In September 1967, land artist Robert Smithson took a tour over Passaic in new Jersey* and created a short photo-essay to report his journey, entitled “A Tour of the Monuments of Passaic, New Jersey” later published in “Artforum” magazine, December edition. Interestingly, he names profane objects such as pipes and derelict spaces as monuments:
The bus passed over the first monument. I pulled the buzzer-cord and got off at the corner of Union Avenue and River Drive. The monument was a bridge that connected Bergen County with Passaic County (…) Along the Passaic River banks were many minor monuments such as concrete abutments that supported the shoulders of a new highway in the process of being built (…) As I walked north along what was left of River Drive, I saw a monument in the middle of the river—it was a pumping derrick with a long pipe attached to it (…) Nearby, on the river bank, was an artificial crater that contained a pale limpid pond of water, and from the side of the crater protruded six large pipes that gushed the water of the pond into the river. This constituted a monumental fountain that suggested six horizontal smokestacks that seemed to be flooding the river with liquid smoke (…) The last monument was a sand box or model desert.
Smithson, says Maarten Overdijk in his ‘Monuments and Mental Maps‘ article in OASE 98, rejected conventional ideas about perception and cognition precisely because they did no justice to his experience and offered him no method to analyze or describe it. Instead, he had a preoccupation with space and the changing relations of place, location and map. In his ‘literary’ narrative of the Passaic, continues Overdijk, Smithson attempts a montage of descriptions; observations and reflections while shifting between different layers of time: “the psychological time of the individual, the social time of culture and its symbols, and the time of geological change.”
* Ellen Mara De Wachter revisited the locations captured in the photo-essay through a short film
Social Maps Definition/History: maps whose purpose is to represent specific aspects of society at a given time and place, (usually statistical data put on a map)/ they emphasize the power of space in shaping society over time/ in its earliest incarnation, the social map was concerned with epidemic disease, particularly cholera/ later in the nineteenth century the perceived problem of mass migration to the growing cities led to the application of segregation as a political device to separate disparate populations/ the use of mapping as a tool of social investigation reached its peak with the emergence of a science of social investigation in the 1880s/ maps shifted from having a symbolic power to having a descriptive (arguably scientific) power/ they used dots and circles or cloropleth maps of different shades/ these helped hypothesize on the actual causes of diseases or crime and poverty/ London was forefront to cartographic innovation due to mass urbanization and the need to manage a diverse, densely crowded population
Maps are social constructions, whose integrity as scientific objects is limited to how precise they are when taking account of their scale and similar measurable parameters. As soon as decisions start to be made on selection of data and the way in which those data are to be presented on maps, the social and political context in which they were created will start to influence how they are read. Once this fact is recognized, one can get beyond the traditional criticism of maps and start to consider what they are in reality: objects laden with meaning, which reflect the context of their creation. Yet maps continue to be incredibly useful for capturing data as well as for providing a starting point for analyzing those data statistically.
Inherent weaknesses: stat errors/ positioning can affect how the world is viewed/ they are influenced by the social and political context they are created in/ their study in rapidly changing populations impose a false appearance of stability/ as records it is essential to take into account the historical time they were created in/ iconographic: color can carry powerful moral connotations, it can also be used for propaganda/ by drawing boundaries around people other from themselves, European powers defined the separation of the center from the periphery/ the complex use of space belies the normal approach to interpreting segregated social space, which tends to focus on the residential location of a minority group, overlooking their opportunities for movement across the city, throughout the day and the week/ not all spatial arrangements are a direct reflection of the societies: more complex societies are normally comprised of a structured non-correspondence
Notes and excerpt from Laura Vaughan’s: “Mapping Society: The Spatial Dimensions of Social Cartography,” UCL Press, 2018
Parangoles concept and form were introduced by Hélio Oiticica (1937-1980) in an attempt to expose the chaotic web of relations of being-in-the-world. Oiticica worked to transform the “spectator” into a “participant. The colorful, improvised capes/cloaks encourage unpredictable movement that in turn signals the transition from the art-object to the body-subject:
we must be willing to get out of our comfort zones in order to reclaim the physical and symbolic spaces produced by hegemonic forces that attempt to confine relations between our own bodies and the bodies of others
I just heard of this today on a tv documentary, I wish I could visit. The centre covers a vast rural area one hour north of Manhattan. It was established in 1960 by Ralph E. Ogden and its collection has been growing ever since. The image above, belongs to one of the most prominent works -in my opinion- of Menashe Kadishman and his 1977 collection “Suspended”:
With no visible evidence of the engineering holding the sculpture up, Suspended prompts contemplation of the relationship between its two conjoined, towering masses, coupled with questions about what lies below ground. Rich and rusted, the patina of the weathered steel wraps the stark geometric shapes in a skin-like sheath.
Excerpt from The Storm King Art Center webpage
The center also accommodates many of the works of Mark di Suvero, among which “Mother Peace” (image below), a work completed just before Di Suvero left the US to protest against the war in Vietnam.
Jan Rothuizen loves to map his surroundings, drawing more than streets and buildings: he shows how people experience the city and visualises the atmosphere and the diversity of the population. He also includes economic and social changes of neighbourhoods. Amsterdam is a wonderful playground, as the city changes every day, on a large and small scale. Rothuizen witnesses and documents these changes with his very personal wit and enthusiasm.
I am very pleased to see our article ‘Pedagogical approaches to embodied topography: a workshop that unravels the hidden and imaginary landscapes of Elaionas,‘ get published in ZARCH Journal and I am also very happy to share this with you. It is based on a collaborative project that began in 2015 with Prof. Nelly Marda and Christos Kakalis from the University of Newcastle along with the students of our postgraduate course in NTUA.
The article highlights the importance of mapping in urban design and uses the concept of embodied topography to describe how activating the human body through a series of sensory motor tasks can help individuals immerse themselves in the landscape to acquire a better understanding of the urban phenomena. This process is presented here as a tool of mapping and managing the complexity of the urban landscape as it enables the individuals to recover the more hidden or even imaginary aspects of the city and their own relation to it.
As this is an ongoing research I hope that there will be plenty of opportunities to discuss what we are doing with more people involved in this kind of research in urban design. So, feel free to comment and write back your own experiences on the matter.
ZARCH: Journal of Interdisciplinary Studies in Architecture and Urbanism, Num. 8, image available here