S07 → N400
The Spike of Fascinating & Unexpected
SPIKE 20
→ TERRESTRIAL GLOBE.
© 1. Bates Littlehales — Replogle Globe Company, Chicago (1957-1967) / 2. Gilmore David Clarke (landscape architect)/Peter Muller-Munk Associates (industrial designers) — Unisphere globe for the New York World’s Fair (1964) / 3. KEYSTONE Pictures USA — The world’s first Earthquake Globe - Colchester School of Art Sculptor by Ken Gillham (1972) / 4. N. Lane of London — Pocket Globe Terrestrial with Celestial Case (1809) / 5. LIFE — Joseph P. Kennedy Sr. (1937) / 6. The Anonymous Project — World Trade Fair (1964) / 7. Koreshan Unity Collection — Koreshan Unity president Hedwig Michel explaining the Koreshan hollow earth theory at Art Hall in Estero, Florida / 8. unknown — Voskhod spacecraft IMP “Globus” navigation instrument / 9. Lamont-Doherty Earth Observatory — Marie Tharp at her drafting table in Lamont Hall, working on the “World Ocean Floor Panorama” (circa 1961) / 10. Fritz Goro — Astronomers using globe models of the moon to plan the Apollo mission (1962) / 11. unknown — Aquadoll Pat Brody holds a model of the World's Fair Unisphere, New York (1964) / 12. Martin Behaim — Terrestrial globe “Erdapfel” / 13. Martin Waldseemüller — The gores of Waldseemüller’s globe of the world “America” (1507) / 14. Louis Bonnier — Reclus Globe Project, cutaway drawing by Louis Bonnier (1895).
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The creation of terrestrial globes relies on a key technique involving the use of gores. Gores are wedge-shaped pieces of a map, carefully designed and printed on flat paper, which are subsequently assembled onto a spherical surface. This method allows for an accurate and detailed representation of the Earth in three dimensions, overcoming the inherent challenges of transforming a flat map into a globe. The process of using gores begins with the design phase, where a map is divided into a series of triangular or trapezoidal segments. These segments, or gores, typically number twelve or more, depending on the desired smoothness and detail of the final globe. Each gore is printed on flat sheets of paper, then meticulously cut out. These cut pieces are then pasted onto a spherical core, which can be made from various materials such as papier-mâché or plastic. The careful alignment of the gores ensures that the edges meet accurately, forming a continuous and cohesive map of the Earth.
One of the most renowned uses of gores is attributed to the German cartographer Martin Waldseemüller. In 1507, Waldseemüller created the first map to use the name “America” for the New World, and this map included a set of gores designed for the assembly of a globe. Waldseemüller’s gores are historically significant for several reasons. Firstly, they mark the earliest recorded use of the name “America,” honouring the explorer Amerigo Vespucci. Secondly, these gores demonstrated a remarkable level of detail and accuracy for their time, reflecting the most advanced geographical knowledge available. In addition, the use of gores allowed to minimize the distortion that typically occurs when projecting a flat map onto a spherical surface. It also ensured that geographical features such as continents, countries, and oceans maintain their accurate proportions and relationships.
Beyond their practical uses, terrestrial globes are also admired for their aesthetic qualities. Antique globes, with their intricate details and craftsmanship, are highly sought after by collectors and history enthusiasts. In the 18th century, miniature globes known as “pocket globes” became popular among the wealthy and educated. These tiny, often exquisitely detailed globes were small enough to fit in one’s pocket and were housed in spherical cases. The inside of the case usually depicted celestial maps, making them dual-purpose educational tools.
Elisée Reclus, a renowned French geographer and anarchist, conceived an ambitious project in the late 19th and early 20th centuries: the construction of a massive globe representing the Earth for the World’s Fair to be held in Paris in 1900. This globe was to be a detailed and educational representation of the planet, aimed at fostering a greater understanding of geography among the public. Reclus envisioned a globe with a diameter of approximately 127 metres (416 feet), making it one of the largest representations of the Earth ever proposed. The project was intended to serve both scientific and educational purposes, providing a comprehensive view of the world’s geography, topography, and even its climatic conditions. Reclus planned for the globe to be housed in a specially designed building where visitors could walk through different sections and observe various geographic features on an immense scale. This educational tool was meant to enhance the public’s awareness of the planet’s interconnected ecosystems and the spatial relationships between different regions. Reclus’s globe was not just a static model but an interactive exhibit where people could explore and learn about the Earth’s physical and cultural landscapes. The project reflected Reclus’s broader philosophical and political beliefs, particularly his commitment to education, humanism, and the idea that understanding the world was crucial for fostering a sense of global solidarity and cooperation. Despite its innovative and visionary nature, the project faced numerous challenges, including technical, financial, and logistical difficulties. These obstacles ultimately prevented the realisation of Reclus’s grand vision.
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→ Sourced from: SYSTEM 02 (Altanube Pando)
→ Stored online: N400 Spikes Repository
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→ Search log: Google images / Élisée Reclus : Le projet de Globe au 100.000E (FR)
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