territorial networks: mapping the enormous

a thesis proposal by dorothy schwankl

territorial networks:mapping the enormous

a thesis proposal by dorothy schwankl

10243440687072

abstractconcept definitionscircumstancetechniqueprogramprecedentstimelineindexcitations

2 abstract

3Vectors allow for movement only along a specifi c path while nodes

describe points of activity or transfer. By mapping a vector site, like

the stretch of highway between Las Vegas and Los Angeles, a path

through the enormous can be understood. Through the vivifi cation of

concepts of constant arrival and the elongated present, an individual’s

relationship to the shifting landscape is foregrounded. In contrast to

this, a node site is bounded, defi ned, and static. Within a node site,

the qualities of the network and vector can be activated by combining

infrastructural network logic with discrete mapped moments. Through a

synthesis of three programs that vary in their connection to the territory

and network, adjacencies arise between disparate programmatic

identities.

4 concept

5This is a project of translation and constructed adjacencies that

forefront the concepts of elongated present, constant arrival,

and the enormous.

Maps are created and read according to an established set of

cartographic rules. These conventions grant authority to documents

that are intrinsically biased and abbreviated versions of an actual

physical space or landscape. By imposing a regularized system of

representation, the map itself becomes a version of reality that is

detached from real.

Representation of velocity, the ephemeral, and the enormous is

not possible within the traditional mode of mapping, where vectors

connect nodes and territories are defi ned as shaded regions. The

shutter speed of mapping can be shortened such that other qualities

can be read, but the interconnected nature of networks cannot be fully

represented using the language of terrain.

The highway system in America was designed to move people and

goods effi ciently and independently of others. Interchanges were

conceived to allow for almost constant velocity when switching from

one vector path to another. The design of the highway reinforces the

enormous aspect of the desert landscape between Las Vegas and Los

Angeles. This particular car trip is devoid of a continuous urban fabric

to pass by; rather the view is primarily of the relentlessly monotonous

ground of the Mojave Desert—devoid of distinguishable geological,

natural, and even cultural landmarks at highway speed. A continuous

nowhere, the road becomes the only object in the landscape.

The whole trip is part of the concept of “elongated present” in that the

enormous creates a period of time that is simultaneously both long and

short. Long because it takes a measurable amount of time to traverse

the 265 miles. Short because the landscape is so monotonous at

highway speed that there is nothing memorable to see. The driver is

in a state of constant arrival to the same destination repeatedly and

this view is mediated and controlled by the imposed view angle of the

vehicle and speed of motion.

7By mapping this particular stretch of highway, certain latent conditions

become the focus. An attempt to map the qualities, not just landmarks,

of the landscape results in a biased representation of a real place and

period of time spent along the vector site. The node site is detached

from the vector in location, but brings qualities of the network logic

and dromoscopy to a programmed, built form. The habitation of the

building is determined by forcing adjacencies between programs that

are typically disparate. The combination of stand-alone programs is

done using the moments that are vivifi ed during the mapping process.

The vector is linked to the node, but not through site or program, rather

something entirely different.

8 definitions

9constant arrivala state of receiving information in which it is instantaneously delivered,

rendering departure obsolete

see Paul Virilio 1

elongated presentthe stretching of the here and now, made possible by comparison to

the speeds of other entitiessee Jean Baudrillard

the enormousvisually infi nite and of a monotonous character

see Paul Virilio 3

ephemeralthat which is fl eeting, shifting at a fast speed

infrastructurethe physical structure of networks

landscapethe horizontal plane

loudnessvisual or physical noise that typically distracts from a situation or

potentially creates one

mappingthe process of capturing features and their geographic relationship to

one another at a specifi c moment in time

nodea point at which vectors converge, a point of activity or transfer

resolutionthe complexity of an image, correlating with viewing scale or speed

spectaclean entity that attracts attention for only a short amount of time

see Guy Debord 4

vectora line of continuous character with two nodes as its endpoints

10 circumstance

The vector site is elastic—has variable speed, users, and/or paths.

The vector site is conventionally defi ned by its endpoints.

The vector site is intertwined with multiple infrastructural networks.

Las Vegas, Nevada to Los Angeles, California.

by car: 265 miles. 4 hours 23 minutes.

(up to 6 hours 10 minutes in traffi c)5

This particular car trip is devoid of a continuous urban fabric to pass

by; rather the view is of the relentlessly monotonous ground of the

Mojave Desert—devoid of distinguishable geological, natural, and

even cultural landmarks. A continuous nowhere, the road becomes the

only object in the landscape. As such, the trip becomes the event. The

anticipation of reaching the destination is the propelling force pushes

you to get there faster, quicker, sooner.

While most car trips involve a series of directions at major landmarks,

(highway interchanges, large cities, monuments, etc) this trip involves

223 solid miles of I-15. This trip is entirely the empty space between

landmarks—there are no intermediary nodes. This makes the line

a singular connection between the two nodes. The line is not about

experience, it is a means to an end.

In Las Vegas and Los Angeles, spectacle and destination are

collapsed into a single entity. Whether traveling in one direction or the

other, both endpoints are cities of brightness. The initial burst of light

cannot be sustained because it is generated by the contrast from the

desert.

Speed on this jaunt is determined by posted highway speeds, the

smoothness of the road, and the lack of traffi c. All of these factors are

related to the road itself, not the landscape. The speed of the road is

independent from the speed of the landscape.

known knowns

13In the enormous and monotonous landscape of the I-15 between Las

Vegas and Los Angeles, the loudness of the landscape comes into

question. Billboards, painted truck trailers, and other advertisements

do not compete with the natural landscape, but each other for

attention. The barrage of advertisement results in a version of

compassion fatigue. 6 The same choices on repeat for the entire vector

combine to create an extreme nowhere. It does not matter whether or

not you stop for a taco at any particular exit because you will have six

more opportunities to eat that same exact taco. A mass-produced taco

is still the same taco regardless of location. A taco is a taco is a taco.

Programmed elements along vectors are intended for passersby

and are not destinations. These non-places include: toll booths,

truck stops, scenic overlooks, border crossings, and agricultural

checkpoints. (Along other vector sites the non-places could include

airports, distribution centers, free trade zones, customs processing

facilities, and quarantine facilities.) They might evoke characteristics of

spectacle, but are actually a fl attened, commercialized version that is

simply an advertisement. These programmatic elements have specifi c

intended user groups and associated speeds. The duration of use is

meant to be very short. The brevity of the stop reinforces the focus on

the destination, rather than the vector. The quicker you can stop and

eat dinner along the way the sooner you arrive at your destination.

Programmed elements specifi cally for passersby function in relation to

the speed at which the user is moving. They require a certain period

of time for slowing down, a time of complete stop, and then a time for

speeding back up. This transient constituency demands an effi ciency

of travel that extends beyond the infrastructure to the stops along the

way. Speed and ease of access are assigned high value.

While these stops punctuate the trip, they are not about specifi c local

territories, but belong to the network of the highway. Their access,

character, and function are all completely related to and in service of

the highway. The stops are all part of the elongated present of the trip.

What agreements do you enter into when joining a network? Not

just posted rules on signage, but what spatial, social, and cultural

normative systems do you conform to?

Rather than a connecting path, what if the car trip for Las Vegas to Los

Angeles was defi ned as a corridor of space that correlates to a specifi c

time? Without incident, your individual car is occupying a specifi c zone

of space for the duration of the expedition.

If architecture is conceived as a backdrop, like Bernard Tschumi

proposes, does it fall further back or move forward when it is only

experienced for a short amount of time?7 When architecture is inserted

in a monotonous landscape along a vector does it stand out, or does it

get absorbed into the enormous?

How does the effi ciency of highway interchanges translate into stops?

What if “stopping” does not actually involve coming to a complete

Keller Easterling writes about the Bel Geddes Interchange featured in

the 1939 Futurama exhibit that extended the cloverleaf radius from 75

to 1000 feet to allow for looping without changing speed.8 What would

be the effect of an even smaller radius? What if intentional slowdowns

were introduced into the speed effi ciency of the highway?

known unknowns

The node site is static.

The node site is conventionally defi ned by its borders.

The node site is intertwined with multiple infrastructural networks, but

functions as a endpoint for their services.

While the vector site is about effi cient movement along a path, the

node site is about intentionally slowing speed down. It is a destination

for a specifi c constituency of people and objects. Therefore it is

chosen, designed, and constructed to meet particular needs. It has

clear boundaries and does extend infi nitely. It occupies and serves a

specifi c territory.

known knowns

known unknowns

How does the node site interact with the vector site? How can the

enormous appear within a bounded space?

the continuous cloverleaf

By never merging into traffi c when entering from a cloverleaf, a driver

can exit again, and continuously inhabit the ramps, not the highway.

the non-exit

A situation where the highway exit ramp infrastructure was

constructed, but the local infrastructure only exists as a dirt path.

constant exit

A situation where exits are always available such that the limited

access notion of the highway is dissolved.

24 technique

Projects designed for transient users require a method of

representation that transcends static depictions of space, occupation,

and circulation.

Representation is inherently subjective.

Activity and movement are inherently noisy and in representing it this

noise is either lessened or amplifi ed to achieve a certain effect.

The exploded axonometric drawing is about the vector, not the node.

Rather than the collapsing of elements into an object, it is about a

series of vectors that lead to a nodal solution. It does not represent

the fi nality of the object, but the series of actions that lead to a specifi c

condition. It is about the process.

Traditional modes of mapping capture a singular perspective and

moment in time. In Antoine de Saint-Exupéry’s The Little Prince, the

geographer says in response to a question of recording fl owers, that

“We do not record them. . . because they are ephemeral." 9 One could

claim (and the Little Prince makes a similar point about volcanoes)

that everything moves, just at different rates of speed. As such, the

mapping of the ephemeral—whether it be fl owers or traffi c, requires

a faster shutter speed. Even fast movement can be captured if the

frame of reference correlates with the velocity. Traditional cartographic

practices assume a very slow shutter speed for the features that are

mapped. This also correlates to the medium—the historic permanence

and longevity of printed maps.

When movement is fl attened into a drawing it is slowed down to the

rate of viewing of the image. Therefore at least two shifts in speed

have been made to represent the initial event. The actual event, the

recording of it, the drawing of it, and the viewing of the created image

are all independent actions.

known knowns

known unknowns

In drawing, how can processes be represented not as a specifi c series

of ordered events (like furniture assembly instructions) but as a series

of possibilities?

How can the physicality of drawings relate to the topography, in terms

of both physical landforms and cultural practices, of a place?

Can a drawing have distinguishable character that relates to a specifi c

location?

When examining a site that is a vector, rather than a node, how is the

edge of the page treated? While maps have very distinct boundaries,

how can drawings bleed out of paper space?

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

1”=20 MILES

A1 START HERE.A H

1 2 3 4 5 6

1”=20 MILES

6 7 8 9 10 11

132.53322 5232 555332 53233332232 533232 532332323222 522 52 555555

conventions of mapping: grid and graphic scale

conventions of mapping: grid square A1

conventions of mapping: graphic symbols

the ephemeral: fl owers

vector and node: the path

vector and node: converted to a series nodes

constant arrival: taco exits

constant arrival: dromoscopy and visual extents

vector and node: infi nite vectors

constant arrival: dromoscopy and windshield frame

spectacle: defi ning moments

34 program

35known knowns

Program describes an intentional user group and activity that functions

as a part of the territory it infl uences and the network it connects to.

Programs of territory function as nodes. They have specifi c functions

that are about creating a veritable experience as part of delivering

a good or service. It is of a specifi c place and enrolls a particular

audience that exists there. The program serves as an attractor point

for a larger network, but is more importantly a sited set of activities for

a particular constituency.

37Programs of network function as vectors. It does not produce fi nality of

transactions, but merely a gathering of objects or information. It has a

clearly defi ned input and output network and its location is determined

by these networks, not by local conditions. Its human constituency

is there to facilitate the movement of goods or services. It is about

effi cient transfers, not experiences.

Some programs are more aligned with one mode of function or the

other, but ultimately function in both ways. By deploying multiple

programs simultaneously in one building, the intent is not to polarize

the functions, but rather to vivify the adjacencies, alignments, and

mingling of territory and network connectivity. This alludes to the

concepts of constant arrival, elongated present, and the enormous

that exist in the vector site of the drive from Las Vegas to Los Angeles.

These effects that arise from the monotonous landscape and the

location along a vector become visible in a node site through program

that is of a network.

itory restaurant

call center

museum

self-storage

call center

distribution center

self-storage

distribution center

restaurant

39fi ve potential programs

call centerSince the function of a call center is based on information, the data

network infrastructure is more important than physical location. Pulling

from an orbiting satellite, not local resources, the call center is a

program primarily of the network.

distribution centerWhile occupying a rather large physical footprint, the distribution center

has little infl uence on territorial experience. Its location is determined

by effi ciency within the network and availability of resources—transit

networks, low property values, and cheap labor. It is a collector point

along a vector to combine objects and send them in a new direction in

a different combination or quantity.

museumIntended to provide a visual experience for visitors, the museum is

primarily of a territory. The objects contained in the museum represent

a global network of acquisition and curation.

restaurantA program of experience specifi cally based on a territory, the

restaurant does more than deliver food to its constituency. While the

food potentially does not originate from the surrounding region, the

place becomes a destination based on the authentic event of eating

there.

self storageIndividual self-contained storage units as physical spaces are of a

local territory. The spaces are ubiquitous and universal, but the need

for them is determined by local patterns of material consumption and

hoarding. The objects inside the units are part of a larger network of

material supply and demand such that the units exist as collectors for

excess.

40 precedentsan

This project engages the disconnect between perceived and real

by creating a device for highlighting the gap. It calls into question

movement along a vector, readable speed, and discontinuities

between site and place.

The weekend house is conceived as a passage from physical entry to optical departure or, simply, a door to a window. . . The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated. 10

project:Slow HouseDiller+Scofi dioNew Haven, NY 1991 (unbuilt)

subject: grid square A1

Setting up the locative system for an entire landscape, grid square A1

is standardized means of demarcating the beginning of a drawing. It

assumes that there is a beginning to the object being mapped. Also

inherent in this is the accepted norm of starting in the top left corner of

the sheet and continuing to the right and down. Included in the concept

of square A1 is an assumption that all subsequent squares will be

of the same dimensional character. This means that a regularized

organizational system is imposed onto something that is not inherently

orthogonal, fl at, limited, or confi ned. A1 is the beginning of an

organizational structure that is detached from the reality of the object

and belongs entirely to the map.

A-1 Rental: fi rst in the phone book based on alphabetical hierarchy.

A-1 (a.k.a. “KS 150”): a heavy water gas cooled nuclear reactor in Jaslovské Bohunice, Czechoslovakia that was only operational from 1972-1979, after a INES-4 classifi cation accident in 1977. Plans to build the second reactor block “A-2” were cancelled after the accident.

A1 paper size: 594mm x 841mm as designated by ISO 216.

The Jeffersonian grid: an absolute grid imposed on the land of the United States in the

Land Ordinance of 1785.

known unknowns

What factors determine the extents of a map? Is the area of interest

centered or is a prescribed scale used to defi ne the scope?

sssssenlo

object: The Scale Figure

known unknowns

What does a generic six-foot-tall scale fi gure object have to do with

actual occupation of a space by humans?

What is the difference between showing the average dimensions of a

human on a drawing and a human silhouette?

Should the actual intended occupant of the building be shown in

drawings? Is the scale fi gure as idealized as the space is?

The scale fi gure implies a scale and an occupation for spaces that

only exist in theoretical form. They are an attempt to relate a two-

dimensional or three-dimensional object to a real space by way of the

human form. Scale fi gures bring a representation of occupation and

human interaction with space into the realm of drawing and models.

They identify the orientation of a drawing by showing how it relates to

a typical human.

A digital imposition of the alignment of objects, the object snap

command replaces the hand-drawn visual cues of alignment with

infi nitely scalable precision of absolute alignment. It defi nes endpoints,

midpoints, and centers as nodes of importance; encouraging a

preference for perpendicularity, alignment, and regularization.

ORTHO (F8): An AutoCad command that locks drawing into the cardinal directions.

“Oh snap”: A phrase that seconds the taunting, comeback, and/or verbal abuse of another person.

subject: the OSNAP command (F3)

known unknowns

How has the ease of computer-aided drafting (and also modeling)

changed the geometry of designed objects? Has it made objects

simpler and/or opened up the possibility of more complex geometries?

Is a line actually about the endpoints, or about the connecting

construction? Is a circle defi ning a center point, a radius distance, or

an enclosed space?

In hand-drafting a system of construction, lines are setup and points

along those lines are defi ned and then connected by lines that

potentially continue past them. What are the design implications of

using segments rather than vectors?

image: Shutter Speed

Jacques-Henri Lartigue“Car Trip, Papa at 80 kilometers an hour” (1913)

...Inspired by reconnaissance images from the Cuban Missile Crisis, which indicated a grave prognosis for the political “body” of the modern age. She studied current satellite imagery for signs of malignant sociopolitical activity. 13

Mapping the ephemeral can be done in a graphic way such that the

elapsed time period being shown is immediately understood.

mapping:Mutation SitesSarah Trigggouache on paper mounted on panels (2003)

I make immersive collaged drawings that draw on the language of maps. The impetus for this body of work was my longing to connect to my father, a truck driver who drove eighteen-wheelers across the country hauling industrial machinery. He died over ten years ago. Based on road maps of the U.S., routes my father often traveled, and an invented conglomeration, mutation, and fragmentation of those passageways, my works on paper help me piece together the past and make up the parts I cannot know.

Mappings that are admittedly about experience, not actual spaces or

places, have the ability to take on a new spatial language. They are

still of the landscape, but can transcend the disciplinary constraints

of cartography.

mapping:Trajectory 1Val Brittonmonoprint, collage, graphite, and ink on paper (2010)

text precedents

infras

Stan Allen, Point + Lines: Diagrams And Projects For The City (1999)

Infrastructures are fl exible and anticipatory. They work with time and are open to change. By specifying what must be fi xed and what is subject to change, they can precise and indeterminate at the same time. They work through management and cultivation, changing slowly to adjust to shifting conditions. They do not progress toward a predetermined state (as with master planning strategies), but are always evolving within a loose envelope of constraint. 15

While program and site provide a framework for building activities and

interactions, the actual life of the building is indeterminable. With the

proposed idea of programmatic combinations, instead of designing

for specifi c conditions the aim is construct a system of fi xed elements

that would provide this “loose envelope of constraint” that Stan Allen

hypothesizes.

infras

The discontinuities produced by networks result from the drive for effi ciency, safety, and security. Engineers want to limit the number of access points and provide fast, uninterrupted transfers among these points. So you can drink from a stream anywhere along its length, but you can only access piped water at a faucet. You can pause wherever you want when you’re strolling along a dirt track, but you must use the stations for trains, entry and exit ramps for freeways, and airports for airline networks—and your experience of the terrain between these points is very limited. You experience the architectural transitions between fl oors of a building when you climb the stairs, but you go into architectural limbo between opening and closing of the doors when you use the elevator. 16

William Mitchell, Me++: The Cyborg Self And The Networked City (2004)

The nodal nature of access points was driven by effi ciency and creates

an elongated present when the vector is only experienced during the

“architectural limbo” that Mitchell describes. When the vector is the

subject, the stark contrast between it and the nodes is apparent. The

elongated present is created by the preference for nodes.

J.J. King “The Node Knows” in Janet Abrams+Peter Hall, Else/Where: Mapping New Cartographies Of Networks And Territories (2006)

Today, things that are symbolically related are brought into network proximity that can mitigate or redeem physical distance. This doesn’t mean the end of geography, but rather its re-emergence in a new form, centered on the instructions, interactions, and connections that order global capital across national boundaries—a world reformatted along the lay lines of fi nancial fl ow...a sort of ‘cartography after information’ 17

Mapping is no longer an inert representational strategy for

slow-moving objects because it can also be used to describe complex

global networks of interaction. Maps transcend the boundaries of their

status as objects in order to chart non-physical conditions.

infras

Scott Page And Brian Phillips, “By Design: Editing The City” in 30-60-90: 06 Shifting Infrastructures (2004)

Nearly every piece of the city, old and new, from downtown blocks to the sprawling horizontal boxes of the suburbs are wired together by a mesh of sidewalks, highways, rail lines, fi ber runs, and cell phone towers. The pulse of the metropolis is animated by innumerable, simultaneous electronic connections that link local environments an infi nite number of other environments, creating an ambient urbanism. In a perpetual state of fl ux, its networked infrastructure expands and contracts in tandem with new and/or improved modes of circulating people, goods, and information along those networks. The new city is characterized by creating dynamics related to control, mobility, and context. 18

It impossible to disconnect from all these infrastructural networks

and simultaneously impossible to document their reach because

they are constantly shifting to accommodate users. Much like the

impossibility of mapping the ephemeral using cartographic techniques,

this “ambient urbanism” can be located at nodes, but the overall effect

cannot be quantifi ed.

The map represents merely one stage. To understand the contents, meaning, and signifi cance of any map requires that it be reinserted into the social, historical, and technical contexts and processes from which it emerges and upon which it acts. This involves examining the map not only as a discrete object, but as the outcome of specifi c technical and social processes and the generator of future social processes as it enters and circulates in the social world. 19

A map is an object in itself and has projective cultural power that is

quite possibly more cogent than the condition being mapped. Situating

the map in its context vivifi es the biases that are present in the

representation of conditions.

Denis Cosgrove, Geography and Vision: Seeing, Imagining, and Representing the World (2008)

Photography displaces architecture from the context of its physical site to the context of its media presentation—for example, to a book or gallery. Most buildings are perceived not in their real space, but amid other spaces. . . Somewhat like the aerial view, photographic perception of architecture ranges far and wide beyond any particular place or building, branching into diverse networks. 20

Cartographic projection and photographic perception both convey

a specifi c point of view that prioritizes certain effects by selectively

cropping out other information. Like photography, mapping creates

a fi ctitious knowledge of a place that is not based on personal

experience, but rather assumed truth. These forms of translation

also have the ability to suppress the actual enormous by connecting

visually to this “diverse network” of association instead. Perception

replaces fact in a world where connectivity is more important than

truth.

Mitchell Schwarzer, Zoomscape: Architecture in Motion and Media (2004)

68 timeline

january

february

identifying the important m

oments in the m

mapping in specifi c

detail the vector site

mapping in specifi c

detail the node site

mapping program

adjacenciesand confl icts

constructing a set of rules for spatial effi ciency

drawing correlations betw

eenresolution and speed through collage

translating the rules and maps

into a defi ned spatial object

134959

1113153767

70 index

constant arrival

landscape

spectacle

elongated present

the enormous

ephemeral

252741454961

29435153576165

17354759

1115252737414761

resolution

infrastructure

loudness

mapping

vector

254565

53575963

72 citations

Virilio, Paul “The Overexposed City” In Leach, Neil (ed.), Rethinking Architecture: A Reader In Cultural Theory (pp. 381-90). London: Routledge.1997. p. 385.

Baudrillard, Jean. The System of Objects. London: Verso, 1996. p. 162.

Virilio, Paul. The Original Accident. Cambridge: Polity, 2007. p. 31.

Debord, Guy. Society of the Spectacle. London: Rebel Press, 2004.

Google Maps directions from “Las Vegas, Nevada” to “Los Angeles, California” http://maps.google.com/ accessed September 27, 2010.

Ulmer, Gregory L.. Electronic Monuments. Minneapolis: University of Minnesota Press, 2005. p. xxix.

Tschumi, Bernard. Architecture And Disjunction. 1st MIT Press paperback ed. Cambridge, Mass.: MIT Press, 1996. p. 149.

Easterling, Keller. Organization Space: Landscapes, Highways, And Houses In America. Cambridge, Mass.: MIT Press, 1999. p. 103.

Saint-Exupéry, Antoine de, and Richard Howard. The Little Prince. San Diego: Harcourt, 2000. p. 46.

Diller Scofi dio and Renfro website: http://www.dsrny.com/ accessed November 10, 2010.

“The state stopped nuclear plant re-launch” http://www.cas.sk/clanok/103036/stat-stopol-opatovne-spustenie-jaslovskych-bohunic.html accessed September 23, 2010

“Oh Snap” in Urban Dictionary: http://www.urbandictionary.com/defi ne.php?term=oh%20snap! accessed September 20, 2010.

Harmon, Katharine A., and Gayle Clemans. The Map As Art: Contemporary Artists Explore Cartography. New York: Princeton Architectural Press, 2009. p. 27.

The Work Of Val Britton http://www.valbritton.com/ accessed November 20, 2010

Allen, Stan. Points + Lines: Diagrams And Projects for the City. New York: Princeton Architectural Press, 1999. p. 55.

Mitchell, William J. Me++: the Cyborg Self And the Networked City. Cambridge, Mass.: MIT Press, 2003. p. 15.

King, J.J. “ The Node Knows” in Abrams, Janet and Hall, Peter. (editors) Else/where: Mapping New Cartographies of Networks And Territories. Minneapolis, MN: University of Minnesota Design Institute, 2006. p. 47.

Page, Scott and Phillips, Brian “By Design: Editing the City” in 30-60-90: 06 Shifting Infrastructures (March 2004) p. 86.

Cosgrove, Denis E. Geography And Vision: Seeing, Imagining And Representing the World. London: I.B. Tauris , 2008. p. 156.

Schwarzer, Mitchell. Zoomscape: Architecture In Motion And Media. New York, N.Y.: Princeton Architectural Press, 2004. p. 166.

territorial networks: mapping the enormous

highway speed

highway system

shutter speed of mapping

particular stretch of

desert landscape

enormous aspect

constant velocity

shifting landscape

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