“Uncharted—Footnotes to the Atlas” is an interactive installation made of a series of experimental visualisations about the infrastructure of contemporary cartography. It has been first presented as part of the Oslo Architecture Triennale exhibition at DOGA Norwegian Centre for Design and Architecture (September 8th–November 27th, 2016).
The project aims to unearth the traces of the global remote sensing apparatus, its agenda and patterns of ownership, through the mapping of its objects, facilities, and data managed by different nation states and private corporations.
The installation is composed of two main elements. The first one is a lightweight metal frame that supports a set of forty-five custom-made globes—a comparative cartographic tool for exploring the data coverage of the Landsat programme between 1972 and 2016. It shows the evolution and fragmentation of the global mosaic of satellite imagery, as an evidence of the biased interests (and the evolving capabilities) that determined the advance of remote sensing technologies over the past decades.
The second element is a table divided into three sections: a data visualisation about the Landsat spheres; a photographic catalogue of sample anomalies, fractures, and aberrations from satellite imagery of the Svalbard archipelago (home to one of the most important satellite ground station in the world); a set of three physical models that represent a vertical section cut through the sky of Google Maps, that shows how different image providers are covering the Earth’s surface from different altitudes and at different resolutions.
My major effort in the project has been reworking the meta-data extracted from the publicly available Landsat datasets. A geographical representation of the imagery’s distribution over time has been produced using python, tailoring the drawings around the capabilities of the drawing machine we wished to use for the final production.
The lines’ thickness, which represents the number of photos available for each year of activity, was originated by the increasing vibration of the robot’s arm, that hovers on the spinning globe while progressively drawing on it.
Project developed during the collaboration with studio Folder.
Research and design: Folder (Marco Ferrari, Elisa Pasqual, Alessandro Busi, Aaron Gillett, Pietro Leoni, Francesca Lucchitta, Giovanni Pignoni, Mariasilvia Poltronieri) / Design and production: Folder and Gisto (Alessandro Mason)
Parametric typography is a course about analysis of the relations between the typographic shapes of the letters.
The analysis is then translated in mathematical models that can reproduce different part of a fonts parametrically using RoboFont and the powerful RoboFab library.
A lot of fonts.
My work group focused on the behavior of slab serifs and the various optical correction that are applied when a sans is turned in to a serif. I developed a crude but effective way of finding the intersection between a bézier curve and a line or another bézier, this permitted us to cut raw shapes with high precision.
Were the bézier intersection has been used
Project realized during the course of “Parametric typography”, held by professor Luciano Perondi, ISIA Urbino, A.A. 2013/2014.
Riccardo Govoni, Bianca Maldini, Giovanni Pignoni.
"braccio-mecc" is degenerated exercise started from the basic assignment to experiment with matrix. Try in your browser, the new p5.js version here.
Project realized during the course of “Mathematic for design”, held by professor Igino Marini, ISIA Urbino, A.A. 2012/2013.
Pallinator is a small project, a simple python script that redraws a font using a grid of shapes. It can be adapted to do many thing, including recursive typography.
Personal project - 2015