Planning 2 Quiz Materials PDF

A R C H 536 P L A N N I N G 2 A R C H 536 P L A N N I N G 2 A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN  A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN A R C H 536 P L A N N I N G 2 SPACE IN URBAN DES...

A R C H 536 P L A N N I N G 2 A R C H 536 P L A N N I N G 2 A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN  A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN A R C H 536 P L A N N I N G 2 A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN A R C H 536 P L A N N I N G 2 SPACE IN URBAN DESIGN, URBAN AESTHETICS AND URBAN PATTERN S P A C E I N U R B A N D E S I G N , U R B A N A E S T H E TI CS A N D U R B A N P A T T E R N TH E RESPONSIVE ENVIRONMENT W h a t is RESPONSIVE ENVIRONMENT? This is a helpful tool for architecture and urban planning, written by Ian Bently, Alan Alcock, Paul Murrain, Sue McGlynn, and Graham Smith in 1985 The idea that the built environment should provide its users with an essentially democratic setting, enriching their opportunities by maximizing the degree of choice available to them. W e call such places responsive. Many factors affect the choices people can make when it comes to the design of a place, this corresponds to the 7 Qualities of Responsive Environment. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT PERMEABILITY The extent to which an environment allows people a choice of access through it. Permeability provides opportunities to explore a setting by encouraging freedom to walk. The quality of robustness influences the degree to which one can use a setting for different purposes, over short and long periods of time. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT V I S U A L PERMEABILITY Visual permeability between public and private space can also enrich the public domain. If wrongly used, however, it can confuse the vital distinction between ADVANTAGES OF SM A LL B LOC KS public and private altogether Small blocks give more choice of routes than one with large blocks A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT P H Y S I C A L PERMEABILITY THE I N T E R F A C E : E F F E C T S O N PRI VA T E Physical permeability between public and private spaces SPACES occurs at entrances to buildings or gardens. This enriches For the public/private interface to make private life richer, instead of public space by increasing the level of activity around its destroying privacy altogether, it is vital that its degree of permeability is under edges the control of the private users. Normal Building Elements: level changes windows porches curtains blinds sound reducing glazing A R C H 536 P L A N N I N G 2 RESPONSIVE ENVIRONMENT L I N K S T O S U R R O U N D I N G AREAS In any project large enough to have more than one block, people can potentially move through the site from its surroundings, from one side to another. The first step in design, therefore, is to analyze the layout of routes in the surrounding area; define the access points onto the site, and note their A R C H 536 P L A N N I N G 2 relative importance in terms of where they lead.  VARIETY Places with varied forms, uses, and meanings. Variety unleashes variety. A space characterized by a variety of uses tends to be characterized by a variety of forms, sounds, smells, meanings, people, behaviors and so on. RESPONSIVE ENVIRONMENT Variety depends on 3 main factors range of activities- demand possibility of supplying affordable space extent to which design encourages positive interactions. it also depends on feasibility: economic, political, and function EXAMPLES: Business and Commercial Centers Mixed-use Buildings and Blocks A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT LEGIBILITY Legibility is the quality that makes a place graspable. How easy it is for a person to construct a mental map of their environment The degree of choice offered by a place depends directly on how legible it is. Important at two levels: -Physical Form -Activity Patterns A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT EXAMPLES: Barcelona, Spain The layout of the city can be easily understood and important buildings stand out and serve as a landmarks. Central Park, NYC A R C H 536 P L A N N I N G 2 RESPONSIVE ENVIRONMENT ROBUSTNESS Places which can be used for many different purposes. Key Points A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT LARGE - SCALE ROBUSTNESS SMALL - SCALE ROBUSTNESS - concerns the ability of the building as a whole, - concerns the ability of particular spaces within or large parts of it, to be changed in use. the building to be used in a wide range of ways. Bedford Square, London. Hotel Chadstone Function Hall, Melbourne Used to be mostly residential apartments and now It can serve for a variety of purposes, also contain offices and embassies. It also used to e.g. venues for talking engagements and seminars, house a School. wedding receptions, culminating programs, and parties. A R C H 536 P L A N N I N G 2  INTERNAL ORGANIZATION Hard and soft areas Active and passive areas - “active” areas are “hard” areas are areas that don’t change indoor areas that can attract interactions and function during the buildings’ life (like contribute to the outdoor activities in the elevators, staircases), these areas are public spaces, sometimes through visual positioned strategically in order to not contact to make the space more interesting restrict the use of the remaining spaces. for the passerby. These areas are usually observed on the ground floor of building, While “soft” area are easier to change and where it shares an edge with the public adapt to the users’ wants and needs’ space. through the time. RESPONSIVE ENVIRONMENT  RESPONSIVE ENVIRONMENT INDOOR Can prevent buildings from being used and then destroyed like ROBUSTNESS consumer items. By accommodating a greater range of uses, robustness can make the building stand longer and save energy in the long run. It is perceived as a valid tool for the attainment of sustainability. In their discussion of indoor robustness, Bentley et al. pay high attention to issues of housing robustness. They declare that residential units should be flexible enough to meet people's changing needs during their entire lives. A R C H 536 P L A N N I N G 2 Designing concerns should Also, focus on issues of outdoor robustness both in public and private. By providing plenty of opportunities for public contact, such as neighboring and casual socializing, outdoor robustness helps solve one of our society's most serious social problem - isolation. OUTDOOR ROBUSTNESS A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT Robustness in public outdoor space - mainly concerned with the edge of the space - where most activities take place makes it possible for gatherings to occur naturally in public. To foster robustness, the public edge of the building should: accommodate activities that can benefit from interaction with the public space or can contribute to the animation of the public space itself A R C H 536 P L A N N I N G 2 Visual Appropriateness, the detailed appearance of the place makes people aware of the choices available. V I S U A L APPROPRIATNESS  RESPONSIVE ENVIRONMENT EXAMPLES: HOSPITALS CHURCHES Two buildings with RESIDENTIAL The picture on the left looks Old Churches are easily different types of Between the two images, it is more like an office building recognizable because of their occupancy almost look more obvious that the image while the picture on the right distinguished physical the same. The popularly on the right are residential characteristics. Modern followed modern look of homes than the image on the looks more institutional churches are hardly buildings makes it hard to left side recognizable because of its tell what a particular design building serves. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT RICHNESS A variety of sense-experiences that users can enjoy. Richness is present whenever a milieu offers the choice of noticing a wealth of positive sensory experiences. Richness is the interesting quality of something that has a lot of different features or aspects. There are only two ways people can choose from different sensory experiences if the environment itself is established as broadly outlined. Firstly, by focussing attention on different sources of sense and experiences on separate occasions. Secondly, by moving away from one source towards another. KEY POINTS: I. ALL SENSES (VISUAL AND NON-VISUAL RICHNESS) II. VISUAL CONTRASTS AND DISTANCES A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT I. A L L SENSES There are two ways for users to choose from different senses of experience: Focusing their attention on different Moving away from one source to sources of sense of experience on another. different occasions. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT I. A L L SENSES SENSE O F SENSE O F SENSE O F MO T I O N HEARING TO U C H Gained through Which user have Voluntary and movement. limited control. Involuntary. Mostly relevant to Best restricted to packed into the large spaces: spaces large enough smallest of spaces, but outdoor places, and for people to escape variety of air movement circulation routes altogether from the and temperature should within buildings. sound sources be reserved for large involved. ones. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT I. A L L SENSES SENSE O F SENSE O F SIGHT SMELL Most dominant in terms Cannot be directed. of information input and Can only be achieved is the easiest to control. by moving away from one source towards another A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT I. A L L S E N S E S (E X A M P L E S ) SENSE O F MO T I O N The Centre Pompidou, by Piano and Rogers, uses escalators to provide a variety of movement sensations; experienced in relationship both to close-up parts of the building itself and to the distant city. A R C H 536 P L A N N I N G 2 VISUAL AND NON- VISUAL RICHNESS VISUAL AND NON- VISUAL RICHNESS RESPONSIVE ENVIRONMENT I. A L L S E N S E S ( E X A M P L E S ) SENSE OF HEARING In this house by Charles Moore, the floor finishes are designed to make different sounds underfoot, whilst the volumes of the various internal spaces are designed to provide a variety of reverberation times. The result is a rich acoustic environment throughout the house as a whole. RICHNESS A R C H 536 P L A N N I N G 2 VISUAL AND NON- VISUAL RICHNESS RESPONSIVE ENVIRONMENT I. A L L S E N S E S ( E X A M P L E S ) S E N S E O F TO U C H Portland Square, by Lawrence Halprin, uses water to provide a rich range of tactile experiences. This is also achieved in Helen Teague’s project for an infants’ school, with its variety of different floor textures and door handles. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT I. A L L S E N S E S (E X A M P L E S ) SENSE O F SIGHT The picture on the left offers visual richness than the picture to the left which looks monotonous due to its uniform design and character. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT A R C H 536 P L A N N I N G 2 I. A L L S E N S E S (E X A M P L E S ) SENSE O F SMELL A large herb garden that is filled with highly scented plants, whose aroma is concentrated within the wind-free space. In urban places, the potential of cafes, bakeries, and the like open to the outside can be sources of rich smell along the area.  RESPONSIVE ENVIRONMENT A R C H 536 P L A N N I N G 2 II. VISUA L C O N T RASTSA N D DIST A N CES As the number of elements in a given VISUAL CONTRASTS surface increases, so does richness. By A particular surface consists of only one the time the surface contains about five element. It contains no choice of things to be elements', there is plenty of choice of thin looked at, and therefore no visual richness. as to look at, so the surface seems rich.  RESPONSIVE ENVIRONMENT II. V IS U A L C O N T R A S TS A N D D IS T A N CES VISUAL CONTRASTS But when the number of elements exceeds a certain level, the various elements begin to be read together, as a single pattern or super-element. When this happens, richness of experience is reduced. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT II. VIS UA L C O N T R AS TS A N D D IS T A N CES VISUAL CONTRASTS Visual events depend on visual contrasts, Landscapes around the buildings provides which can be created by differences ofcolour or visual contrast through the right placement of tone on a two-dimensional surface, or by softscapes and landscapes. threedimensional variations of the surface itself. A R C H 536 P L A N N I N G 2  RESPONSIVE ENVIRONMENT II. VIS UA L C O N T R AS TS A N D D IS T A N CES DISTANCES The range of likely viewing distances affects the range of scales at which richness must be considered. Where the surface will be seen at long range, large-scale richness is necessary; whilst at close range, richness must be achieved by small-scale elements and subdivisions. So to maintain richness from long- range to close-range we need a hierarchy of elements from large-scale to smallscale. A R C H 536 P L A N N I N G 2 A R C H 536 P L A N N I N G 2 RESPONSIVE ENVIRONMENT PER S O N A L I S A T I O N The stamp of people’s own tastes and values.  RESPONSIVE ENVIRONMENT 1 TYPE Users personalise in two ways: 2 Why? - to improve practical facilities. - to change the image of a People personalize a place. building’s image for two main reasons: - as an affirmation of their own tastes and values: afirmative personalisation - because they perceive its existing image as 3 CONSTRAINTS inappropriate: remedial tenure personalisation building type technology A R C H 536 P L A N N I N G 2  E X AMP L E S A R C H 536 P L A N N I N G 2 RESPONSIVE ENVIRONMENT