After traveling by car, plane, bus, plane, bus, train, bus, and walking, I have arrived in Civita di Bagnoregio for my two-month fellowship sponsored by NIAUSI, the Northwest Insitute of Architecture and Urban Studies in Italy, or as it is referred to here, Istituto Civita with an accent on the first syllable (CHEE-vee-tah). Sorry, Rick Steves.

It’s time to give a little background on why I’m actually here.

Working as a graphic designer for the past twenty-some years, I’ve seen the discipline become an increasingly insistent presence in the daily lives of ordinary people, mostly in the service of selling products. But graphic designers also work to interpret, inform, educate and build community through the exchange of information and ideas. As a design professional working in Seattle and a student of Italian, I was marginally aware of the NIAUSI’s Fellowship Program in Civita but it was only when I became curious to learn more that I decided to propose this project because what I discovered surprised me.

Practicing architects and historians had access to a body of technical analyses about Civita’s built form and history and the continuing record of the important work being carried out in conservation and sustainable development of the tuff towns of Italy. The NIAUSI archives contain a wealth of information and project records since past fellows have contributed much richness and specificity to this dialogue, including Gabriela Denise Frank’s CivitaVeritas which offered a welcome personal perspective.

Yet most of this material did not seem easily accessible to the general public. For the casual but interested traveler (or reader) there seemed little more than enticing but short blurbs by Rick Steves and other travel writers, depicting the area as either a dying town or a study model in preservation.

As a graphic communicator, I wanted more. 500—even 50—years ago, Civita was certainly a vastly different place. How had it changed? What forces, events, and people occurred and layered over time to make Civita the specific place it is today? Each bit I discovered made me want to know more, even as each piece seemed to depict a distinctly different place—a multitude of Civitas. And…perhaps this was the key. Perhaps Civita needed to be pulled apart and examined separately before it could be understood as a unified whole.

Maps are essential tools of interpretation for the graphic designer. Audiences see information before they read it, and often we see instead of reading at all. This makes maps ideal devices for conveying complex information. Not only can maps extend factual content, but the manner in which the information is envisioned and arranged can express an emotional component as well. Usually, most of what we conjure when we think of traditional “maps” depicts conventional reality—freeways not bird migrations; shopping footprints instead of lost buildings. But this narrow view of maps denies their potential—rarely do they tap into our subjective memories.

No two people “see” the same city, even with the exact same map. A city is many worlds in one place, or many maps of the same place. Maps—in essence and intent—present arbitrary selections of information. A series of maps may represent many places in the same way or the same place in *many* ways.

What if a series of maps served as an invitation to look at the richness of a place—in this case Civita—with new eyes, allowing a viewer to enter these worlds on their own terms, alter, add, or plan with them? I decided my project would focus on the latter, creating an “atlas” of sorts— Civita Immaginato—Civita Imagined. The series might serve as a ticket to actual territory, but might also offer an open-ended invitation to go beyond what is mapped on the surface, examining the many layers of meaning, culture, and history in one single place through specific and distinct lenses running the gamut from serious to light-hearted, legendary to humorous.

The objective: a small, modest collection, deeply arbitrary, of one person’s exploration of the history and future of a place. The hope: when viewed together, the maps might hint at the richness and complexity of Civita and its surrounding areas as they have been experienced and altered by both residents and visitors.

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