtesy of U.S. Department of Homeland Security. FIG. 10.14. Courtesy of Bieke Cattoor. FIG. 10.15. Courtesy of CHORA. FIG. 10.16. Courtesy of the David Rumsey Map Collection. FIG. 10.17. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 10.18. Courtesy of the Pusey Map Collection, Harvard Library, Harvard University. FIG. 10.19. Courtesy of the Geospatial Information Authority of Japan and the Pusey Map Collection, Harvard Library, Harvard University. FIGS. 10.20–10.22. Extraits des Spécimens des Principales Cartes publiées par l’Institut Géographique National. © IGN–2014. Autorisation n° 80-1461. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. BACK MATTER PP. 268–69. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 9.4. Courtesy of and reproduced with permission from Melway Publishing Pty Ltd. FIG. 9.5. Courtesy of Bieke Cattoor. FIG. 9.6. Courtesy of Bernardo Secchi and Paola Viganò. FIG. 9.7. Courtesy of the Pusey Map Collection, Harvard Library, Harvard University. FIG. 9.8. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design and The Appalachian Trail Conservancy. FIG. 9.9. Courtesy of Dartmouth College Library. FIG. 9.10. © The Estate of A. Wainwright 1966. Reproduced by permission of Frances Lincoln Ltd. FIG. 9.11. Courtesy of the Frances Loeb Library, Harvard University Graduate School of Design. FIG. 9.12. Courtesy of the Pusey Map Collection, Harvard Library, Harvard University. FIG. 9.13. Courtesy of maps.google.com. FIG. 9.14. Courtesy of Alison and Peter Smithson Archives, Frances Loeb Library, Harvard University Graduate School of Design. FIG. 9.15. Courtesy of Alison and Peter Smithson Archives, Frances Loeb Library, Harvard University Graduate School of Design. FIG. 9.16. Courtesy of Benaki Museum, Neohellenic Architectural Archives. FIG. 9.17. Courtesy of Edward Eigen. FIG. 9.18. Courtesy of © British Library Board, Cotton MS Claudius DVI. CONVENTIONAL SIGN FIG. 10.1. Courtesy of Jill Desimini. FIG. 10.2. Courtesy of Jill Desimini. FIG. 10.3. Courtesy of the Pusey Map Collection, Harvard Library, Harvard University. FIG. 10.4. Courtesy of SCAPE Landscape Architecture. FIG. 10.5. Courtesy of the Library of Congress Geography and Map Division. FIG. 10.6. Courtesy of Denis Wood. FIG. 10.7. Courtesy of Lateral Office. CREDITS 259

261 Italicized page numbers indicate figures A abstraction, 250 aerial image and, 15 contextual, 16 conventional sign and, 221–22, 228 cross section and, 193 diagram and, 13 hachure/hatch and, 74 isobath/contour and, 47–48 plan and, 13, 42 school of thought for, 9 shaded relief and, 93, 105 stratigraphic column and, 170 Acropolis-Philopappou, The Paved Road Towards Acropolis (Pikionis), 217 actualization, 6–7 aerial images, 12 Colwell and, 113–14 concept of, 14–15 contour lines and, 58 conventional sign and, 14–15, 235, 241 da Vinci and, 93, 98, 250 figure-ground and, 153 land classification and, 113–14, 115, 120, 128–29, 164 line symbol and, 197 morphology and, 14 NASA and, 114, 115, 164 photogrammetry and, 14, 102, 114 scale and, 23–24 Aeronautical Chart Symbols, IFR Enroute Low/High Altitude U.S., Pacific and Alaska Charts (U.S. Department of Homeland Security), 233 aesthetics, 63, 157, 164, 222, 251 Agence Patrick Arotcharen, 59 “Agency of Mapping, The: Speculation, Critique and Invention” (Corner), 17 AGENdA, 88 Agricultural Biodiversity Study (Imbruce), 131 Agricultural Land Use, Imperial Valley All Vegetables and Specific Crops: Alfalfa (Johnson, Bowden, and Pease), 128 Albee, Howard F., 164 Alberti, Leon Battista, 250 Allen, Stan, 124 Alpen-Panorama vom Pilatus (Imfeld), 102 Bayou Bienvenue (LSU Coastal Sustainability Studio), 135 Bechler, Gustavus, 90 Becker, George F., 170, 182 Billys Island Quadrangle (USGS), 127 Bird’s-Eye Map of Western Tuscany (da Vinci), 93, 98 Blue Slabs (Hadid), 102 Boissier, Paul, 231 Bollmann, Herman, 153 Bourdeaux Botanical Garden: Sections of the Environment Gallery (Paysagistes), 193 Bowden, Leonard, 128 Boylan Heights, 228 British Admiralty Chart, 231 Broadacre City, 124 Brooklyn Bridge Park (Michael van Valkenburgh Associates), 189 Bulawayo (Department of the Surveyor General, Zimbabwe), 27 Bundesamt für Landestopografie, 29 Bureau Bas Smets, 143, 148 Busquets, Joan, 144 C Cambridge Walks (Smithson and Smithson), 215 Campo das Cebolas (Global Arquitectura Paisagista), 154 Carte de Freduci d’Ancome, Dressée en 1497 in Atlas Composé de Mappemondes, de Portulans et de Cartes Hydrographiques et Historiques (de Santarém), 226 Carte de la France (Dupain-Triel), 47, 54 Carte de la partie la plus élevée de la Suisse (Clausner), 83 cartographic imagination, 6–7 Cattoor, Bieke, 204, 236 census maps, 12 Chart of Squam Lake, New Hampshire, A (Washburn), 39 Cheysson, J. J. Emile, 217 chiaroscuro technique, 93, 98 CHORA, 236 Citizen’s Cambridge Structuring Plan: The Nature of Place Restored (Smithson and Smithson), 215 Claude Cormier + Associés, 87 Clausner, Joseph, 83 CNIT, 150 Coastal Piracy or Coast Guard? (OPSYS/Alexandra Gauzza), 66 Coignet, Philippe, 94 Alphand, Jean-Charles Adolphe, 48, 49, 63, 158, 171, 173 Alpine Architektur (Taut), 98 AlpTransit San Gottardo SA, 42 Amereida travesías (Escula de Arquitectura y Diseño), 44 Anderson, James R., 114, 116 Anderson Land Classification (Pietrusko and Basic), 120 Animation Still (Pietrusko), 36, 54, 78, 98, 142, 162, 182 annotation, 116, 189, 222 Another Scale of Architecture (Ishigami), 88 Appalachian Trail conference, The, 208 Appalachian Trail Detail Map Showing Mostly Pennsylvania (MacKaye), 209 Applied Ecological Services, 64 Architecture Research Office (ARO), 64 Arno River, 98 Ar Rifa (Fairey Surveys Ltd.), 241 ARUP, 64 Atelier Girot, 42, 64 atlases, 15 contour lines and, 66 conventional sign and, 226, 228, 236, 239 figure-ground and, 138, 154 hachure and, 74, 81 line symbol and, 198 stratigraphic column and, 158, 170–71 Atlas of the New Dutch Water Defence (Steenbergen, van der Zwart, and Grootens), 66 Atlas Suiss, Le mont Gotthard et partie des Grisons (Weiss), 81 Aurelian Wall, 93, 98, 250 Aurora (Future Cities Lab), 40 Auto Road Map of Los Angeles and Vicinity (Rand McNally), 203 B Bache, Alexander Dallas, 33, 36–37 Badan Koordinasi Survei dan Pemetaan Nasional (Bakosurtanal), 27 Baedeker, Karl, 211 Baseline Plottings from Deccan Traverses: The Making of Bangalore’s Terrain (Mathur and da Cunha), 44 Basic, Grga, 115, 120 bathymetric data, 31, 47, 50, 57, 59–60, 64, 66, 231 Bau der Alpen, Der: Blatt 2: Westalpen (Staub), 184 College City magazine, 148 color bathymetric tints and, 59, 66 contour lines and, 23, 50–51, 54, 59–61, 64, 66, 68 conventional sign and, 221–22, 227, 236, 250 conventions for, 12, 18, 23, 250 cross section and, 177–78, 186 figure-ground and, 137–38, 149, 152–54 grayscale and, 50, 95 hachure/hatch and, 74, 81, 90 hypsometric shades and, 50, 59–60, 64, 74 land classification and, 113, 116, 131, 135 line symbol and, 198, 203–4, 206, 212 material quality and, 50 ramps and, 50, 59 ROYGBIV, 50, 60 shaded relief and, 93–95, 98, 102, 109 stratigraphic column and, 157, 159, 163–64, 170–71, 173–75 tints and, 50, 59–60, 64, 66, 74, 94 tones and, 74, 90, 93–94, 102, 110, 120, 129, 144, 174 true, 42, 113 Color Legend (Shelton), 109 Colwell, Robert N., 113–14 composition, 13, 94, 174, 176 Computer Mapping and the Regional Landscape, A Forest Density; B Areas for Conservancy (Steinitz), 129 Comstock Mine Maps (Becker), 170 Conditions de Navigabilité des Fleuves, Rivières et Canaux de la France (Cheysson), 217 contour lines, 9, 18 abstraction and, 47–48 aerial images and, 58 color and, 23, 50–51, 54, 59–61, 64, 66, 68 concept of, 46–47 contrast and, 50–51 conventional sign and, 221, 231, 233, 235, 239, 241, 243 design culture and, 48 Dutch traditions and, 47, 66 early, 47 elevation and, 47–48, 50, 61, 64 evolution of, 47, 50 figure-ground and, 151 French traditions and, 24, 47–48, 54 gradients and, 50, 60, 64 INDEX

262 CARTOGRAPHIC GROUNDS contemporary, 18 French, 48 hachure/hatch and, 73 isobath/contour and, 48 Design with Nature (McHarg), 17 Desimini, Jill Contour Techniques: Central Park Lake and, 49 Conventional Sign and, 223 Cross-Section Techniques: Brooklyn Bridge Park and, 179 Dyke, Seawall, Breakwater Port Protection Structures and, 231 Figure-Ground Techniques: Barcelona and, 139 Hatch Typologies and, 75 Land-Classification Techniques: Los Angeles and, 115 Line Typologies and, 199 Shaded-Relief Palettes and, 95 Sounding Techniques: San Francisco, Detroit River, Cape Cod, Squam Lake and, 33 Stratigraphic Column and, 159 Wind Symbols and, 226 Desvigne Paysagiste, Michel, 120, 124, 162, 179, 193 Detroit River, 33, 39 diagrams block, 177–78 concept of, 13–14 spatial fidelity and, 13 Dien, J. B., 54 digital representation conventional sign and, 251 GIS and, 32, 114, 116 Google and, 94, 120, 212, 251 hachure and, 74 Harvard University Laboratory for Computer Graphics and Spatial Analysis and, 17 land classification and, 114, 135 shaded relief and, 93–95, 102, 105, 109 spot elevations and, 32, 42 Swiss map accuracy and, 24 traditional challenges and, 251 dlandstudio, 64 dos Santos, Eugénio, 154 dot density, 32 Drawing of Wiesbaden Street Plan (Rowe and Koetter), 148 Dufour, Guillaume-Henri, 81 Dupain-Triel, Jean-Louis, Jr., 47, 54 Dutch, 47, 57, 66 pictographic, 220–22, 227, 250 texture and, 221, 243 topographical maps and, 239, 243 Conventional Sign (Desimini), 223 Conventional Signs (USGS), 239 coordinate systems, 32 Cope, Aaron Straup, 203 Corner, James, 17 Cornwallis, Lord, 184 Correa, Felipe, 190 Crissy Field (Hargreaves Associates), 63 cross section, 9 abstraction and, 193 color and, 177–78, 186 concept of, 176–78 elevation and, 176–78, 190 geography and, 178 hachure and, 74 hatch and, 178, 189 keys and, 177, 184 linear traverse and, 178 planar projection and, 177 reconnaissance and, 177 as signature feature, 177 in situ, 74 spatial conditions and, 177 tectonics and, 177, 184 texture and, 178 as tool of discovery, 177 transect and, 178 Cross-Section Techniques: Brooklyn Bridge Park (Desimini), 179 Cruquius, Nicolaaas, 57 cultural data, 9 D da Cunha, Dilip, 44, 184 Dangermond, Jack, 114 data availability, 10 data points, 16, 32, 42 da Vinci, Leonardo, 93, 98, 250 Davis, William Morris, 104 de Certeau, Michel, 198 Défense Grand Axes, La (OMA), 150 Delmarva Peninsula, 114 De Meulder, Bruno, 204, 236 Department of the Surveyor General, Zimbabwe, 27 de Santarém, Visconde, 226 Descriptio Urbis Romae (Delineation of the City of Rome) (Alberti), 93, 98, 250 design culture, 9, 11, 17 aesthetics and, 63, 157, 164, 222, 251 composition and, 13, 94, 174, 176 grading plans and, 47–48, 64 hachure/hatch and, 47, 59, 66, 68, 73–74, 81, 83 hypsometric tints and, 50 importance of, 47 index, 50, 64 land classification and, 127 landscape design and, 7 line symbol and, 197, 206, 208–9 models and, 50, 61, 63 morphological landscapes and, 47 morphology and, 47, 66 overlays and, 50, 63 perspectival view and, 61 as projective element in creative process, 49 scale and, 18 shaded relief and, 93, 98, 110 shadow and, 63 slope and, 47, 54 spot elevations and, 32 stratigraphic column and, 170, 173 technical chains of, 48 technical drawings and, 57 texture and, 48, 63, 68 topographical maps and, 47, 50 Contour Techniques: Central Park Lake (Desimini), 49 contrast contour lines and, 50–51 figure-ground and, 148 hatch and, 87 land classification and, 131, 135 line symbol and, 197–98, 206 shaded relief and, 93–94 conventional sign, 9 abstraction and, 221–22, 228 aerial images and, 14–15, 235, 241 aesthetics and, 251 ambiguities of maps and, 250–52 color and, 221–22, 227, 236, 250 concept of, 220–21 contour lines and, 221, 231, 233, 235, 239, 241, 243 digital representation and, 251 discretion of cartographer and, 222 elevation and, 231 evolution of, 221–22 geography and, 221–22, 243 hatch and, 222 ideographic, 220, 222 keys and, 221–22, 228, 241, 251 linear elements and, 222 multiplication of, 251–52 objective importance and, 251 overlays and, 222 Dyke, Seawall, Breakwater Port Protection Structures (Desimini), 231 E E17: Rhythm Phases of Highway— Landscape Interactions (Cattoor and De Meulder), 204 Echasses Golf and Surf Nature Resort, Les (Agence Patrick Arotcharen and Estudi Martí Franch), 59 Ècole des Ponts et Chaussées, 48 Ègouts de Paris au 1er Janvier 1878, 158 Egypt and the Sudân: Handbook for Travelers (Baedeker), 211 Ehrlich, Paul, 98 Eliot, Charles, 114, 174 engraving, 43, 48, 63, 73 Entrance to San Francisco Bay California (Bache), 36–37 Environmental Resources of the Toronto Central Waterfront (WMRT), 133 Escuela de Arquitectura y Diseño, 44 Esri, 114 Estudi Martí Franch, 59, 90 Euro Delta (Bureau Bas Smets), 148 Extension in the Sea, Monaco (Xaveer de Geyter Architects), 151 Ezo Kokyo Yochi Zenzu, 227 F Fabian, Lorenzo, 148 Fairey Surveys Ltd., 241 Fences (Wood), 228 Field Study London (Shane), 143 figure-ground, 9 aerial images and, 153 color and, 137–38, 149, 152–54 concept of, 136–38 contour lines and, 151 contrast and, 148 hatch and, 144 keys and, 154 morphology and, 98 perception of fills and voids, 137 poché and, 136–38 representational simplicity of, 137–38 Rubin face and, 137 texture and, 144, 148 Figure-Ground Techniques: Barcelona (Desimini), 139 Figures Infrastructures: An Atlas of Roads and Railways (SUN Architecture), 236 Fisher, Howard, 114

limitations of, 74 line symbol and, 197 models and, 74, 81, 83 pictorial tradition and, 73 shaded relief and, 93 shadow and, 73–74, 81 in situ cross section and, 74 slope and, 72–74, 83 texture and, 72–73, 83 traditional, 78 Hadid, Zaha, 102 Hadspen House Estate: Shape of a Walk (Vogt Landscape Architects), 194 Hargreaves, George, 94 Hargreaves Associates, 63 Harvard Geographical Models (Davis), 104 Harvard Graduate School of Design, 17, 133 Harvard University Laboratory for Computer Graphics and Spatial Analysis, 17, 114 hatch, 9 bathymetric tint and, 59 color and, 90 concept of, 72–73 contrast and, 87 conventional sign and, 222 cross, 78 cross section and, 178, 189 design culture and, 73 elevation and, 83 evolution of, 73–74 figure-ground and, 144 grain and, 88 isobath/contour and, 59 land classification and, 116 line symbol and, 212 overlap and, 90 shadow and, 78 solid fill and, 87 spot elevations and, 40 stratigraphic column and, 173 texture and, 84, 88 Hatch Typologies (Desimini), 75 Haussmann, Georges Eugène, 48, 63 Hayden, Ferdinand, 90 Heart of the Grand Canyon, The (Peele, Rogers, Washburn, and Tóth), 33, 68 Hong Kong, 102 Hood, Washington, 33, 43 Horizon: Cafeteria at Kanagawa Institute of Technology (Junya Ishigami + associates), 88 Howard, K. A., 157, 164 Humboldt Distribution of Plants in Global Arquitectura Paisagista, 154 Global Positioning System (GPS), 32, 251 Godfrey, Mery, 203 Google, 94, 120, 212, 251 Governors Island Park and Public Space Master Plan (West 8 Urban Design and Landscape Architecture), 61 Governor’s Island Summer Park (Paysagiste), 120 gradients contour lines and, 50, 60, 64 hachure/hatch and, 74, 83 shaded relief and, 93 stratigraphic column and, 163 grading plans, 47–48, 64 Graham, J. D., 33, 43 Grande Arche, 150 Grand Canyon: Bright Angel (USGS), 68 grayscale, 50, 95 Greater Melbourne Street Directory (Melway), 203 Great Lakes Data Rescue Project-Lake Ontario Bathymetry: Rochester Basin (NOAA), 60 Greensward Plan, 57 Grenoble (Institut National de l’Information Géographique et Forestière), 28 Grootens, Joost, 66 Groundcovers (Plasma Studio and Groundlab), 84 Groundlab, 84 Guide to the Appalachian Trail in Maine (The Appalachian Trail Conference), 208 Gustafson, Kathryn, 94, 105 Gustafson Guthrie Nichol, 105 H hachure, 9, 18, 90 abstraction and, 74 as alternative to tonal shading, 73 color and, 74, 81 concept of, 72–73 contour lines and, 47, 66, 68, 73–74, 81, 83 cross-hatch and, 78 digital representation and, 74 elevation and, 73–74, 83 evolution of, 73–74, 81 geography and, 73–74 gradients and, 74, 83 keys and, 74, 87 Lehmann and, 73 Flickr, 203 Flowing Gardens-Xi’an International Horticultural Expo General Plan (Plasma Studio and Groundlab), 84 French, 24, 47–48, 50, 54, 198 Frente Ribeirinha do Porto (PROAP), 95, 106 Future Cities Lab, 40 G Gavel Fells (Wainwright), 210 Geddes, Patrick, 178 General Bathymetric Chart of the Oceans (International Hydrographic Organization), 59 General Plan of Triangles: An Account of the Trigonometrical Operations in Crossing the Peninsula of India (Lambton), 44 geographic information system (GIS), 32, 114, 116 geography conventional sign and, 221–22, 243, 251 cross section and, 178 digital representation and, 17 distortion and, 11 fidelity and, 10–11 geographic information system (GIS) and, 32, 114, 116 hachure/hatch and, 73–74 land classification and, 114, 120, 124, 129 line symbol and, 196–97, 212 objective depiction of, 11 plan and, 13 school of thought for, 9–10 shaded relief and, 104 sounding/spot elevation and, 31–32, 44 topographic maps and, 12, 16 Geological Map of England and Wales and Part of Scotland, A (Smith), 163 Geological Map of Miyake Jima Volcano (Geological Survey of Japan), 157, 164 Geological Survey of Japan, 164 Geologic Map of the Crater Copernicus (USGS and NASA), 157, 164 Geologic Map of the Jackson Quadrangle, Teton County, Wyoming (Love and Albee), 164 Geospatial Information Authority of Japan, 120, 243 gesture, 50, 63 Girot, Christophe, 42 Equinoctial America: According to Elevation above the Level of the Sea (von Humboldt), 190 hydrology, 16, 133, 143, 148, 162, 174, 186, 198 hypsometric tints, 50, 59–60, 64, 74 I IFR Enroute Low Altitude Aeronautical Chart, Area Chart 02 LAX (United States Federal Aviation Administration), 233 Imbruce, Valerie, 131 Imfeld, Xaver, 102 Imhof, Eduard, 18, 47, 51n1, 73, 74n1, 102, 110, 153 Imola, 250 Imperial Valley, 114 Indonesia, 23–24 Information Anxiety (Wurman), 22 Insertion of the AlpTransit Depot in the Valley of Sigirino, Ticino, Switzerland (Atelier Girot, et al.), 42 Institut Géographique National (IGN), 243 Institut National de l’Information Géographique et Forestière, 28 International Hydrographic Organization, 59 isobath, 9, 18. See also contour lines concept of, 46–47 soundings and, 32 isoline family, 32, 47, 64 Issoudun District (Paysagiste), 124 Itecsa, Pini Associati Ingegneri, IFEC Ingegneria SA, 42 J Jackson Hole, 164 James Corner Field Operations, 54 Jefferson, Thomas, 36 Jeppesen Map Company, 109 J. Mayer H. und Partner, Architekten, 64 Johnson, Claude, 128 Juneja, Narendra, 174 Junya Ishigami + associates, 88 K Karte der Gegend um den Walensee (Imhof), 102 Kennelly, Patrick, 78 keys, 12, 15 conventional sign and, 221–22, 228, 241, 251 cross section and, 177, 184 INDEX 263

264 CARTOGRAPHIC GROUNDS Map Showing the Original Topography of the Site of the Central Park (Olmsted and Vaux), 57 Map Stacks (Stamen Design), 135 Mardel, Carlos, 154 mathematics, 16, 31–32, 44, 48, 93, 102 Mathur, Anuradha, 44, 184 Matschenz, Andreas, 154 Medford: Performance Requirements for the Maintenance of Social Values Represented by the Natural Environment of Medford Township, NJ (McHarg and Juneja), 174 Melway, 203 Michael van Valkenburgh Associates, 189 Military Map Showing the Topographical Features of the Country Adjacent to Harper’s Ferry, Virginia (Weyss), 83 Milne, Thomas, 115, 120 Milne’s Plan of the Cities of London and Westminster (Milne), 120 Ministère des Travaux Publics, 217 Miyake Jima volcano, 157, 164 models cartographic process and, 94 continuous-surface, 42 contour lines and, 50, 61, 63 digital, 32, 42, 95 hachure/hatch and, 74, 81, 83 point-cloud, 32–33, 42 shaded relief and, 92, 94–95, 102, 104–5 spot elevations and, 32, 42 terrain, 32, 81, 94–95 three-dimensional, 11, 14, 32, 61, 74 MoMA Rising Currents: Projects for New York’s Waterfront (ARO and dlandstudio), 64 monuments, 144, 198, 211, 221–22 morphology, 9, 17 aerial images and, 14 contour lines and, 47, 66 figure-ground and, 137, 143–44 hachure/hatch and, 88 land classification and, 113 shaded relief and, 98 stratigraphic column and, 158, 164 Mostafavi, Mohsen, 6–7 Mount Chimborazo, 190 Mount Everest (National Geographic Society), 98 Mount Saint Helens (Kennelly), 78 Müller, Joachim Eugen, 81 linear traverse, 178 line symbol, 9 aerial images and, 197 boundaries and, 197 borders and, 197 color and, 198, 203–4, 206, 212 concept of, 196–97 contour lines and, 197, 206, 208–9 contrast and, 197–98, 206 diversity of, 197–99 elevation and, 209 geography and, 196–97, 212 hachure and, 197 hatch and, 212 infrastructure and, 197 keys and, 209, 211 lack of area and, 197–98 length and, 197 navigation and, 197 overlays and, 212 pictorial tradition and, 198 position and, 197 property lines and, 197 rivers and, 197 routes and, 197 scale and, 197–99 slope and, 198 temporal narrative and, 197 texture and, 217 time and, 198 Line Typologies (Desimini), 199 London City Council, 212 Look of Maps, The (Robinson), 8 Los Angeles and Vicinity Seen from Space (NASA), 115 Loudon, John Claudius, 179, 189 Love, J. D., 164 LSU Coastal Sustainability Studio, 135 Lurie Garden, The (Gustafson Guthrie Nichol), 105 M McHarg, Ian, 17, 114, 174 Mackay, Iven, 203 MacKaye, Benton, 208–9 Maine Appalachian Trail Club, 208 Man’en kaisei O-Edo oezu (Takai), 120 Mapa de América (Escuela de Arquitectura y Diseño), 44 Map of the British Isles (Paris), 218 Map of the Extremity of Cape Cod (Hood and Graham), 43 Map of the Metropolitan District of Boston (Eliot), 174 Map of the Sources of Snake River (Bechler), 90 figure-ground and, 154 hachure and, 74, 87 land classification and, 120 line symbol and, 209, 211 shaded relief and, 109 stratigraphic column and, 157, 163 King, Clarence, 170 Klanten, Robert, 10 Koetter, Fred, 148 Kurgan, Laura, 251 L Lake Tahoe, 170 Lambton, William, 44 land classification, 9 aerial images and, 113–14, 115, 120, 128–29, 164 boundaries and, 116 color and, 113, 116, 131, 135 concept of, 112–13 contour lines and, 127 contrast and, 131, 135 digital representation and, 114, 135 evolution of, 113–14, 116–17 geography and, 114, 120, 124, 129 hatch and, 116 indices for, 113 keys and, 120 masked dynamic process and, 113 morphology and, 113 NASA and, 114, 115, 164 National Land Cover Database (NLCD) and, 114, 116 overlays and, 116, 120 reductive delineation and, 113 standardization for, 114, 116 surveys and, 116 texture and, 113, 116, 120, 135 topographical maps and, 120 Land-Classification Techniques: Los Angeles (Desimini), 115 landmarks, 23 conventional sign and, 222, 231, 235, 239, 251–52 cross section and, 177 line symbol and, 198, 208–10 spot elevation and, 31–32, 44 stratigraphic column and, 157 Lateral Office, 228 LCLA Office, 87–88 legends, 12–13, 15–16, 173, 222, 243. See also keys Lehmann, Johann Georg, 73 Let Landscape Lead Urbanism— Growth Planning for Beijing (Turenscape), 133 Municipal Map of London (London City Council), 212 N N43 National Road Breaks Into Segments of a Line (Cattoor and De Meulder), 236 Napoléon III, 48 NASA, 114, 115, 164 National Geographic Society, 68, 98 National Land Cover Database (NLCD), 114, 116 National Oceanic and Atmospheric Administration (NOAA), 36–37, 60 Natural Earth, 203 navigation, 15–16, 36–37, 39, 43–44, 47, 197, 222, 226, 231, 252 negative space, 152 Nepal, 23, 26, 50, 98 Nevada Basin (King), 170 New American City, The (Allen), 124 New Haven Sheet, State of Connecticut (USGS), 239 New York (Bollman), 153 New York World’s Fair, 153 Nimrod Glacier, Topographic Reconnaissance Maps of Antarctica (USGS), 68 Nolli, Giambattista, 142 North Carolina State, 228 Nuova pianta di Roma moderna (Nolli), 142 O Observations on the Formation and Management of Useful and Ornamental Plantations: On the Theory and Practice of Landscape Gardening; and on Gaining and Embanking Land from Rivers or the Sea (Loudon), 189 Old Town Barcelona (Busquets), 144 OLM, 49, 64 Olmsted, Frederick Law, 57 OMA, 139, 149–50 OneGeology Maps, 175 OpenStreetMap, 203 OPSYS/Alexandra Gauzza, 66 overlays contour lines and, 50, 63 conventional sign and, 222 land classification and, 116, 120 line symbol and, 212 spot elevations and, 31 stratigraphic column and, 158–59, 174

Section as a Tool, The: A Regional Framework for Alexander von Humboldt’s Avenue of the Volcanoes (Correa), 190 Serpong (Badan Koordinasi Survei dan Pemetaan Nasional [Bakosurtanal]), 27 Serrini, Goffredo, 152 Service de la Carte Géologique de la France, 182 Service Géologique des Mines, 173 shaded relief, 9 abstraction and, 93, 105 aerial images and, 93–94, 102, 109 chiaroscuro technique and, 93, 98 color and, 93–95, 98, 102, 109 composition and, 94 concept of, 92–93 contour lines and, 93, 98, 110 contrast and, 93–94 deceptive nature of, 94 digital representation and, 94–95, 105 elevation and, 92–94, 98, 102 geography and, 104 gradients and, 93 hachure and, 93 keys and, 109 models and, 92, 94–95, 102, 104–5 pictorial tradition and, 93, 95 planar projection and, 95 shadow and, 92–94, 102 slope and, 93 spot elevations and, 98 topographical maps and, 109 Shaded-Relief Palettes (Desimini), 95 shadow contour lines and, 63 hachure and, 73–74, 81 hatch and, 78 shaded relief and, 92–94, 102 Shane, David Grahame, 143 Shelton, Hal, 18, 109 slope contour lines and, 47, 54 hachure and, 72–74, 83 line symbol and, 198 shaded relief and, 93 spot elevations and, 42 Smith, William, 157, 163 Smithson, Alison, 215 Smithson, Peter, 215 soundings, 9 concept of, 30 enhancement and, 32–33 isobath and, 32 precision and, 32–33 Portrait of Decline: The Gulf Under Siege (SCAPE Landscape Architecture), 227 Prato general plan, survey: “the block- notes” (Secchi, et al.), 152 Preliminary Chart of Mouth of the Detroit River (United States Army Corps of Topographical Engineers), 39 Pretty Maps (Cope and Stamen Design), 203 PROAP, 95, 106 Promenades de Paris, 48 Puig, F., 206 Pyramid Lake, 170 Pyramids of Giza, 211 R Rand McNally, 203 Ras al Khaimah Structure Plans (OMA), 149 raster imagery, 116, 135, 178 ReK Productions, 64 Relief Map of Appenzell Country (Imhof), 110 Reno Area (Shelton and Jeppesen Map Company), 109 Rhodesia, 23 Ricky Liu & Associates Architecture + Planners, 162 River That Is Not, The: Master Plan for Medellin’s River (LCLA Office and AGENdA), 88 Rivier de Merwede, De (Cruquius), 57 Robinson, Arthur H., 8 Rogers, Richard K., 68 Rowe, Colin, 143, 148 ROYGBIV color scheme, 50, 60 Rubin face, 137 Rudolf, Johann, 81 S scale, 13 accuracy and, 23 aerial images and, 23–24 contour lines and, 18 map currency and, 23–24 measurement/drawing relationship and, 31 planar projection and, 12 SCAPE Landscape Architecture, 227 Scientific American journal, 114 Secchi, Bernardo, 148, 152, 179, 186, 206 Second Annual Report of the Board of Commissioners of the Central Park, 57 P Parc des Ateliers (Bureau Bas Smets), 143 Parc des Buttes Chaumont, 48 Paris, Matthew, 218 Paris et Ses Environs (Service Géologique des Mines), 173 Paris (Service de la Carte Géologique de la France), 182 Parthenon, 199 Peak, The (Hadid), 102 Peak Leisure Club, 102 Pease, Robert, 128 Peele, William T., 68 Pellegrini, Paola, 148 Pettah 2 Plot (Mathur and da Cunha), 184 Pfyffer, Franz Ludwig, 81, 83 Phillippe Rahm Architectes, 162 photogrammetry, 14, 102, 114 Picon, Antoine, 250–52 pictorial tradition conventional sign and, 220–22, 227, 250 hachure and, 73, 83 line symbol and, 198 shaded relief and, 93, 95 Pietrusko, Robert Gerard, 36, 54, 78, 98, 115, 120, 142, 162, 182 Pikionis, Dimitris, 199, 217 Pineda Park, La (Estudio Martí Franch), 90 planar projection cross section and, 177 scale and, 12 shaded relief and, 95 stratigraphic column and, 157, 163 Plan des Courbes de Niveau du Parc des Buttes Chaumonts, Promenades de Paris (Alphand), 63 Plano General de Barcelona (Puig), 206 plans concept of, 13 mathematical conventions and, 16 parallel with maps, 16–18 scale and, 13 spacial fidelity and, 16 Plasma Studio, 84 Plymouth Sound and Approaches (British Admiralty Chart), 231 point clouds, 32–33, 42 Pop Art, 203 Porous City, The (Secchi and Viganò), 186 translation and, 32–33 visual clarity and, 32–33 Sounding Techniques: San Francisco, Detroit River, Cape Cod, Squam Lake (Desimini), 33 spatial fidelity, 13, 16, 228 Spécimens des Principales Cartes (IGN), 243 spot elevations, 9, 36 concept of, 30–31 contour lines and, 32, 47–48 coordinate systems and, 32 digital representation and, 32, 42 dot density and, 32 enhancement and, 32–33 geography and, 31–32, 44 global positioning systems and, 32 grid cells and, 32 hachure and, 83, 88 hatch and, 40 landscape complexity and, 31–32 measurement system for, 31 models and, 32, 42 overlays and, 31 point clouds and, 32–33, 42 precision and, 32–33 relative elevation and, 31 sea level and, 31 shaded relief and, 98 slope and, 42 texture and, 43 translation and, 32–33 triangulation and, 32 visual clarity and, 32–33 Squam Lake, 33, 39 Stamen Design, 135, 203 Standard Map with Transit, Bicycling and Traffic Overlays (Google), 212 Staub, Rudolf, 184 Steenbergen, Clemens, 66 Steinitz, Carl, 17, 114, 129 Stevenson, James, 90 Stoss Landscape Urbanism, 61, 171 stratigraphic column, 9 abstraction and, 170 aesthetic principles and, 157 alignment and, 158 color and, 157, 159, 163–64, 170–71, 173–75 concepts of, 156–57 contour lines and, 170, 173 elevation and, 158 gradients and, 163 hatch and, 173 implied time and, 158 infrastructural maps and, 157–58 INDEX 265

266 CARTOGRAPHIC GROUNDS University of California, Berkeley, 113 University of Pennsylvania Center for Ecological Research and Design, 174 University of Puerto Rico Botanical Gardens (James Corner Field Operations), 54 University of Wyoming, 164 U.S. Department of Homeland Security, 233, 235 V Valparaíso group, 44 van der Zwart, Johan, 66 van Valkenburgh, Michael, 179 Vaux, Calvert, 57 vectors, 14, 17, 24, 40, 44, 178 Vertical Cross-Sections of the Lode (Becker), 182 VFR Aeronautical Chart Symbols (U.S. Department of Homeland Security), 235 VFR (United States Federal Aviation Administration), 235 Viganò, Paola, 148, 152, 179, 186, 206 Vision Towards a Low Carbon Incubator Region: Taiwan Strait Smart Region (CHORA), 236 Vogt Landscape Architects, 179, 193–94 von Humboldt, Alexander, 178, 190 W Wainwright, A., 210 walking, 198 Wallace McHarg Roberts & Todd (WMRT), 133 Washburn, Bradford, 33, 39, 68 Water and Asphalt: The Project of Isotropy, X Biennale of Architecture, Venice (Secchi and Vignaò), 148, 206 watercolors, 110, 120, 135 Water Economies/Water Ecologies, Salton Sea (Lateral Office), 228 weather maps, 12 Weiss, Johann Heinrich, 81 West 8 Urban Design and Landscape Architecture, 61 Weyss, John E., 83 Wind Symbols (Desimini), 226 Wood, Denis, 228 Wright, Frank Lloyd, 124 Wurman, Richard Saul, 22 X Xaveer de Geyter Architects (XDGA), 151 Tonsai Fujita Royo, Hashimoto Ransi Shukuzu (Tonasi Fujita, Ezo Kokyo Yochi Zenzu), 227 Topographical Atlas of the State of Connecticut (USGS), 239 Topographical Map of Hachioji (Geospatial Authority of Japan), 243 topographical maps, 10. See also specific design concept of, 12–13 conventional sign and, 239, 243 as flattened representation, 12–13 isobath/contour and, 47, 50 land classification and, 120 legend and, 12–13, 15 mathematical conventions and, 16 plan and, 16 scale and, 18, 23–24 shaded relief and, 109 spacial fidelity and, 16 Topographic Map (Tokyo) (Geospatial Information Authority of Japan), 120 Topographische Karte der Schweiz (Dufour), 81 Tóth, Tibor G., 33, 68 Tour Areva, 150 transect, 178 Travaux de Paris, Les (Alphand), 158, 171, 173 triangulation, 31–32, 42–44 TRM Toronto—Lower Don (OLM, et al.), 64 True Color Point Cloud in Brissage, Ticino, Switzerland (Atelier Girot), 42 Tufte, Edward, 59 Turenscape, 133 typicality, 6 U Ubersichtsplan von Berlin (Matschenz and Straube), 138, 154 Understanding a Nautical Chart: A Practical Guide to Safe Navigation (Boissier), 231 United Arab Emirates, 149 United States Army Corps of Topographical Engineers, 33, 39 United States Coast Survey, 36 United States Federal Aviation Administration, 233, 235 United States Geological Survey (USGS), 14, 25, 50, 68, 127, 157, 164, 170, 182, 239 Università IUAV di Venezia, 206 keys and, 157, 163 morphology and, 158, 164 overlays and, 158–59, 174 planar projection and, 157, 163 property boundaries and, 159 relational information and, 158 Smith and, 157 soil maps and, 157–58 standardization of, 157 subsurface features and, 157–59, 163, 171 texture and, 173–74 urban-landscape project and, 158–59 Stratigraphic Column (Desimini), 159 Straube, Julius, 154 StudioPratoPrg, 152 subsurface, 9, 157–59, 163, 171, 177 Sugar Beach (Claude Cormier + Associés), 87 SUN Architecture, 236 Swiss, 24, 47, 50, 81, 83, 98, 102, 110, 184 T Tactical Archipelago, Kiev (LCLA Office), 87 Taichung Gateway Park (Stoss Landscape Urbanism), 61 Taichung Jade Ecopark Competition Drawing (Mosbach Paysagistes), 162 Takai, Ranzan, 120 Tate Modern (Vogt Landscape Architects), 193 Taut, Bruno, 98 tectonics, 102, 164, 177, 184 Territorial Vision for Brussels, 148 texture, 12 contour lines and, 48, 63, 68 conventional sign and, 221, 243 cross section and, 178 figure-ground and, 144, 148 hachure/hatch and, 72–73, 83–84, 88 land classification and, 113, 116, 120, 135 line symbol and, 217 spot elevations and, 43 stratigraphic column and, 173–74 Thick 2D (with a nod to Stan Allen), The Plaza at Harvard University, The (Stoss Landscape Urbanism), 171 tints, 50, 59–60, 64, 66, 74, 94 tones, 74, 90, 93–94, 102, 110, 120, 129, 144, 174 Y Yale University, 164 Yamashiro no Kuni ezu, 98 Z Zagaglia, Claudio, 152 Zermatt (Bundesamt für Landestopografie), 29 Zimbabwe, 27

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269

270 ACKNOWLEDGMENTS This book would not exist without the exquisite craft of the cartographers and designers presented herein. We must first acknowledge the authors of these images, as well as the collections, archives, and institutions in which they have been reposited. We would like to thank Mohsen Mostafavi, Dean of the Harvard Graduate School of Design and the Alexander and Victoria Wiley Professor of Design, for initiating this project, and Patricia Roberts, Executive Dean; Beth Kramer, Associate Dean for Development and Alumni Relations; and Benjamin Prosky, Assistant Dean for Communications, of the Harvard Graduate School of Design for their support. The exhibition that informed this publication would not have been possible absent the leadership of Dan Borelli and David ZimmermanStuart, the editorial acumen of Melissa Vaughn and Jake Starmer, and the contributions of our colleagues Robert Gerard Pietrusko, Fadi Masoud, Siena Scarff, Anya Domlesky, Jennifer Esposito, Michael Ezban, Lara Mehling, Stacy Morton, and Savina Romanos. We are indebted to the librarians and staff at the Harvard libraries for their help with the research for the project: Ann Whiteside, Mary Daniels, Inés Zalduendo, Alix Reiskind, Johanna Kasubowski, Irina Gornstein, and Adam Kellie from the Frances Loeb Library; Joseph Garver, Jonathan Rosenwasser, and Scott Walker from the Pusey Map Collection; and Michael Leach from the Cabot Science Library. We have been blessed with excellent research assistants who helped us with the considerable labor of converting the exhibition material into book form: Helen Kongsgaard, whose insightful mind and critical eye has helped to guide the project, and Megan Jones Shiotani, whose incredible hard work, infectious enthusiasm, concise research, quick drawing, and relentless permission hunting helped make this book a reality. We would like to thank those who contributed their translation skills, from French, Chinese, German, and Japanese to English, and from the MLA Style Manual to the Chicago Manual of Style: Alexander Cassini, Lara Mehling, Sam Sullivan, Eri Yamagata, and Yi Yang.

271 And those whose have offered time, meals, quiet places to write, emergency computers, red vines, love, support, encouragement, and critical insight: Daniel Bauer; Linda and Donald Desimini; Suzanne, Robert, Sam, and Louise Sullivan; Margie, Mark, and Rachel Bauer; Pierre Bélanger; Silvia Benedito; Anita Berrizbeitia; Eve Blau; Neil Brenner; Felipe Correa; Bruno De Meulder; Gareth Doherty; Sonja Dümpelmann; Edward Eigen; Rosetta S. Elkin; Stephen Ervin; John Dixon Hunt; Jane Hutton; Rahul Mehrotra; Mark Monmonier; Mark Mulligan; Antoine Picon; Bill Rankin; Hashim Sarkis; Kelly Shannon; Carl Steinitz; John Stilgoe; and Paola Viganò. Finally, we are pleased to dedicate this book to Nora and Cale, nascent cartographers and attentive readers of the cartographic grounds.

PUBLISHED BY Princeton Architectural Press A McEvoy Group Company 37 East Seventh Street New York, New York 10003 Visit our website at www.papress.com © 2016 Princeton Architectural Press All rights reserved ISBN 978-1-61689-329-3 (hardcover) ISBN 978-1-61689-514-3 (epub, mobi) No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. EDITOR: Tom Cho DESIGNER: Mia Johnson SPECIAL THANKS TO: Nicola Bednarek Brower, Janet Behning, Erin Cain, Barbara Darko, Benjamin English, Jenny Florence, Jan Cigliano Hartman, Lia Hunt, Valerie Kamen, Simone Kaplan-Senchak, Stephanie Leke, Diane Levinson, Jennifer Lippert, Sara McKay, Jaime Nelson Noven, Rob Shaeffer, Sara Stemen, Paul Wagner, Joseph Weston, and Janet Wong of Princeton Architectural Press —Kevin C. Lippert, publisher Library of Congress Cataloging-in-Publication Data available upon request