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vii | |
Acknowledgements |
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xi | |
Introduction |
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1 | (8) |
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PART 1 The emergent in mapping |
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9 | (92) |
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1 The historical emergence of `mapping': map use, subversivity and the digital |
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11 | (48) |
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11 | (4) |
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15 | (5) |
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20 | (4) |
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1.4 Subversive cartography |
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24 | (6) |
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1.5 The power in/out maps |
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30 | (3) |
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1.6 Post-representational cartography |
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33 | (4) |
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1.7 The digital and mapping: topology |
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37 | (22) |
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2 Towards a theory of mapping in architecture: production, disciplinarity and activation |
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59 | (42) |
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2.1 Maps and mapping(s), as verb and as noun |
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59 | (4) |
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2.2 Trans-disciplinary projection |
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63 | (4) |
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2.3 Production (rather than) |
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67 | (4) |
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2.4 Mapping as an index of past andfuture possibilities |
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71 | (3) |
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2.5 The Situationistlhe Naked City map |
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74 | (5) |
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2.6 On activation: sets of relationships and trajectories |
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79 | (4) |
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2.7 Post-topohgical mapping: place-time discontinuities |
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83 | (18) |
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PART 2 Mapping towards architectural construct |
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101 | (112) |
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3 Ch orography and the operationalization of the map: place, measure and idea |
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103 | (33) |
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3.1 To measure is to implement difference |
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103 | (5) |
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3.2 The Song of the Sirens |
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108 | (3) |
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111 | (7) |
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3.4 Being lost: exploratory drift |
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118 | (4) |
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3.5 Chorography: differentiating measures and ideation |
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122 | (14) |
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4 Aionology and the instrumentalization of the map: time, notation and form |
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136 | (40) |
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4.1 Mapping urban totality |
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136 | (5) |
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4.2 Investigating the spatial conditions of the contemporary city |
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141 | (6) |
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4.3 The gaze and the object: urban depictions in architecture |
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147 | (6) |
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4.4 Las Vegas and Manhattan; learning and trans-scripting |
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153 | (8) |
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4.5 Aionology: generative notations and formation |
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161 | (15) |
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5 Heterotopology and the conceptualization of the map: implacement, order and theory |
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176 | (37) |
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176 | (5) |
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181 | (5) |
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186 | (5) |
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5.4 Deep and oligoptic mapping |
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191 | (5) |
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5.5 Heterotopology: montaged ordering and theorization |
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196 | (17) |
Epilogue |
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213 | (4) |
Index |
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217 | |