By orienting us to the lived reality on the ground, shores, and waters around San Francisco, the recent remapping of open spaces in San Francisco by which local environmental non-profit Nature in the City has taken the time and effort to refocus attention from its buildings or paved environment, inviting us to appreciate the work of the non-profit in planning active green spaces in the urban space that San Francisco contains by representing the city’s urban space in a distinct cartographic idiom: Nobel Laureate Thomas Tranströmer wrote of how the disbelief of Henry David Thoreau “disappear[ed] deep in his inner greenness artful and hopeful,” cartographers worked to allow readers to detecting habitat within the urban environment in a distinctly Thoreau-like marveling of how natural habitat exist within a city that goes often undetected and–as only a map can remind us–isn’t hidden but overlooked.
Nature in the City 2018/draft
Nature in the City paper map helpfully addressed a general reader in the age of bespoke data-heavy maps, coded for individual uses, using graphics to hone a rich set of databases to invite all readers of the map to examine the intersection of layers of greenspace, parks, and urban trees provide a surface that any viewer can navigate to reacquaint themselves to urban space that questions its edges, centers, and the frame of a greater ecosystem of which the “city” is the microcosm and condensation: the countryside that we place outside of the walls of the city–extra muros–is revealed to lie instead at its center, emblematized by the coyote who raises his or her head as if to exult in being present in the remaining green environment–a sort of pictorial designation of the indexical deictic reminder “YOU ARE HERE.” The observer is decentered, for a moment, in the map however, as one examines where species are located, as if in the recent Nature in the City challenge.
The claim that is invested in most tourist way-finding maps is repeated by the images of a sand dollar, magnolia, jackrabbit, California Poppy, shorebird, whale and two butterflies–each included in the key of the map on its left margin–to remind map readers that “they” are here, inviting discovery from visitors to the city its real urban spaceMuch as a legend to the left margin invites you to cross-reference them with landcover, the icons of animals suggest something like a hide-and-seek game for visitors to explore the actual urban environment and its riches of habitat–habitats that Nature in the City has often encouraged.
The claims of copia and urban abundance that was classically associated with chorographic views of Renaissance cities is almost displaced onto San Francisco’s nourished ecosystem in ways that Nature in the City encourages; the map involves viewers by inspires endless exploration in ways that attests to its own truly inventive design. Indeed, the involvement of a distinctly innovative battery of representational tools invite viewers to observe the city as it is rarely seen or perceived. Indeed, while one usually thinks of coastal California as sites of extreme settlement and habitation–
Although pioneering aerial photographic imagery exists of the prewar space of San Francisco, a fantastic hundred and sixty four aerial photographs pioneered by Harrison Ryker from an airplane that left from the Oakland airfields, which offers a detailed image of the foliage, open space, still sandy regions, and of the city in crisply detailed black-and-white composite photographs–
–that invite viewers to examine its detailed imagery through the stereoscopes Ryker would patent upon opening shop as an East Bay map-maker. The aerial photographic map promised a precision and detail that foretold remote sensing, and anticipated the deal of the Nature in the City map, despite its monochrome: the view it offers of the lines on playing fields, basketball courts, and paths in the Golden Gate Park promised a visibility that would make it appealing in World War II, in ways that prefigured the pointillistic accuracy of remote aerial sensing.
The crisp local detail recently that was recently made available in interactive form online by the indefatigable Donald Rumsey lets one navigate the composite record of now lost shorelines, the fluid ocean coastline, once-sandy Outer Sunset, Golden Gate Park and Duboce Hill–
–of the same expanse of the recent Nature in the City map in a way that anticipates the detail LiDar surveys of the city by the bay. The non-profit updated the accuracy of local detail of the crisp black and white composites from the interactive map Rumsey Associates crafted, allowing us to examine current habitats, ecosystems, and animal life within the city and the surprising taxa that inhabit its denser blocks, after the addition of highways, a far denser downtown, in ways that allow the areas of tree cover of different heights to pop at the viewer to suggest the lush urban canvas in which they live, and the map to pop in into three or four–if one counts the temporal of the lost coastal shoreline, inviting viewers to witness and negotiate a sort of counterpoint between built space and remaining urban ecosystems, and directing attention to the overlooked.
The new synthesis of art and cartography accomplished by cartographer Lindsay Irving and artist Jane Kim expand and enrich over 500 datasets to fashion a new symbology of pictorial cartography across time, inviting us to compare shorelines, interrogate built spaces, and consider the city not entirely a human space but one from which we benefits where green cover and contact with a range of animal species persists and survives, using code that tracks the growth of urban habitat to provide the basis for a richly interactive tour of the city’s natural resources–a record interactive not by mouse, but by interpretation, inviting viewers to excavate historical habitats for birds, marine mammals, insects, and butterflies, in not only a “deep history” of place, but a deep ecology of the ecosystem that underlies the city as a palimpsest.