Data Visualization “Our life is frittered away by detail… simplify, simplify”

Henry David Thoreau Tufte, Visual Systems Napoleon’s Army in Russia Charles Joseph Minard Reedy Square Studio Gang Architects

Hyderabad Studio Gang Architects

The Act of Communication The Act of Communication

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Napoleon’s Army in Russia Charles Joseph Minard Tufte outlines six principles of analysis and presentation of data and all five are represented in this map.

1. Show comparisons, contrasts and differences

2. Show causality, mechanism, explanation, systematic structure

3. Show multivariate data: That is show more than 1 or 2 variables

4. Completely integrate words, numbers, images, diagrams

5. Thoroughly describe the evidence. Provide a detailed title, indicate the authors and sponsors, document the data sources, show complete measurement scales, point out relevant issues

6. Analytical presentations ultimately stand or fall depending on the quality, relevance and integrity of their content.

Napoleon’s Army in Russia Charles Joseph Minard The Act of Communication

…Translating Trans·late transˈlāt,tranz-/Submit Verb

1. express the sense of (words or text) in another language. "A straight horizontal thread one meter long falls from a height of one meter onto a horizontal plane twisting as it pleases and creates a new image of the unit of length." piece by Marcel Duchamp Man in Black Velvet Etienne Jules Marey Man in black suit with white lines down arms and legs Chronophotographie, Etienne Jules-Marey 1884 Nude Descending a Staircase No2 Marcel Duchamp, 1912 The Act of Mapping – a form of visualization

What does mapping do?

Maps are used for power As a means of control (property lines, country borders)

Maps have a point of view Either in terms of the author’s point of view or to convey a point of view

Maps have a context (location/historical)

Maps are self/author edited (can not contain all information, someone chooses what is included)

Maps tend to be site specific Representation Methods Walk Your Flat London Walking Slow Walks Graph London Walking Consumption and Distance London Walking Food Map London Walking Mutations: Rem Koolhaus Project on the City: ACTAR Mutations: Rem Koolhaus Project on the City: ACTAR Mutations: Rem Koolhaus Project on the City: ACTAR Pictograms 2012 London Olympics Airport Moji (script) Language of Dreams Media Production Center Studio Gang Architects In 1967, the French cartographer Jaques Bertin suggested the use of graduated sizes in a regular pattern as alternative to chroropleth maps.

The map shows the population distribution across departments in France. The country is overlaid by a regular grid of circles of which each is sized according to the population density of the department the circle falls into.

The most notable advantage is that one no longer need to choose between showing the quantity or density of a distribution, since the regular pattern shows both at the same time: You can compare the population density by looking at individual circles while still getting an impression of the total population for each department.

Dot Grid Map Kartograph City Maps

… Interpreting Information About the City Firstly, can we consider mapping the city through its use patterns, rather than illustrating it as an assembly of static landmarks? Is it possible to invert our notion of the city to foreground the fluctuating patterns of occupation and abandonment? Is it possible to repopulate the map to emphasize the rhythms of urban life rather than just the spaces in which they occur? Can we use wireless technologies to reflect back on themselves, revealing the emerging hybrid landscape of the material … as WiFi nodes are installed, wireless devices deployed, and adhoc networks formed? Finally, how should we associate the ephemeral events of the city in order to understand them as an evolving set of relationships?

Redefining the Basemap by Alison Sant The Image of the City Kevin Lynch The Naked City Guy Debord London Tube Map Original Harry Beck, 1931 China Railway Timetable Beijing, April 1985 Time and Distance Rem Koolhaus, 1995 The Act of Communication

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…Transform Trans·pose transˈpōz Verb transfer to a different place or context Ando, Santiago Calatrava,Intro Gordon Matta-Clark, Le Corbusier, Norman Foster, Zaha Hadid, Mies van der Rohe , Enric Miralles, Glen Murcott, Jean Nouvel,Libraries Renzo Piano, Eero Saarinen,Community Centers Giuseppe Terragni,Schools Frank Lloyd Wright, Peter Zumthor, Amhoteb Ando, Santiago Calatrava, Gordon Matta-Clark, Le Corbusier, Norman Foster, Zaha Hadid, Mies van der Rohe , Enric Miralles, Eduardo Murcott, Jean Nouvel, Renzo Piano, Eero Saarinen, Giuseppe Terragni, Frank Lloyd Wright, Peter Zumthor, Amhoteb (Imhotep), Calatrava, Gordon1 Matta-Clark,2 3 Le Corbusie4 r,5 Norman6 Foste7r, Zaha8 Hadid,9 Mies10 van der1 Rohe1 , Enric Miralles, Eduardo Souto de Nouvel, Renzo Piano, Eero Saarinen, Giuseppe Terragni, Frank Lloyd Wright, Peter Zumthor, Amhoteb (Imhotep), Tadao Ando, 2 7, 10, 11 Matta-Clark, Le Corbusier, Norman Foster, Zaha Hadid, Mies van der Rohe , Enric Miralles, Eduardo Souto de Moura, Glen 4 1 Piano, Eero Saarinen, Giuseppe Terragni, Frank Lloyd Wright, Peter Zumthor, Amhoteb (Imhotep), Tadao Ando,9 Santiago Ca- Le Corbusier, Norman Foster, Zaha Hadid, Mies van der Rohe , Enric Miralles, Eduardo Souto de Moura, Glen Murcott, Jean Saarinen, Giuseppe Terragni, Frank Lloyd Wright, Peter Zumthor, Amhoteb (Imhotep), Tadao Ando, Santiago Calatrava, Gordon Norman Foster, Zaha Hadid, Mies van der Rohe , Enric Miralles, Eduardo Souto de Moura, Glen Murcott, Jean Nouvel, Renzo Giuseppe Terragni,P Frank LloydP2 W right, Peter P5 Zumtho r, Amhoteb (Imhotep), P3 Tadao Ando, Santiago Calatrava, Gordon Matta-Clark, 3 5 6

Zaha Hadid, Mies van der Rohe , Enric Miralles, Eduardo Souto de Moura, Glend Murcott, Jean Nouvel, Renzo Piano, Eero a n n v a o

Frank Lloyd Wright, Peter Zumthor, Amhoteb (Imhotep), Tadao Ando, Santiagoz Calatrava, Gordon Matta-Clark, Le Corbusier, a l

t 8 e s a a m e h Mies van der Rohe , Enric Miralles,y Eduardo Souto de Moura, Glen Murcott, Jean Nouvel, Renzo Piano, Eero Saarinen, s r a h u i w c r i a

? o m r d h k Lloyd Wright, Peter Zumthor, Amhoteb (Imhotep), Tadao Ando,r Santiago Calatrava, Gordon Matta-Clark, Le Corbusier, Norman h s a a c H a e t T l l o z i e h u . a t l der Rohe , Enric Miralles, Eduardo Souto M de Moura, Glen Murcott, Jean Nouvel, Renzo Piano, Eero Saarinen, Giuseppe Ter- e u p D L n C r H A G B a a u

Peter Zumthor, Amhoteb (Imhotep), Tadao Ando, Santiago i Calatrava, Gordon Matta-Clark, Le Corbusier, Norman Foster, Zaha a a C a n d i t e i o K n c s a h e c e i o Y i l t Enric Miralles, Eduardo Souto de Moura, Glen Murcott, Jeana Nouvel, Renzo Piano, Eero Saarinen, Giuseppe Terragni, Frank i n y e r f n r a m r n t h e n e r o a y Amhoteb (Imhotep), Tadao Ando, Santiago Calatrava, Gordon Matta-Clark,i Le Corbusier, Norman Foster, Zaha Hadid, Mies h r o a t o o M E A B C J J S P M Eduardo Souto de Moura, Glen Murcott, Jean Nouvel, Renzo Piano,N Eero Saarinen, Giuseppe Terragni, Frank Lloyd Wright,

Arch 497 IIT Philadelphia Planning Study Louis Khan Static Movements Piero Zagami Static Movements Piero Zagami Static Movements Piero Zagami Static Movements Piero Zagami The Act of Communication

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Transform into something more beautiful or elevated. Increasing Disorder in a Dining Table Attributed to Diller Scofidio The Act of Communication

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…Transform trans·form: transforming transˈfôrm/ Verb make a thorough or dramatic change in the form, appearance, or character of. change, alter, convert, metamorphose, transfigure, transmute, mutate; undergo a transformation. "an automobile that transformed into a boat” synonyms: change, alter, convert, metamorphose, transfigure, transmute, mutate Rock n’ Roll Is Here To Pay

Rebecca Garofalo and Damon Rarey From Visual Explanations Tufte Sound and Smell Map

Vladimir Guculak Down to the Wire Gillian Potts Down to the Wire Gillian Potts Down to the Wire Gillian Potts Sound Sculptures Design Under Sky To interpret the score, I decided to apply rules to the image, and then produce music that followed those rules. Broadly, I interpreted left to right as time, and top to bottom as panning from left (top) to right (bottom). I then set rules for each type of shape and visual aspect. Circles are percussion, lines show evolution (of rhythm or tones), solid shapes are full sounds, outlines are more hollow sounds. Triangles were violins and pads, rectangles represented bass and lead sounds, etc. Finally, I took my rules and scripted out what each shape in the score should sound like before sitting down and synthesizing/sampling my sounds and composing them to fit the score.

http://lonelystreets.com/wp-content/uploads/2008/02/ Rhythm is Destroyed visual-score-rendered.mp3 Paul Robare Simon Elvins is concerned with sound as an ubiquitous force. Silent London plots quiet spaces in the English capitol using noise level data. An embossed print shows quiet areas raised up from the paper, bringing them to the attention of the viewer, while noise areas become blanked out valleys.

The map intends to reveal a hidden landscape of quiet spaces and shows an alternate side of the city that would normally go unnoticed.

http://lonelystreets.com/wp-content/uploads/2008/02/ Silent London visual-score-rendered.mp3 Simon Elvis Informal Choreography Ji Soo Han Tools

Framing Data Tufte, Visual Systems Framing Data Tufte, Visual Systems

Pictoral

Perceiving and Representing Perceiving and Representing . . . Space Perceiving and Representing . . . Space . . . the City Perceiving and Representing . . . Space . . . the City . . . Architecture Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use . . . Environment Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use . . . Environment . . . Atmosphere Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use . . . Environment . . . Atmosphere . . . Sound Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use . . . Environment . . . Atmosphere . . . Sound . . . Smell Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use . . . Environment . . . Atmosphere . . . Sound . . . Smell . . . or All of the Above Perceiving and Representing . . . Space . . . the City . . . Architecture . . . Use . . . Environment . . . Atmosphere . . . Sound . . . Smell . . . or All of the Above . . . AND MORE Kevin Lynch, “Image of the City”

“At every instant, there is more than the eye can see, more than the ear can hear, a setting or a view waiting to be explored. Nothing is experienced by itself, but always in relation to its surroundings, the sequences of events leading up to it, the memory of past experiences.” Perception

• Perception (from the Latin perceptio, percipio) is the organization, identification, andinterpretation of sensory information in order to represent and understand the environment

• Perception depends on complex functions of the nervous system, but subjectively seems mostly effortless because this processing happens outside conscious awareness

• immediate or intuitive recognition or appreciation, as of moral,psychological, or aesthetic qualities; insight; intuition; discernment: an artist of rare perception

• the act or faculty of perceiving, or apprehending by means of the senses or of the mind; cognition; understanding. Georges Perec “An Attempt at Exhausting a Place in Paris” “A96”

Georges Perec “An Attempt at Exhausting a Place in Paris” “A96”

“A man stops for a moment to say helo to the big dog of the cafe, peacefully Georges Perec stretched out in front of the door.” “An Attempt at Exhausting a Place in Paris” Point of View A screenplay by CJ Lim, “Kiss and Tell”

Exterior. Early Evening. Busy Street

A girl, late teens, wearing rollerblades, hot pants and attitude waits outside a booth on oxford street. She checks her watch with a terminally bored expression. As she lights up a cigarette, the door of the booth opens. A man (city type) walks out carrying a briefcase and adjusting his tie.

Cut to the man’s POV. Girl gives man a dirty look and flicks unsmoked cigarette onto street. Walks into booth. “Drawing: The Motive Force of Architecture” Peter Cook

“After all, the Plug-In-City was hardly a familiar built form. Yet somehow, most viewers get the main idea from it, hopefully appreciating the subplot of the scheme that implies that of prefabrication can be romantic. Sverre Fehn could make his point with much less effort. Miroslav Sik could insinuate his points almost theatrically. To make mine, I needed an assemblage of parts.” “Drawing: The Motive Force of Architecture” Peter Cook

“After all, the Plug-In-City was hardly a familiar built form. Yet somehow, most viewers get the main idea from it, hopefully appreciating the subplot of the scheme that implies that of prefabrication can be romantic. Sverre Fehn could make his point with much less effort. Miroslav Sik could insinuate his points almost theatrically. To make mine, I needed an assemblage of parts.” “Drawing: The Motive Force of Architecture” Peter Cook “link between a statemental notion and the assumed appropriateness of a visual accompaniment” “Drawing: The Motive Force of Architecture” Peter Cook “link between a statemental notion and the assumed appropriateness of a visual accompaniment”

Baltimore is a segregated city “Drawing: The Motive Force of Architecture” Peter Cook

“do we need paper in order to make a drawing? Is the act of drawing a gesture. Almost certainly. Could it exist without a certain moment of decision-making? Almost certainly not.” Decision-making . . . . Choices Decision-making . . . . Choices

“Herein lies thousands of moments of irritation and frustration on the part of (even) the motivated: when the concept – or maybe the image – of a project is sitting there inside one’s brain, but the drawn version is but a poor thing. Inhibited by technique, inhibited by clumsiness or inhibited because the imagined notion has no real precedent in familiar imagery.” Decision-making . . . . Choices Technique and Approach Decision-making . . . . Choices Technique and Approach Decision-making . . . . Choices Technique and Approach Decision-making . . . . Choices Technique and Approach Decision-making . . . . Choices Technique and Approach Decision-making . . . . Choices Content and Context Decision-making . . . . Choices Content and Context Decision-making . . . . Choices Content and Context Decision-making . . . . Choices Content and Context Decision-making . . . . Choices Content and Context Cataloging and grouping as a way of organizing

Jeffery Kipnis and Annetta Massie Mood River 2002 Jeffery Kipnis and Annetta Massie Mood River 2002 Jeffery Kipnis and Annetta Massie Mood River 2002 Jeffery Kipnis and Annetta Massie Mood River 2002 Documenting through a different perspective

Aneta Grzeszykowska and Jan Smaga Plan 2003 - 2005 Aneta Grzeszykowska and Jan Smaga Plan 2003 - 2005 Documenting over time

Guillermo Kuitca’ Diarios 1995 to present

Michael Webb Suitaloon 1972 Peter Cook Veg House 1996 Peter Cook Veg House 1996 Peter Cook Veg House 1996 CJ Lim Soho Threshold 1995 CJ Lim World of Cow 2000 A bit about abstraction...

Theo van Doesburg Theo van Doesburg An Object Aesthetically Transformed The Cow 1917 1917 Intent or focus of the representation

Eric Owen Moss Fun House 1980 Friedrich St Florian New York Bird Cage 1968 Mood and atmosphere

Constant Nieuwenhuys New Bablyon 1963 Mas Yendo Reef Machine Nancy Wolf The Sage and the Void 2007 Challenge the ordinary

Daniel Libeskind Little Universe 1979 Lebbeus Woods Nine Reconstructed Boxes 1999 Atelier Bow Wow 2007

Challenge the right approach - iterate

Perry Kulper David’s Island Strategic Plot Drawing 1996-97 Perry Kulper David’s Island Proto Strategic Plot 1996 Interview with Perry Kulper:

Depending on what I am working on I often make drawings, or parts of drawings that are not targeted at a synthetic building proposal, but are specific in their intent –studying erasure as a possible representational and spatial activity, for example.

With the liberations I’ve granted myself come different kinds of possibilities including an ability to make connections where I hadn’t seen them, to open the range of ideas that might belong to a project and to work on things that might not initially, or ever, make sense. Eventually, I tend to look for a fitness between the situation in which I am working (the situation might include a site, or sites and their respective histories, physicality, futures, etc, the cultural and disciplinary questions at stake, considerations of like projects in the world, my ambitions for the work, etc) and whatever I might propose – a kind of measure of what is relevant, or appropriate to discuss in a project.

To be honest, I also simply need to support some considerations through drawing in the only ways I can at the moment because in the early phases of a project, in particular, I often don’t know how to resolve the geometric and material articulation for ideas. By allowing the co-existence of fairly certain ideas and hunches I relax a need to get it all right and enable conversations to emerge through the visualizations, discovering the project rather than attempting to prove it.

Ultimately, some of the drawing efforts have been testing grounds to examine the appropriateness of ideas and where ideas might come from. Sequence Set of 160 (2007) Jenny Perlin New Methods of Drawing Abstractino Janet Cardiff