Eastern State Penitentiary: decorative fortress

Developed with Max Sternberg, historian at Cambridge University

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Presentation

Paper delivered 6 March 2020 at the University of Cambridge: Department of Architecture
As part of my Master’s thesis in Architecture and Urban Studies

 

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Digital Reconstruction

Created in SketchUp. Based on original drawings and plans of the prison.
All measurements are accurate to reality.

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With ambient music from Freesound

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Eastern State Penitentiary was completed in 1829 in northwest Philadelphia, Pennsylvania by architect John Haviland. It was reported as the most expensive and largest structure yet built in America.
The design featured a central guard tower from which seven cell blocks radiated like a star. This system allowed a single guard to survey all prisoners in one sweep of the eye. A square perimeter wall surrounded the entire complex – thirty feet high and twelve feet thick. The decorative entrance resembled a medieval castle, to strike fear of prison into those passing. This castle contained the prison administration, hospital, and warden’s apartment.
As we approach the central tower, we see two kinds of cells. The first three cell blocks were one story. The last four cell blocks were two stories. Here we see the view from the guard tower, over the cell block roofs and over the exercise yards between cell blocks. Each cell had running water, heating, and space for the prisoner to work. Several hundred prisoners lived in absolute solitary confinement. A vaulted and cathedral-like corridor ran down the middle of each cell block. The cells on either side were stacked one above the other. Cells on the lower floor had individual exercise yards, for use one hour per day. John Haviland was inspired by Jeremy Bentham’s panopticon. (Don’t know what the panopticon is? Click here for my explanation.)
Over its century in use, thousands visited and admired this design. An estimated 300 prisons around the world follow this model – making Eastern State the most influential prison ever designed.

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360° panoramic view from guard tower

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Computer Model

Shows prison as it appeared in the period 1836 to 1877 before later construction obstructed the original buildings.

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Research Paper

Eastern State Penitentiary’s exterior resembles a medieval castle. More than a random choice, the qualities of Gothic attempt to reflect, or fall short of reflecting, the practices of detention and isolation within. Contrary to the claim often made about this structure that the appearance was supposed to strike fear into passerby, the use of Gothic is in many ways unexpected because of its untoward associations with darkness and torture, which the prison’s founders were working to abolish. It is therefore surprising that America’s largest and most modern prison should evoke the cruelties and injustices of the medieval period. The choice of Gothic appearance, and the vast funds expended on the external appearance few inmates would have seen, leads one to question the audience of viewers this penitentiary was intended for – the inmates within or the public at large?
This essay responds by analyzing what the Gothic style represented to the founders. The architectural evocation of cruelty and oppression was, in fact, not contradictory with the builders’ progressive intentions of reforming and educating inmates. This prison’s appearance complicates our understanding of confinement’s purpose in society. The two audiences of convicted inmates and tourist visitors would have received and experienced this prison differently, thereby arriving at alternative, even divergent, understandings of what this prison meant. More than an analysis of the architect John Haviland and of the building’s formal qualities in isolation, this essay situates this prison in the larger context of Philadelphia’s built environment.

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Acknowledgements

I am indebted to my supervisor Max Sternberg, to my baby bulldog, and to my ever-loving parents for criticizing and guiding this paper.

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Continue reading paper.

Opens in new window as PDF file.

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Related Projects

Master’s thesis on this prison
Animation of Jeremy Bentham’s panopticon
Computer model of panopticon in virtual reality
Lecture on problems with the panopticon

The Berlin Evolution Animation

Abstract: The Berlin Evolution Animation visualizes the development of this city’s street network and infrastructure from 1415 to the present-day, using an overlay of historic maps. The resulting short film presents a series of 17 “cartographic snapshots” of the urban area at intervals of every 30-40 years. This process highlights Berlin’s urban development over 600 years, the rapid explosion of industry and population in the nineteenth-century, followed by the destruction and violence of two world wars and then the Cold War on Berlin’s urban fabric.

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Animation der Wandlung Berlins

Zusammenfassung: Auf der Grundlage von historischen Karten visualisiert die „Animation der Wandelung Berlins“ die Entwicklung des Straßennetzwerks und der Infrastruktur Berlins von 1415 bis heute. In diesem kurzen Video wird eine Serie von 17 „kartographischen Momentaufnahmen“ der Stadt in einem Intervall von 30 – 40 Jahren präsentiert. Dadurch wird die Entwicklung der Stadt Berlin über 600 Jahre, das rapide Wachstum der Industrie und Bevölkerung im 19. Jahrhundert, die Zerstörung und Gewalt der zwei Weltkriege und abschließend des Kalten Krieges auf Berlins Stadtbild verdeutlicht.

German translations by Richard Zhou and Carl von Hardenberg

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Year, Event and Estimated Population
1415 – Medieval Berlin – 7,000
1648 – Thirty Years War – 6,000
1688 – Berlin Fortress – 19,000
1720 – Rise of Prussian Empire – 65,000
1740 – War with Austria – 90,000
1786 – Age of Enlightenment – 147,000
1806 – Napoleonic Wars – 155,000
1840 – Industrial Revolution – 329,000
1875 – German Empire – 967,000
1920 – Greater Berlin – 3,879,000
1932 – Rise of Fascism – 4,274,000
1945 – Extent of Bomb Damage – 2,807,000
1950 – Germania – World Capital
1953 – Recovery from War – 3,367,000
1961 – Berlin Wall – 3,253,000
1988 – A City Divided – 3,353,000
Contemporary – A City United
Census year
Jahr, Ereignis und geschätzte Anzahl von Bewohnern
1415 – Berlin im Mittelalter – 7,000
1648 – Der Dreißigjährige Krieg – 6.000
1688 – Die Festung Berlin – 19.000
1720 – Der Aufstieg des Königreichs Preußen – 65,000
1740 – Der Österreichische Erbfolgekrieg – 90.000
1786 – Das Zeitalter der Aufklärung – 147.000
1806 – Die Koalitionskriege – 155.000
1840 – Die industrielle Revolution – 329.000
1875 – Das Deutsche Kaiserreich – 967.000
1920 – Groß-Berlin – 3.879.000
1932 – Der Aufstieg des Faschismus – 4.274.000
1945 – Die Spuren des 2. Weltkrieges – 2.807.000
1950 – Germania – Welthauptstadt
1953 – Deutsches Wirtschaftswunder – 3.367.000
1961 – Die Berliner Mauer – 3.253.000
1988 – Eine geteilte Stadt – 3.353.000
Heute – Eine wiedervereinte Stadt
Jahr der Volkszählung

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Methodology and Sources

I chose not to represent urban development before 1415 for three reasons: Firstly, there are too few accurate maps of the city before this time. Secondly, I needed to find accurate maps that had visual style consistent with later years, to enable easier comparison of development over time. Thirdly, the extent of urban development and population is limited (fewer than 10,000 Berliners).
There are numerous maps showing Berlin’s urban growth. Yet, few of them are drawn to the same scale, orientation and color palette. This makes it more difficult to observe changes to the city form over time. Fortunately, three map resources show this development with consistent style.
  1. The Historischer Atlas von Berlin (by Johann Marius Friedrich Schmidt) published 1835 represents Berlin in the selected years of: 1415, 1648, 1688, 1720, 1740, 1786. This atlas is available, free to view and download, at this link.
  2. After the year 1786, I rely on three books from cartographer Gerd Gauglitz:
    Berlin – Geschichte des Stadtgebietsin vier Karten
    Contains four maps of Berlin from 1806, 1920, 1988 and 2020. Read article.
    Berlin – Vier Stadtpläne im Vergleich
    Contains four maps from 1742, 1875, 1932 and 2017. Read article.
    Berlin – Vier Stadtpläne im VergleichErgänzungspläne
    Contains four maps from 1840,1953, 1988 and 1950. The last map from 1950 is speculative and shows Berlin as it would have looked had Germany won WWII and executed Albert Speer’s plans for rebuilding the city, named “Germania.” Read article.
    Gerd Gaulitz’s three map books can be purchased from Schropp Land & Karte.
  3. I also show the estimated extent of WWII bomb damage to Berlin. This map is sourced from an infographic dated 8 May 2015 in the Berliner Morgenpost. View original infographic. This infographic is, in turn, based on bombing maps produced by the British Royal Air Force during WWII (and Albert Speer’s c.1950 plan for Berlin).
Below is an interactive map I created of the Berlin Wall’s route and the four Allied occupation areas:

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Population statistics in the 17 “cartographic snapshots” are estimates. The historical development of Berlin’s population is known for a few years. For other years, the population is estimated with regards to the two censuses between which the year of the “snapshot” falls.

New York City Water Supply: animated history

Developed with Gergely Baics, urban historian at Barnard College

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New York City has some of the world’s cleanest drinking water. It is one of only a few American cities (and among those cities the largest) to supply unfiltered drinking water to nine million people. This system collects water from around 2,000 square miles of forest and farms in Upstate New York, transports this water in up to 125 miles of buried aqueducts, and delivers one billion gallons per day, enough to fill a cube ~300 feet to a side, or the volume of the Empire State Building. This is one of America’s largest and most ambitious infrastructure projects. It remains, however, invisible and taken for granted. When they drink a glass of water or wash their hands, few New Yorkers remind themselves of this marvel in civil engineering they benefit from.
This animated map illustrates the visual history of this important American infrastructure.

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Sound of water and ambient music from Freesound

New York City is surrounded by saltwater and has few sources of natural freshwater. From the early days, settlers dug wells and used local streams. As the population grew, these sources became polluted. Water shortages allowed disease and fire to threaten the city’s future. In response, city leaders looked north, to the undeveloped forests and rivers of Upstate New York. This began the 200-year-long search for clean water for the growing city.

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Credits

Gergely Baics – advice on GIS skills and animating water history
Kenneth T. Jackson – infrastructure history
Juan F. Martinez and Wright Kennedy – data

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Interactive Map

I created this animation with information from New York City Open Data about the construction and location of water supply infrastructure. Aqueduct routes are traced from public satellite imagery and old maps in NYPL map archives. Thanks is also due to Juan F. Martinez, who created this visualization.
Explore water features in the interactive map below. Click color-coded features to reveal detail.

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Watersheds   Subsurface Aqueducts   Surface Aqueducts   Water Distribution Tunnels   City Limits

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▼ For map legend, press arrow key below.

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Sources

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For such an important and public infrastructure, the data about this water supply, aqueduct routes, and pumping stations is kept secret in a post 9/11 world. However, the data presented here is extracted from publicly-available sources online, and through analysis of visible infrastructure features on satellite imagery when actual vector file data or raster maps are unavailable from NYC government.
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Contemporary Maps
NYC System and Shapefiles – Juan F. Martinez
Watershed Recreation Areas – NYC Department of Environment Protection (DEP)
General System Map – NY State Department of Environmental Conservation (DEC)
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Historic Maps
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Texts
Water Supply Fast Facts – NY State DEC
Encyclopedia of the City of New York – Kenneth T. Jackson
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Animation music – Freesound
Audio narration – Myles Zhang

What’s wrong with Jeremy Bentham’s Panopticon?

Postmodernist thinkers, like Michel Foucault, interpret Jeremy Bentham’s panopticon, invented c.1790, as a symbol for surveillance and the modern surveillance state.
This lecture is in two parts. I present a computer model of the panopticon, built according to Bentham’s instructions. I then identify design problems with the panopticon and with the symbolism people often give it.

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Related Projects

– Computer animation of Jeremy Bentham’s panopticon
View the panopticon in virtual reality
Explore about Eastern State Penitentiary, a building inspired by Bentham

Computer Model of Jeremy Bentham’s Panopticon

Created at the University of Cambridge: Department of Architecture
And featured by the Special Collections department at University College London
As part of my Master’s thesis in Architecture and Urban Studies
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To say all in one word, it [the panopticon] will be found applicable, I think, without exception, to all establishments whatsoever, in which, within a space not too large to be covered or commanded by buildings, a number of persons are meant to be kept under inspection.
– Jeremy Bentham
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Since the 1790s, Jeremy Bentham’s panopticon remains an influential building and representation of power relations. Yet no structure was ever built to the exact dimensions Bentham indicates in his panopticon letters. Seeking to translate Bentham into the digital age, I followed his directions and descriptions to construct an exact model in virtual reality. What would this building have looked like if it were built? Would it have been as all-seeing and all-powerful as Bentham claims?
Explore Bentham’s panopticon in the animation above or in virtual reality below
based on Bentham’s drawings at University College London:

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c.1791 plans of panopticon, drawn by architect Willey Reveley for Jeremy Bentham

Creative Commons image credit: Bentham MS Box 119a 121, UCL Special Collections

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Panopticon: Theory vs. Reality

Central to Bentham’s proposed building was a hierarchy of: (1) the principal guard and his family; (2) the assisting superintendents; and (3) the hundreds of inmates. The hierarchy between them mapped onto the building’s design. The panopticon thus became a spatial and visual representation of the prison’s power relations. As architectural historian Robin Evans describes: “Thus a hierarchy of three stages was designed for, a secular simile of God, angels and man.”

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Author’s images from computer model

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To his credit, Bentham recognized that an inspector on the ground floor could not see all inmates on the upper floors. The angle of view was too steep and obstructed by stairs and walkways. To this end, Bentham proposed that a covered inspection gallery be erected between every two floors of cells.
By proposing these three inspection galleries, Bentham addressed the problem of inspecting all inmates. However, he created a new problem: From no central point was it now be possible to see all activity, as the floor plans below show. The panoramic view below shows the superintendent’s actual field of view, from which he could see into no more than four complete cells at a time. The view from the center was not, in fact, all-seeing. Guards would have to walk a continuous circuit round-and-round, as if on a treadmill. They, too, are prisoners to the architecture.

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Author’s images from computer model

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The intervening stairwells and inspection corridors between the perimeter cells and the central tower might have allowed inspectors to see into the cells. Yet these same architectural features would also have impeded the inmates’ view toward the central rotunda. Bentham claimed this rotunda could become a chapel, and that inmates could hear the sermon and view the religious ceremonies without ever needing to leave their cells. The blinds, normally closed, could be opened up for viewing the chapel.

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Bentham’s suggestion was problematic. The two cross sections above show that, although some of the inmates could see the chapel from their cells, most would be unable to do so.
In spite of all these obvious faults in panopticon design, Bentham still claimed that all inmates and activities were visible and controlled from a single central point. When the superintendent or visitor arrives, no sooner is he announced that “the whole scene opens instantaneously to his view,” Bentham wrote.

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Despite Bentham’s claims to have invented a perfect and all-powerful building, the real panopticon would have been flawed were it built as this data visualization helps illustrate. Although the circular form with central tower was chosen to facilitate easier surveillance, the realities and details of this design illustrate that constant surveillance was not possible. That the British public and Parliament rejected Bentham’s twenty year effort to build a real panopticon should be no surprise.
However flawed the architecture, Bentham remained ahead of his time. He envisioned an idealistic and rational, even utopian, surveillance society. Without the necessary (digital) technology to create this society, Bentham fell back on architecture to make this society possible. The failure of this architecture and its obvious shortcomings do not invalidate Bentham’s project. Instead, these flaws with architecture indicate that Bentham envisioned an institution and society that would only become possible through new technologies invented hundreds of years later.

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Related Projects

My computer model is available here in virtual reality.
Read my research on Eastern State Penitentiary, a radial prison descended from Bentham’s panopticon

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Credits

Supervised by Max Sternberg at Cambridge, advised by Philip Schofield at UCL
The archives and publications of UCL special collections, Bentham MS Box 119a 121

Audio narration by Tamsin Morton
Audio credits from Freesound
panopticon interior ambiance
panopticon exterior ambiance
prison door closing
low-pitched bell sound
high-pitched bell sound

You may reuse content and images from this article, according to the Creative Commons license.

Link Newark Art Project

In fall 2019, LinkNWK, the company that manages free wifi hotspots and advertising screens in downtown Newark, invited me to display my artwork on their kiosk. I selected drawings from my Vanishing Newark project. Images are featured below:

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Computer Model of the Kaaba in Mecca

Developed with input from James White,
historian of Islamic literature at the University of Oxford
The Kaaba (Arabic: ٱلْـكَـعْـبَـة “The Cube”) is a building at the center of Islam’s most important mosque in Mecca, Saudi Arabia. This is the most sacred site in Islam. Muslims consider it the “House of God.” Wherever they are in the world, Muslims are expected to face the Kaaba when performing prayer. One of the Five Pillars of Islam requires every Muslim to perform the Hajj and visit the Kaaba.
In 2018, I was unhappy with the available quality of 3D digital models of this important building for Muslim culture. I could find no models that were detailed or accurate enough. I created this accurate-to-the-inch model based on architects’ drawings and photos.

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Audio: the call to prayer, recorded in Istanbul

 

New York City in a Box

As featured in this article from Live Auctioneers

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Inspired by the Stettheimer Dollhouse at the Museum of the City of New York, this pop up model in a recycled metal box (measuring 8 inches wide by 15.5 long and 2.5 deep) reveals a miniature world of New York City architecture and landmarks within. About 30 buildings made from hand cut paper and tin are spread across a flat ground of painted streets. Each building is made from a single sheet of paper that is cut and folded like origami to create different shapes and sizes. A hand cranked lever operates a mechanism of chains and gears hidden beneath the  paper surface of the city streets. These gears move the magnetized trains and airplanes through the city.

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Hand-crank and music box recording from Freesound

New York: subway city of immigrants

Golden Rectangles SuperimposedAs northbound Broadway dips down to the valley of 125th Street, the subway soars over the street. The subway viaduct is a jumble of steel slicing through the orthogonal city grid. The 125th Street viaduct is a massive arch, 250 feet from end to end, two hundred tons of mass channeled into four concrete pylons, resting on the solid bedrock of Manhattan schist. The subway is the intersection, where the underground and aboveground worlds of New York City converge.
New York City is now home to a peculiar race of people. Every day, New Yorkers step to the tune of the stoplight. Every day, they ride in sardine can subways. Like smoked ham on the butcher’s hook, they hang from subway straps. At their respective stops, they scramble on to work, home, and family. All New York is a stage, and all the men and women merely players. They have their entrances as subway doors slide open, and they time their exits to the familiar recording of “Stand Clear of the Closing Doors Please.” 1
The subway’s alphabet lines snake their way beneath the city and above the boulevards. Take the to Brighton Beach, the to Jamaica, or the to Forest Hills. From the towers of Midtown, to the factories of Flatbush, to the shouts of Shea Stadium, the subway is a panoply of color, motion, and people. For the price of $2.75, the world is within reach. Chinatown, Poland, Russia, Greece, India, and Italy are all neighborhoods joined by the subway’s umbilical cord. New York is a world unto herself, knit together by bands of black asphalt and steel arteries subway track.
Voice of the City - Joseph Stella, 1922

Voice of the City by Joseph Stella, 1922.

Once wooded island of the Lenape Indians, Mannahatta,2 is now a city of immigrants and refugees: the Irish fleeing famine in 1845, the Germans fleeing Revolution in 1848, the Italians in 1871, and now waves of Czech and Chinese, Dominicans and Mexicans. As the metropolis pulsates in motion, the spirit of the city evolves with each wave of newcomers, who ride her subways, inhabit her humid tenements, and dream of home, family, and future.
In 1856, Walt Whitman published Crossing Brooklyn Ferry. He writes of immigrants and bourgeois businessmen alike, all part of “the simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme.” Immigrants are the scheme of the city, the cogs of capitalism, and the human machinery of the metropolis. To each immigrant belongs her place, to each worker his seat, and to each vagabond a place in the breadline. Together they form the metropolis. Whitman also writes:
Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide. 3
Rome is nicknamed the “Eternal City” for its ancient architecture and generations of development. New York, too, is an “Eternal City” of sorts. Its skyscrapers may rise and fall with changing tastes and a growing economy. Yet, in the face of all change to the built environment, immigrants remain the eternal constant that marks time and life in this city: a city with over three million foreign born from all corners of the world; a city whose functioning depends on the legions of immigrant window washers, janitors, and taxi drivers without whom this urban machine would screech to a halt. In 1856, Whitman wrote of a fluid and dynamic city of people in many ways like the New York of today.

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New York, you, too, are home to the injustices and inequalities urban life nurtures. Hart Island, New York’s pauper’s cemetery since 1869, is the final resting place of over a million mostly unknown corpses over 150 years, the tired, the poor, and the huddled masses of immigrant New York. Over a quarter million infants are buried here, each one in an unmarked coffin made of pine, the size of a shoe box. Mass graves are three coffins deep and are buried twenty-five in a row. Nearby Riker’s Island, America’s largest jail, imprisons 10,000 a night awaiting trial in the city’s many courthouses. The South Bronx, with a per capita income $12,500, is a mere mile away from the Upper East Side, with a per capita income over $85,000. The glassy condos of Manhattan are priced at a million plus per piece, but these homes are only made possible by the immigrant workers and janitors paid $10 an hour to sweep the hallways of dust and wipe the windows of grit. Every night, these laborers, too, return to their homes in the gritty outer boroughs. They, too, ride the subway that burrows underground, as generations have before them.
In the 1880s, social reformer Jacob Riis was working on How the Other Half Lives. Through photography, he captured the squalor, darkness, and misery of New York’s impoverished immigrant community. He showed children at work in sweatshops, vagabonds at work collecting the refuse of those more fortunate. He exposed the darkness of another world a few steps from Wall Street and a few miles from the opulent mansions and department stores of Fifth Avenue and Ladies’ Mile. 4 That very same year, on March 26th 1883, the Vanderbilt Family of railroad fortune hosted the largest and most expensive costume ball in New York history, costing six million adjusted for inflation. While the idle rich came dressed as the “Count of Monte Cristo” and “Otho the Barbarian,” the poor slept in squalor a carriage ride away in the Lower East Side. As the New York Sun reported three days later, “[This] festivity represents nothing but the accumulation of immense masses of money by the few out of the labor of the many.” 5

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Though a century has passed since Riis, New York still is a city of social contrasts and economic disparities. Ironically, Jacob Riis’ Lower East Side is now a fashionable community for the upper middle class. All the same, the eternal New York City of immigrants endures in the outer boroughs of Flushing, Queens, Jackson Heights, South Bronx, and Bedfort Stuyvesant. In many regards, their social condition is not too different from Riis’ era. His images of New York testify both to how much and to how little New York has changed. America’s Eternal City still is a place of great injustices, but it is also the place where many of these injustices were first confronted and solved by the city’s activists and artists.
George Tooker depicts the alienation of urban life in his 1950 painting "Subway."

Subway by George Tooker, 1950.

As E.B. White wrote in 1949: “The city is like poetry: it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines. The island of Manhattan is without any doubt the greatest human concentrate on earth, the poem whose magic is comprehensible to millions of permanent residents but whose full meaning will always remain illusive.” 6 Over 400 years since New York’s founding in 1609 by the Dutch, these words remain true as each generation of Men and Women creates the City in their own image. 7
New York, you have not the tree-lined boulevards of Paris, the tradition and pomp of London, or the antiquity of Rome. However, in your diversity of people, cuisine, and culture, you are something far greater. You are home to a city of strangers, a city of neighborhoods, a city of sound, a city of subways, taxis, and buses flowing from the canyons of Midtown to the quiet bedrooms of Westchester and Park Slope, like rivulets of water. Flow on city, flow with the tide, and glide through the eras. Flow on Isle of Mannahatta for “a hundred years hence,” like a ship anchored on bedrock between two proud rivers.

https://mcnyblog.files.wordpress.com/2013/08/sun-mar-29-1883-critical.pdf

Endnotes

  1. Adapted from “All the World’s a Stage” by William Shakespeare
  2. Before Manhattan was settled by Dutch explorers in 1609, it was known by the local Lenape Indians as Mannahatta.
  3. Crossing Brooklyn Ferry” from Leaves of Grass by Walt Whitman, 1856.
  4. How the Other Half Lives by Jacob Riis, 1890.
  5. The New York Sun, March 29, 1883.
  6. Quoted from Here is New York by E.B. White in 1949.
  7. “So God created mankind in his own image.” Genesis 1:27.

California Waterscape: time-lapse history of water supply

California Waterscape animates the development of this state’s water delivery infrastructure from 1913 to 2019, using geo-referenced aqueduct route data, land use maps, and statistics on reservoir capacity. The resulting film presents a series of “cartographic snapshots” of every year since the opening of the Los Angeles Aqueduct in 1913. This process visualizes the rapid growth of this state’s population, cities, agriculture, and water needs.

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Music: Panning the Sands by Patrick O’Hearn

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Dams and Reservoirs

^ Created with open data from the US Bureau of Transportation Statistics and visualized in Tableau Public. This map includes all dams in California that are “50 feet or more in height, or with a normal storage capacity of 5,000 acre-feet or more, or with a maximum storage capacity of 25,000 acre-feet or more.” Dams are georeferenced and sized according to their storage capacity in acre-feet. One acre-foot is the amount required to cover one acre of land to a depth of one foot (equal to 325,851 gallons or 1.233 ● 10liters). This is the unit of measurement California uses to estimate water availability and use.

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Aqueducts and Canals

^ Created with open data from the California Department of Water Resources, with additional water features manually added in QGIS and visualized in Tableau Public. All data on routes, lengths, and years completed is an estimate. This map includes all the major water infrastructure features; it is not comprehensive of all features.

 

Method and Sources

The most important data sources consulted are listed below:

This map excludes the following categories of aqueducts and canals:

  • Features built and managed by individual farmers and which extend for a length of only a few hundred feet. These features are too small and numerous to map for the entire state and to animate by their date completed. This level of information does not exist or is too difficult to locate.
  • Features built but later abandoned or demolished. This includes no longer extant aqueducts built by Spanish colonists, early American settlers, etc.
  • Features created by deepening, widening, or otherwise expanding the path of an existing and naturally flowing waterway. Many California rivers and streams were dredged and widened to become canals, and many more rivers turned into “canals” remain unlined along their path. Determining the construction date for these semi-natural features is therefore difficult. So, for the purposes of simplicity and to aid viewers in seeing only manmade water features, these water features are excluded.
Download and edit the open source QGIS dataset behind this animation.