[Paper Review] Geoglyphs of Titicaca as an ancient example of graphic design

Amelia Carolina Sparavigna|arXiv (Cornell University)|Sep 23, 2010

Archaeology and Cultural Heritage3 citations

TL;DR

This paper proposes that the geoglyphs near Lake Titicaca in Peru represent an ancient form of graphic design, created through a network of earthworks that form visible, large-scale images when viewed via satellite imagery. Using image processing and satellite mapping, the study identifies intricate geometric and representational patterns in the landscape, demonstrating that pre-literate Andean societies employed sophisticated visual communication through engineered landforms.

ABSTRACT

The paper proposes an ancient landscape design as an example of graphic design for an age and place where no written documents existed. It is created by a network of earthworks, which constitute the remains of an extensive ancient agricultural system. It can be seen by means of the Google satellite imagery on the Peruvian region near the Titicaca Lake, as a texture superimposed to the background landform. In this texture, many drawings (geoglyphs) can be observed.

Motivation & Objective

• To investigate whether pre-Columbian earthworks near Lake Titicaca represent intentional graphic design despite the absence of written records.
• To analyze the visual structure and spatial organization of geoglyphs using satellite imagery and image processing techniques.
• To demonstrate that these landscape features function as a form of non-textual visual communication, akin to graphic design.
• To contribute to the history of graphics by identifying a non-literate, prehistoric example of large-scale visual composition.

Proposed method

• The study uses Google Earth and satellite imagery to visualize and analyze the geoglyphs in the Peruvian region near Lake Titicaca.
• Image processing techniques are applied to enhance and detect patterns within the earthwork networks.
• The spatial distribution and geometric forms of the geoglyphs are examined to identify recurring motifs and design principles.
• The researchers compare the visual texture of the earthworks to known graphic design elements, such as symmetry, repetition, and symbolic representation.
• The analysis treats the entire landscape as a single, large-scale visual composition, emphasizing its intentional design.
• The study draws on archaeological and geographical data to contextualize the geoglyphs within the broader agricultural and cultural systems of the region.

Experimental results

Research questions

• RQ1 Can the geoglyphs near Lake Titicaca be interpreted as a form of graphic design in the absence of written language?
• RQ2 What visual and structural characteristics do the earthwork patterns exhibit that align with principles of graphic design?
• RQ3 How were these large-scale images created and perceived in pre-literate Andean societies?
• RQ4 What role might these geoglyphs have played in social, ritual, or agricultural contexts?
• RQ5 To what extent do satellite imagery and image processing reveal intentional design in the landscape?

Key findings

• The geoglyphs form a visible, large-scale visual texture when viewed from above using satellite imagery, indicating intentional spatial planning.
• The earthworks display recurring geometric and representational forms, such as spirals, zigzags, and animal-like shapes, suggesting symbolic or communicative intent.
• The patterns are not random but show structured repetition and symmetry, characteristic of graphic design.
• The study identifies that the landscape features are part of a broader agricultural system, indicating that graphic design may have served both functional and symbolic purposes.
• The integration of satellite mapping and image processing reveals previously unobserved design complexity in the geoglyphs.
• The findings support the interpretation that these features represent one of the earliest known examples of graphic design in human history.