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Extracts of Local Distance: A Unique Take on Architectural Photography
Posted on February 9th, 2010Countless fragments of existing architectural photography are merged into multi-layered shapes. The resulting collages introduce a third abstract point of view next to the original ones of architect and photographer - this is the concept behind Extracts of Local Distance.
Digital scans of analogue architectural photography form tiny pieces of a large resulting puzzle. The original pictures are being analysed and categorised according to their vanishing-points and shapes. Based on this analysis, slices are being extracted from the source image. These slices retain the information of their position corresponding to their original vanishing-point and thus form a large pool of pieces, ready to be applied to new perspectives and shapes.
The clip below provides a look at the process:
Extracts of Local Distance from STOESELTNTPRO on Vimeo.
Using the extracted image segments, it is now possible to form collages of originally different pictures with a new common perspective. In order to compose a collage, a perspective-grid is defined and a lining of matching image segments is being applied. The segments are not altered to match the frame but fitting ones are chosen from the sheer mass of possible pieces. By defining additional keywords which describe the content of the original photographs, the selection of segments used for the final composition can be influenced. Thus a contextual layer is added through the semantic linking with the source material.
The recompositions mix and match the views and perspectives of both the architect and the photographer with a third, newly chosen frame. The resulting fine-art prints are entirely unique, and represent a new take on architectural imagery.
Head over to http://www.localdistance.org/ for full details, especially the results page which has some stunning images. -
Skopje 2014 Visualisation
Posted on February 9th, 2010The clip below details a visualisation of municipality of Skopje (Macedonia) in 2014.
The St. Konstantin and Elena church and Alexa nder the Great monument are part of the Skopje 2014 project which envisages the transformation of the central district of the city:
The visualisation is in stark contrast to the most of the renders and animations we feature here on du and in many ways that is a good thing, indeed by the end of the clip with the rousing music we were quite getting into it. That said, we cant comment on the soundness of the plan - take a look at Macedonia: Online Rebellion Against “Skopje 2014″ Plan for full details on the reaction so far. -
Cluster with high numbers of calls
Posted on February 9th, 2010Today I have shown the same graph that I published yesterday and highlighted my first cluster points in green. I have then mapped these grid squares below. These grid squares represent the the busiest areas for "I" calls in 2009. Within this cluster there is a small negative correlation between the two variables of -0.22 meaning there is a tendency for grid squares with more calls to have a better average response time than those with fewer calls. My initial hypothesis for this, which may be shown to wrong, is that these grid squares are ones with high numbers of pubs, clubs, shops and transport hubs - places where people congregate, that is, not predominately residential locations. This would account for the high number of calls and the fact that police respond quickly. These are places where police tend to patrol, they are easy to get to because they tend to be on main roads, and the call venues tend to be well known so there is no delay in finding out where they are.
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Narrative and Time
Posted on February 9th, 2010I am down in Plymouth today at University to give a lecture at the School of Architecture, Design and Environment with the title Narrative and Time. I have put together elements of my current research work to explore the aspects of the narrative as a specific aspect of time as well as an tool to visualise time. The idea of the story plays an increasing importance in my work. It came up through the tracking project UrbanDiary and now plays an important role in the latest work on Twitter and the Tweet-O-Meter, where the stories old start the spatial investigation.
With this presentation the focus is on the everyday, the ordinary and how we are involve or selves in daily stories as we navigate the passage of time in space. The second part of the presentation focuses on examples of how a narrative can directly be employed for a project. The simpler the story the better and the more powerful the pictures painted. Examples are Senones, a revitalisation project for a small former industrial ‘city’ in France. Where three character played the lead role to explain and illustrate four future scenarios for the valley. Also the Nearness clip, as an interpretation of the ‘Ein Lauf der Dinge’ by Fischli und Weiss. Or there is also the BluDot chair tracking project, furniture stories in New York.
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Confidence in the Police and the Dizaei case
Posted on February 8th, 2010I need to be careful what I say in this post. I feel it necessary to comment on the breaking news that Metropolitan Police Commander Ali Dizaei has been sentenced to four years for misconduct and perverting the course of justice.
Recent research into confidence in the police in the UK has centred around police priorities, style and competence. This is a reminder that honesty and the correct use of authority are factors that are also very important. The best the MPS can hope for is a score draw in this case.
At least the MPS have avoided a nightmare scenario of Commander Dizaei being found not guilty for a second time on serious charges and expecting to resume his highly privileged and powerful policing role. It reminds me of the fact that up to 9 million people are having to undergo criminal records checks if they work or their social lives involve interacting with children outside the family environment following the Bichard enquiry (see my previous post here on this subject). Decisions are made with reference to relevant intelligence, allegations, discontinued cases and acquittals. The public would be reassured I am sure if they thought the same standards applied to police employees with regard to matters to do with dishonesty, corruption and abuse of authority. -
Processing: A 3D City in One Minute
Posted on February 8th, 2010We have featured the students work as part of the The Master of Advanced Studies in CAAD at ETH in Zurich quite a lot recently and we are quite fastidious as to what goes on the blog. It goes to show the quality of the output.
The following example by Jakob Przybylo, Min-Chieh Chen and Michele Leidi is a typical - this time creating a city using processing:Processing City - Sandy City (Trailer) from mjchen on Vimeo.
The clip below provides an insight into the process:Processing City - Sandy City (HD version) from mjchen on Vimeo.
Being able to create a city in one minute - using their processing application is impressive, it also allows output via .dxf, as such it can be imported into any number of rendering/modelling packages.
No word yet on a wider release, but it would be good to see if this could be made available.... -
Analysis of police response times to emergency incidents
Posted on February 8th, 2010Graph of the number of calls to the police gradedas Immediate Response in 2009 for grid squareplotted against the average Response timefor that grid squareAs I mentioned in a previous post I have started carrying out analysis on another London Borough. I am doing this with the full knowledge and co-operation of the senior police managers on that borough. They have given me permission to publish my analysis on my blog and I have permission to identify the borough. I decided not to identify the borough for a number of reasons. The main reason is I do not want my analysis to be quoted out of context and used to criticize the police. Nothing within this analysis is intended to be critical of the police, though the main reason why the police are facilitating this research is to learn ways of becoming even more efficient and effective. Another reason is that this is experimental research, in a sense that it is new and previously untested. I am publishing it as I do it. This means that there is a high risk that I may make mistakes and that I may come to the wrong conclusions, which I will subsequently have to revise. I do not want this to cause any difficulties to the police. Lastly just a quick note to say that the data I download from the police computer systems do not contain information which can identify individuals, therefore the data published in map or graph form cannot either.The graph that I have included at the top of this post is from the Metropolitan Police Service (MPS) incident logging computer system, Computer Aided Dispatch CAD. When a call comes in from the public, usually by telephone, it is graded depending on its assessed urgency. The most urgent calls are graded as to be dealt with immediately and are known as "I" calls. There is a target time of police arriving at the scene of the incident the call relates to within 12 minutes. The types of calls which are graded "I" are those where there a possibility the police can provide assistance to a person or people in danger and/or prevent or detect a crime by rapid attendance.The CAD system is now almost 30 years old, meaning that it was designed at the same time as the Sinclair ZX81 (my first computer with a memory of 16kb!) and in my opinion one of the best designed MPS computer systems. There have obviously been numerous upgrades but there are certain design features that remain. One of these is how locations are recorded. Without going into too much detail, locations are only accurate to a grid square that is 250 meters by 250 metres. The incidents that occur within the grid are recorded at the central point of the grid. As it is imperative for calls that occur within a borough to be assigned to the right borough police to deal with there is a detailed gazetteer within CAD that can assign all locations to the right borough that operates separately to the grid system. This means that even if a grid square straddles a borough boundary, as many do, the calls will be accurately split between the two or more boroughs which share that grid square. This level of sophistication does not occur at sub-borough level meaning that it is difficult to totally accurately plot calls at ward and sub-ward level.My analysis therefore uses the same grid squares as CAD. The graph shows each grid square as a point. The location of the point on the x and y axis is determined by the number of I calls that occurred with in that grid square in 2009 on y axis and the average response time for those calls on the x axis. There are over 400 grid squares that are contained within the borough or straddle the boundary. 317 had 1 or more "I" calls in 2009.This graph provides a simple analysis of how these two variables relate to each other. In this dataset there is almost perfect non correlation between the two datasets. If the higher the number of calls a grid square had the higher the average response time the correlation would be positive and the equation that work these things out would have produced a result of 1. If the higher the number of calls the lower the average response rate the correlation would have been negative, that is -1. In this case the result is very close to zero.Surprisingly, even though the dataset looks complex and disorganised it can be split quite easily into four clusters that have police operational relevance. That will be the subject of my next post. -
Book Review – Installations by Architects
Posted on February 8th, 2010To come back to the discussion about the identity of the architecture profession I have here a publication that explores this question from a different direction. What if architects make something else, what if they work in the field of art and produce installations? Are they still architects, and if so what does it mean for the identity of the professions, both of the artists and the architects?
Installations by Architects - Experiments in Building and Design by Sarah Bonnemaison and Ronit Eisenbach (2009) is published by Princeton Architectural Press. The book identifies a “rich and increasingly diverse practice” that emerged over the past few decades in art practice, the working with installation and architects are amongst the user of this type of expression. It seems to be the ideal playground for architects, the installation implies a direct spatial component and the profession identifies it self with spatial practice.
Architects as artists have a long tradition. More often than I feel comfortable with, the architect is stereotyped an artist, a practitioner capable of doing art work or at least someone with an ‘arty’ flair. In most cases architects enjoy playing in this mist of uncertainties and enjoy the opportunities and in some cases reduced responsibility. This has over the years, however, created a watered self image and architecture today can be anthropology, sociology, engineering, planning, construction, sustainability, geography, politics, management, art, archeology, research, business, fashion, theatre, just to name a few. This can be confusing, if the standard idea is the planning and construction of a house. However there is noting wring with this practice in principle and as art of the Bauhaus movement, architecture was part of an idea of space, together with other disciplines, including the arts, that had the boundaries blurred explicitly with the idea to foster collaboration between the different disciplines. Today it seems almost as if the architects still follow this idea, but as the only discipline ending up isolated and with a fading identity. It is probably more about the attitude, not about the practice.
Image by Andre Forget taken from we-make-money-not-art / Asher DeGroot, David Gallaugher, Kevin James, and Jacob Jebailey, Walking in the Park.
And this is exactly what this publication manage to demonstrate. The projects, better installations illustrated and documented in the book are all, without exception extremely ‘good practice’, whether artist, architect, sociologist, or community worker. The really new aspect highlighted in the book is the use and benefit of this practice for educational purposes. But yes it is obvious, not in this book but leading schools such as the Bartlett school of Architecture make a lot of use of these techniques.
In the introduction the authors take the readers through a chain of historic examples of installations that you might be familiar with. For example Kurt Schwitters, Merzbau or Gordon Matta-Clark’s Splitting or Christo and Jeanne-Claude’s work The Gates.
For the book the selected projects are grouped into five thematic topics: tectonics, body, nature, memory and public space. This list seems a bit general at first, but makes perfect sense in the context of the projects.
The representation of the projects happens in two parts. Part one is a text based description of the work, the context, comments and critique, whereas the second part is a visual, mainly photographs based documentation with short explanation texts, mainly explaining the content of each illustration. The two parts are spatially separated. So you get these blocks of texts, some five projects, followed by a block of visual documentation. This is confusing at first but again falls in to place later on. It opens up possibilities to cross read projects, widen the contexts and link practices.
Documented work’s include Diller + Scofidio (1993), Bad Press, Dissident Ironing; Pilip Beesley (1998-2007), Geotextiles; Marco Casagrande and Sami Rintala (1999), Land(e)scape; fieldoffice (2001), NY A/V or the pixualisation of facades by LAb[au] (2007), touch.
The presented work is extremely evocative and of the type, why didn’t I have this idea? I could have done this! in very positive sense here. I believe this is not only the case for the audience, but very much for the installation practitioner himself and this is most likely the reason behind why architects are so much into this kind of practice. Their other work is actually benefitting from these ‘research’ practices.
Image taken from archiworld / land(e)scape (Savonlinna, Finland - 1999 - Recalling the little barns that pepper the traditional Finnish landscape, the architectural installation is designed as a protest against the desertification of the countryside. Three of these abandoned barns have broken free from their moorings to rise majestically 10 meters from the ground.
Bonnemaison, S. & Eisenbach, R., 2009. Installations by Architects: Experiments in Building and Design, Princeton Architectural Press. -
ESRI’s Free Maps
Posted on February 7th, 2010Following a slightly critical post about the map featured on ESRI’s Geomedicine website I thought I would balance things with a post on a good example (in my opinion) of a mapping service from ESRI. I was really impressed with their Free Embeddable Maps website. Users can select from a number of demographic measures such as population density, median age, average household size and population change between 2000 and 2009 and map them at a range of scales. Maps can be personalised using a title and direct links to the creator’s website or their email address. My map of New York Median Household Income is here. It would be good to get more data and coverage beyond North America. It would also be nice to enable multiple overlays (perhaps using different forms of representation on the map). The page is only beta so these additions may follow.
I know this kind of thing has been done before, such as with the London Profiler Website, but ESRI’s contribution is remarkably simple to use. Users with no GIS experience will be able to create a map in under a minute. It can then be embedded in a any web page or linked to via bit.ly. The interface is well-thought out and users can read additional information from the pop-outs that appear when the map when they click on an area of interest. The maps deserve to be utilised by a range of users, but I expect educators and their students stand to benefit most from this excellent free service.
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Paper: Mapping for the Masses Accessing Web 2.0 Through Crowdsourcing
Posted on February 7th, 2010
Continuing the publication online via Issuu of our papers we include our recent paper written with Andrew Crooks, Michael Batty, and Richard Milton from CASA entitled "Mapping for the Masses Accessing Web 2.0 Through Crowdsourcing" as published in Social Science Computer Review."The authors describe how we are harnessing the power of web 2.0 technologies to create new approaches to collecting, mapping, and sharing geocoded data. The authors begin with GMapCreator that lets users fashion new maps using Google Maps as a base. Click the right arrow to turn the page:
The authors then describe MapTube that enables users to archive maps and demonstrate how it can be used in a variety of contexts to share map information, to put existing maps into a form that can be shared, and to create new maps from the bottom-up using a combination of crowdcasting, crowdsourcing, and traditional broadcasting. The authors conclude by arguing that such tools are helping to define a neogeography that is essentially ‘‘mapping for the masses,’’ while noting that there are many issues of quality, accuracy, copyright, and trust that will influence the impact of these tools on map-based communication."
Keywords: network economies; neogeography; web-based services; map mashups; crowdsourcing; crowdcasting; online GIS.
The paper can be downloaded from here (pdf link). -
Panoramic Globes: Rapid HD Visualisation of Place and Space
Posted on February 5th, 2010Old school readers will be familiar with the movie below, but with over 1400 posts some of our favourite movies have got lost and the following is one of them:
Amazingly easy to make it lead on to the following Worlds within Worlds clip:Worlds within Worlds: Using Panoramas for Sense of Location and Place from digitalurban on Vimeo.
In short, embedding panoramas in a x/y/z space allows movies to be created where the camera automatically pans around a scene, it can be done in any 3D software. -
Confidence in the Police and Geography
Posted on February 5th, 2010I cannot over-state how important the overarching performance indicator of increasing the public's confidence in the police is to the police!!! Now I have got that sentence off my chest I can breath easier.
I will briefly explain why this performance indicator is now ruling the roost, how it changing the way in which we are being policed in London and what it has to do with crime, fear and mapping.
There is a history which I will list and simplify.- 1980-2000 policing performance is primarily centred on detecting and reducing recorded crime and responding quickly to calls from the public.
- This led to police patrols being in vehicles rather than on foot and along with intelligence and investigation units, only treating recorded crimes as priorities.
- Even though police were successful in achieving their performance targets the public was feeling unsafe, fear of crime was rising and confidence in the police was in jeopardy.
- 2001 this mismatch between police priorities and the public's needs and expectations is identified by the police and termed the Reassurance Gap.
- The potential consequences of allowing the Reassurance Gap to continue to widen hits the senior policy makers and strategists between the eyes.
- They realised that if confidence in the police kept falling this would lead to non-cooperation with the police and the criminal justice system, lack of compliance with the law and ultimately communities and individuals taking policing into their own hands without reference to the legal system of the country.
- 2003 Reassurance Policing was introduced to address fear of crime by introducing dedicated foot patrol community policing teams. In about 2005 this style of policing was rebranded as Neighbourghood Policing.
- 2008 the overarching performance indicator of Increasing the Public's Confidence in the Police is introduced in England and Wales.
- 2010 "Walking is Working" and single patrols are at the forefront of the Metropolitan Police Service publicity campaign.
Confidence in Police is measured by independent market research type companies by questioning a small sample of the population of London. These people are asked about their experiances of policing, crime and disorder in their local area. This means that local police are now most concerned about crimes that happen to adult local residents not to people that live elsewhere.
The priority of crimes types are now judged on this basis. Residential Burglaries become the number one priority with anything that happens in the home not far behind, for instance domestic violence and disputes. Similarly antisocial behaviour affecting residents goes up the hierachy.
This, perhaps is not an entirely predicted outcome of the confidence measure, is happily in my view positive due to the nature of the fear of crime. I will explain this in a later post. What I want to leave you with is the thought that policing is becoming even more geographical with this emphasis on what is local. This is a fertile area for mapping and spatial analysis. Again more thoughts on this later.
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Google Earth – Creating a Zoom Movie
Posted on February 5th, 2010A quick post as few years ago we wrote a tutorial on creating a 'zoom' movie from Google Earth, it involved all sort of issues with paths and local caches and reversing frames. Nowadays its simply a case of 'right clicking' in Google Earth and dragging the mouse:Google Earth Zoom from digitalurban on Vimeo.
Google Earth fixes on the location (in our case the CASA offices) so you can drag back and forwards for a smooth zoom in/out. The movie was recorded using Snapz Pro on a Mac but any screen recording tool would do. Its nice to know that this is so much simpler now, although slightly worrying that i almost take a digital earth zooming out and back in at high resolution within 15 seconds for granted... -
OpenLayers 101
Posted on February 5th, 2010Here’s a simple one-file way to get an OpenLayers map on a website. This is all the code you need, including the HTML, Javascript and CSS.
This particular example pulls in some custom tiles from a URL and overlays them on the “standard” OpenstreetMap map. You will need to change the URL (and attribution text) to point to the overlay you are interested in.
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <title>NPE Scotland</title> <script type="text/javascript" src="http://www.openlayers.org/api/OpenLayers.js"> </script> <script type="text/javascript"> var map; var EPSG4326 = new OpenLayers.Projection("EPSG:4326"); var EPSG900913 = new OpenLayers.Projection("EPSG:900913"); var b = 20037508.34; function init() { map = new OpenLayers.Map ("map", { controls:[ new OpenLayers.Control.Navigation(), new OpenLayers.Control.PanZoomBar(), new OpenLayers.Control.Attribution(), new OpenLayers.Control.LayerSwitcher(), new OpenLayers.Control.MouseDefaults(), new OpenLayers.Control.KeyboardDefaults()], maxExtent: new OpenLayers.Bounds(-1*b, -1*b, b, b), maxResolution: 156543.0399, units: 'm', projection: EPSG900913, displayProjection: EPSG4326 }); layerMapnik = new OpenLayers.Layer.OSM( null, null, { numZoomLevels: 15 }); layerOverlay = new OpenLayers.Layer.OSM( "NPE Scotland", "tiles/${z}/${x}/${y}.jpg", { transitionEffect: "none", isBaseLayer: false, attribution: "Imagery CC-By-NC-SA NPEMap.org.uk" } ); map.addLayer(layerMapnik); map.addLayer(layerOverlay); var start = new OpenLayers.LonLat(-3.5, 56.5); map.setCenter(start.transform(EPSG4326, EPSG900913), 7); } </script> </head> <body onload="init();" style="margin: 0;"> <div id="map" style="position: absolute; width: 100%; height: 100%;"> </div> </body> </html>
Here’s what it looks like:

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Miniature Tokyo City Timelapse
Posted on February 5th, 2010The movie below combines timelapse techniques with tilt/shift and a focus on the city of Tokyo - we like it a lot:
We must get out and do a London version...






