Community Architecture PDF

01  group of people in a common COMMUNITY settlement with particular characteristics in common art and science of designing and constructing buildings ARCHITECTURE COMMUNIT...

01  group of people in a common COMMUNITY settlement with particular characteristics in common art and science of designing and constructing buildings ARCHITECTURE COMMUNITY ARCHITECTURE ARCHITECTURE carried out with the active participation of the COMMUNITY or the end-users ▪ movement that argues for the importance of user involvement in the design, construction and management of the environment ▪ based on a democratic system of decision-making that advocates the inclusion of community members in issues concerning their built environment AIM OF COMMUNITY ARCHITECTURE -to improve the quality of the environment by involving people in the design and management of the buildings and spaces they inhabit THREE FUNDAMENTAL CLAIMS Users participation leads to greater user 01 satisfaction Users participation is more economical, at 02 least in long term Users participation produces psychological 03 and sociological benefits 02  relating to or involving combination of socio SOCIO-CULTU and cultural factors. RAL customs, lifestyles and values that characterize a society or group. CULTURAL ASPECTS ▪ concepts of beauty SOCIAL FACTORS ▪ Education ▪ Language ▪ Reference groups ▪ Law and politics ▪ Family ▪ Religion ▪ Role and status in ▪ Social organizations society ▪ Technology and material culture ▪ Time and Available ▪ Values Resources ▪ Attitude SOCIO-CULTURAL PERSPECTIVE -point of view that is built upon the idea that: society and culture- major factors influencing personal development -Socio-cultural factors referring to man: ▪ Religion ▪ Attitude ▪ Economic status ▪ Class ▪ Language ▪ Politics ▪ Law SOCIO-CULTURAL FACTORS IN COMMUNITY DESIGN 01 GEOGRAPHY AND ECOLOGY 02 ANTHROPOLO GY 03 CULTURAL LANDSCAPE  01 Availability of Local HOW THIS INFLUENCES Materials THE DESIGN? 02 Environmental Issues 03 Disaster Prone Areas 04 Diverse Land 01 GEOGRAPHY AND  HOW THIS INFLUENCES THE DESIGN? 01 Availability of Local Materials Most designers design with available materials. It is not common for people to design with materials which are not available or which are difficult to obtain 01 GEOGRAPHY AND  HOW THIS INFLUENCES THE DESIGN? 02 Environmental Issues Major current environmental issues may include climate change, pollution, environmental degradation, and resource depletion etc. 01 GEOGRAPHY AND  HOW THIS INFLUENCES THE DESIGN? 03 Disaster Prone Areas The word sustainable is defined as using a resource so that it is not depleted or permanently damaged. Sustainability is one of the most significant concepts of this decade influencing the design community planning and architecture. 01 GEOGRAPHY AND  HOW THIS INFLUENCES THE DESIGN? 04 Diverse Land Architects design on many places. And each of these places have unique terrain. 01 GEOGRAPHY AND  VERNACULAR ARCHITECTURE ▪ architectural style designed based on local needs, availability of construction materials and reflecting local traditions. ▪ did not use formally schooled architects but relied on the design skills and tradition of local builders. 02 ANTHROPOLOGY FACTORS AFFECTING VERNACULAR ARCHITECTURE ▪ Climatic Condition ▪ Culture ▪ Technological Advancement 02 ANTHROPOLOGY  CULTURAL landscapes that have been affected, influenced LANDSCAPE or shaped by human involvement ETHNOGRAPHIC HISTORICAL SITES VERNACULAR LANDSCAPE LANDSCAPE 03 CULTURAL LANDSCAPE  In this sense, landscapes are “symbolic ETHNOGRAPHIC 01 LANDSCAPE environments” that people create to give meaning and definition to their physical environment. Historic sites are cultural landscapes HISTORICAL 02 SITES significant for their association with a historic event, activity or person. 03 CULTURAL LANDSCAPE  Landscapes that evolved through use by VERNACULAR LANDSCAPE 03 the people whose activities or occupancy shaped those landscapes. 03 CULTURAL LANDSCAPE  Why are cultural landscapes important? These special sites reveal aspects of our country’s origins and development as well as our evolving relationships with the natural world. They provide scenic, economic, ecological, social, recreational, and educational opportunities helping communities to better understand themselves. 03 CULTURAL LANDSCAPE 03 HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE Movement that community architecture is today can also be traced back to the 1930s from the urban renewal measures of the government in both the U.K. and North America. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE In the UK, Urban Renewal can be directly linked to the economic boost that the country observed in the post-war period when the attention turned to the improvement of the living conditions in poor neighborhoods. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE New Block which replaced the slums Houses before Demolition HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE The story was the same in the US, where the Slum Clearance Movement gave birth to the Urban Renewal Policies. Slum Clearance was an outcome of the Great Depression period during the 1930s when the physically deteriorated neighborhoods became the focus of attention in the US. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE Slum in the Alazan Court Public Housing in the Alazan Court HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE  At the same time, the development of the Modern Movement In Architecture led by architects like Le Corbusier propagated the notion of high-rise buildings employing industrial construction techniques as the future of urban development.  Anticipation of slum clearance and urban renewal as solutions to all social and physical problems of the “blighted areas” failed to live up to their claims and expectations. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE Unite D’ Habitation, Le Corbusier HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE  The first significant step as a result of the 1960s debate on community participation in planning and decision- making was the concept of Advocacy Planning in the US. Paul Davidoff, an Urban Planning professor, first introduced this concept in an article published in the November 1965 issue of the Journal of the American Institute of Planners, entitled “Advocacy and Pluralism in Planning” HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE  Davidoff in his article, called for democracy in the planning profession, where voices of all interest groups are heard, and the role of the planner is that of an advocate for these interest groups. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE  Parallel to the Advocacy Planning movement in the United States, the community groups in the United Kingdom launched community action in the 1960s and 1970s HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE  The project that laid the foundation of the “Community Architecture Movement” in Britain was the Black Road Area Improvement Project in Macclesfield, Cheshire, under the able leadership of Rod Hackney, the first community architect in Britain. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE "Community architecture is the architecture of the community." -No rules to community architecture, it is more "an attitude of mind" that inspires architects to take on work directly with their lower-income user clients. HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE  Royal Institute of British Architects (RIBA) released a paper titled “Guide To Localism” composed of two parts, - Part one being ‘Neighbourhood Planning” and - Part two ‘Getting Community Engagement Right’.  The paper is part of the “Localism Bill” being proposed. This project of RIBA now termed as ‘localism’ HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE Localism - another form of the community architecture movement, with the same driving principle of getting the people to join in the designing and development process of their own places. AESTHETICS set of principles concerned with the nature and appreciation of beauty Ancient Aesthetics Islamic Aesthetics Indian Aesthetics Chinese Aesthetics  Ancient Aesthetics  Greece had the most influence on the development of aesthetics in the west.  Greek philosophers initially felt that aesthetically appealing objects were beautiful in and of themselves. Plato felt that beautiful objects incorporated proportion, harmony, and unity among their parts. Similarly, in the metaphysics, Aristotle found that the universal elements of beauty were order, symmetry, and definiteness. AESTHETICS  Islamic Aesthetics  "Islamic" refers not only to the religion, but to any form of art created in an Islamic culture or in an Islamic context.  According to Islam, human works of art are inherently flawed compared to the work of god; AESTHETICS  Indian Aesthetics  Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically. AESTHETICS  Indian Aesthetics AESTHETICS  Chinese Aesthetics  Confucius emphasized the role of the arts and humanities (especially music and poetry) in broadening human nature and aiding “li” (etiquette, the rites) in bringing us back to what is essential about humanity.  His opponent Mozi, however, argued that music and fine arts were classist and wasteful, benefiting the rich but not the common people AESTHETICS 04 What does an ARCHITECT do for COMMUNITY ARCHITECTURE? Architect: Investigate the needs of the community extensively to ensure a suitable design for the location An architect works in consultation with local inhabitants in designing housing and other amenities Orienting Exercises for Development Planning and Action in Community Architecture  Orienting Exercises for Development Planning and Action in Community Architecture  Access to Resources  Analysis of Tasks  Logical Framework  Assessment of Needs  Participant’s Observation  Seasonal Diagrams  Socio-Cultural Profiles  Village Meetings  Identifying Sense of Time and Place 01 ACCESS TO RESOURCES  series of participatory exercises- allows development practitioners to collect information and raises awareness among beneficiaries 02 ANALYSIS OF TASKS  gender analysis tool- raises community awareness about the distribution of domestic, market, and community activities according to gender and familiarizes planners with the degree of role flexibility that is associated with different tasks. 03 LOGICAL FRAMEWORK  matrix that illustrates a summary of project design, emphasizing the results that are expected when a project is successfully completed. 03 TYPICAL LOGICAL FRAMEWORK FORMAT 04 ASSESSMENT OF NEEDS  tools that draws out information about people’s varied needs, raises participants’ awareness of related issues and provides a framework for prioritizing the needs 05 PARTICIPANT’S OBSERVATION  fieldwork technique used by anthropologists and sociologists to collect qualitative and quantitative data that leads to an in-depth understanding of peoples' practices, motivations, and attitudes. 06 SEASONAL DIAGRAMS Show the major changes that affect a household, community or region within a year such as those associated with climate, crops, labor, availability and demand, livestock, prices and so on. 06 SEASONAL DIAGRAMS  07 SOCIO-CULTURAL PROFILES  Detailed descriptions of the social and cultural dimensions that in combination with technical, economic, and environmental dimensions serve as a basis for design and preparation of policy and project work.  08 VILLAGE MEETINGS  Meetings with many users in participatory development, including information sharing and group consultation, consensus building, prioritization and sequencing of interventions, and collaborative monitoring and evaluation.  09 IDENTIFYING SENSE OF TIME & PLACE  growing number of planners and architects are seeking to design communities that have a stronger "sense of place” COMPACT PATTERN OF DEVELOPMENT - mixed use - strong pedestrian orientation - active civic and community life - closer links between public transit & land use -higher housing densities TYPES OF ARCHITECTURAL FORMS IN PLANNING  Centralized Form - A number of secondary forms clustered about a dominant, central parent-form Villa Capra (The Rotunda), Vicenza, Italy, 1552–1567, Andrea Palladio  Linear Form – series of forms arranged sequentially in a row Runcorn New Town Housing, England,1967, James Stirling  Radial Form– composition of linear forms extending outward from a central form in a radial manner Secretariat Building, UNESCO Headquarters, Place de Fontenoy, Paris, 1953–1958, Marcel Breuer  Clustered Form– collection of forms grouped together by proximity or the sharing of a common visual trait Habitat Montreal, 1967, Moshe Safdie  Grid Form– set of modular forms related and regulated by a three-dimensional grid Conceptual Diagram, Museum of Modern Art, Gunma Prefecture, Japan, 1974, Arata Isozaki BUILDING ORGANIZATION IN PLANNING  Centralized Organization– central, dominant space about which a number of secondary spaces are grouped Villa Farnese, Caprarola, 1547–1549, Giacomo da Vignola   Linear Organization– linear sequence of repetitive spaces Unite D’ Habitation, Le Corbusier  Andrew Melville Hall, University of St. Andrews  Radial Organization– central space from which linear organizations of space extend in a radial manner  Clustered Organization– spaces grouped by proximity or the sharing of a common visual trait or relationship Fallingwater (Kaufmann House), near Ohiopyle, Pennsylvania ,1936–1937, Frank Lloyd Wright  Crystal Palace, London, England  Grid Organization– spaces organized within the filed of a structural grid or other three- dimensional framework VISUAL PROPERTIES OF FORM Shape -characteristic outline or surface configuration of a particular form -principal aspect by which we identify and categorize forms Size - physical dimensions of length, width, and depth of a form. -While these dimensions determine the proportions of a form, its scale is determined by its size relative to other forms in its context. Color -A phenomenon of light and visual perception that may be described in terms of an individual’s perception of hue, saturation, and tonal value. - attribute that most clearly distinguishes a form from its environment. It also affects the visual weight of a form Texture - The visual and especially tactile quality given to a surface by the size, shape, arrangement, and proportions of the parts. -also determines the degree to which the surfaces of a form reflect or absorb incident light Position -The location of a form relative to its environment or the visual field within which it is seen. Orientation -The direction of a form relative to the ground plane, the compass points, other forms, or to the person viewing the form. Visual Inertia -The degree of concentration and stability of a form -depends on its geometry as well as its orientation relative to the ground plane, the pull of gravity, and our line of sight. WHAT ARE SIGN AND SYM BOLS? SIGNS ARE USED TO CONVEY INFORMATION IN PICTORIAL FORM SIGNS AND SYMBOLS ARE COMMONLY USED IN EVERY SITIUATIONS.  Pictograms and symbols are easier to recognize and understand, cross various language barriers, and often close the communication gap. Symbols are quickly becoming the standard for traffic control devices throughout the world.  SEMIOTICS The study of SIGNS and SYMBOLS and their use and interpretation. “Symbolism in Architecture is another form of communication.”- Robert Venturi SAFETY COLORS SAFETY RED SAFETY YELLOW SAFETY ORANGE SAFETY GREEN SAFETY BLUE SAFETY COLORS SAFETY RED- Fire, Danger, Stop SAFETY YELLOW- Caution SAFETY ORANGE- Warning SAFETY GREEN- Safety First SAFETY BLUE- Notice DIFFERENT FAMILIES OF SIGNS MANDATORY SIGNS PROHIBITION SIGNS WARNING SIGNS SAFETY SIGNS DANGER SIGNS MANDATORY SIGNS road signs which are used to set the obligations of all traffic which use a specific area of road. Unlike prohibitory signs, mandatory signs tell traffic what it must do, rather than must not do. Most mandatory road signs are circular, may use white symbols on a blue background with white border or black symbols on a white background with a red border, although the letter is also associated with prohibit signs. MANDATORY SIGNS PROHIBITION SIGNS means a safety sign behaviour likely to cause a risk to health or safety. generally, use a black safety symbol in a red circle with a diagonal cross through. PROHIBITION SIGNS PROHIBITION SIGNS WARNING SIGNS These signs are yellow type of sign which indicates a potential hazard, obstacle or condition requiring special attention. Some are traffic signs that indicate roads that may not be readily apparent to a driver. WARNING SIGNS SAFETY SIGNS medium of communication that convey information or instructions regarding the physical safety of people Signs in workplaces may be posted in variety of areas in order to draw attention to them, such as on walls, on doors, on machinery and products, or as floor makings usually have a symbol and text, although there are safety signs that have only one of the two SAFETY SIGNS DANGER SIGNS Safety signs for warning when a hazard or a hazardous condition is likely to be life-threatening. The word 'Danger' is featured inside a red oval which in turn is inside a black rectangle and often feature other warning symbols. ADDITIONAL SIGN RECYCLED This mark is placed on recycled objects to tell the consumer that they are buying a recycled product This is a big advertising point as companies like their products to be seen as being environmentally friendly ADDITIONAL SIGN FRAGILE This mark is placed on breakable objects packaging to tell people handling the box to treat it. ADDITIONAL SIGN DISABLED This is used to show disabled access. ADDITIONAL SIGNS MALE AND FEMALE These signs are used commonly to distinguish the male and female toilets. In public toilets, triangle (represents skirt or dress) used for female toilets and the inverted triangle (represents broad-shouldered tuxedo) for male toilets. Road Signs in the Philippines https://lto.gov.ph/images/Advisory/road-traffic-signs-pavement-markings.pdf Regulatory signs Priority signs Direction signs Restrictive signs Speed signs Parking signs Miscellaneous signs Warning signs Horizontal alignment signs Road obstacle signs Pedestrian signs Guide or Information Signs Advance direction signs Reassurance direction signs Service signs Tourist information and tourist destination signs Expressway Signs Expressway approach signs Expressway information signs Traffic Instruction The meaning of colors on road signs.  Red: Red generally means stop. The use of red on signs is limited to stop, yield, and prohibition signs. White: A white background indicates a regulatory sign. https://www.accuform.com/news/Road-Signs-and-Meanings-What-Do-Signs-Mean  Yellow: conveys a general caution message. Green: shows permitted traffic movements or directional guidance https://www.accuform.com/news/Road-Signs-and-Meanings-What-Do-Signs-Mean  Fluorescent yellow/green: Indicates pedestrian crossings and school zones. Blue indicates road user services, tourist information, and evacuation routes. https://www.accuform.com/news/Road-Signs-and-Meanings-What-Do-Signs-Mean  Orange: Orange is used Coral: Coral is used Brown:Brown is for warning and guidance for incidentmanagement used to showing in roadway work zones. signs. guidance to sites of public recreation or cultural interest. The meaning of shape of road signs. The meaning of the shape of road signs An octagon road sign conveys the need to stop. A stop sign is the only sign that uses this shape. An upside-down triangle road sign always means “yield.” Pennant-shaped road signs warn drivers of no-passing zones.  Diamond-shaped road signs always warn possible hazards ahead. Round-shaped signs are used for railroad signs. A pentagon-shaped road sign provides a warning that a school zone is ahead, or a school crossing zone is approaching.  A horizontal rectangle- shaped road sign usually provides guidance to drivers but can be used for a variety of needs. Vertical rectangle road signs are typically used to inform drivers of regulatory notices, such as speed limits. What are the elements of URBAN DESIGN? ELEMENTS OF URBAN DESIGN BUILDINGS PUBLIC SPACES STREETS TRANSPORT LANDSCAPE BUILDINGS BUILDINGS ARE THE MOST PRONOUNCED ELEMENTS OF URBAN DESIGN. BUILDINGS SHAPES AND ARTICULATE SPACE BY FORMING THE STREET WALLS OF THE CITY. WELL-DESIGNED BUILDINGS AND GROUPS OF BUILDINGS WORK TOGETHER TO CREATE A SENSE OF PLACE. SAMPLE OF A BUILDING RESIDENTIAL BUILDING THESE ARE BUILDINGS WHICH ARE USED FOR NORMAL RESIDENTIAL PURPOSES AND SHOULD FACILITATE ACTIVITIES SUCH AS SLEEPING, LIVING AND COOKING. SAMPLE OF A BUILDING EDUCATIONAL BUILDING THESE ARE BUILDINGS HOUSING EDUCATIONAL INSTITUTIONS SUCH AS SCHOOLS OR COLLEGES WHICH ARE AFFILIATED AND RECOGNIZED BY AN APPROPRIATE BOARD, UNIVERSITY OR ANY SIMILAR AFFILIATION AUTHORITY. SAMPLE OF A BUILDING INSTITUTIONAL BUILDINGS THESE TYPES OF BUILDINGS CONSIST OF BUILDINGS THAT ARE CONSTRUCTED BY THE GOVERNMENT, SEMI- GOVERNMENT ORGANIZATIONS OR REGISTERED TRUSTS FOR SPECIFIC PURPOSES. SAMPLE OF A BUILDING COMMERCIAL BUILDINGS BUILDINGS WHERE COMMERCIAL ACTIVITIES TAKE PLACE. A COMMERCIAL BUILDING COULD CONTAIN ONE OR MORE OF MANY TYPES OF BUSINESSES, INCLUDING RETAILERS, RESTAURANTS, OFFICES OR MANUFACTURING. SAMPLE OF A BUILDING INDUSTRIAL BUILDINGS TYPES OF COMMERCIAL PROPERTIES USED FOR BUSINESS PURPOSES. SIMPLY PUT, ARE FACTORIES OR OTHER LARGE PREMISES PRIMARILY USED FOR MANUFACTURING OR STORING RAW MATERIALS, GOODS, OR SERVICES FOR ECONOMIC PURPOSES. URBAN DESIGN MAP (FOREIGN) LOCATION: UTAH, U.S.A (INSTITUTIONALS) https://www.researchgate.net/figure/Map-of-the-eight-monitored-buildings-The-solid-lines-around-buildings-indicate- URBAN DESIGN MAP (LOCAL) LOCATION: KALAKLAN, OLONGAPO CITY (RESIDENTIALS) http://philippine-sailor.net/2019/07/28/kalaklan-point-sbfz-kalaklan-gate-area- PUBLIC SPACES PUBLIC SPACE ARE THE LIVING ROOM OF THE CITY AND IT IS WHERE PEOPLE COME TOGETHER TO ENJOY THE CITY. PUBLIC SPACES MAKE HIGH QUALITY IN THE CITY POSSIBLE. PUBLIC SPACES RANGE FROM GRAND CENTRAL PLAZAS AND SQUARES TO SMALL LOCAL NEIGHBORHOOD PARKS.  PUBLIC SQUARE MOST SQUARES ARE HARDSCAPES SAMPLE OF A SUITABLE FOR OPEN MARKETS, CONCERTS,POLITICAL RALLIES, AND PUBLIC SPACE OTHER EVENTS THAT REQUIRE FIRM GROUND. BEING CENTRALLY LOCATED, TOWN SQUARES ARE USUALLY SURROUNDED BY SMALL SHOPS SUCH AS BAKERIES, MEAT MARKETS, CHEESE STORES, AND CLOTHING STORES. AT THEIR CENTER IS OFTEN A WELL, MONUMENT, STATUE OR OTHER FEATURE. URBAN DESIGN MAP (LOCAL) LOCATION: RIZAL PARK, MANILA https://www.theguardian.com/cities/2015/aug/04/pops-privately-owned-public-space-cities- STREET S THESE ARE THE CONNECTIONS BETWEEN SPACES AND PLACES, AS WELL AS BEING SPACES THEMSELVES. THEY ARE DEFINED BY THEIR PHYSICAL DIMENSION AND CHARACTER AS WELL AS THE SIZE, SCALE AND CHARACTER OF THE BUILDING THAT LINE THEM. THE PATTERN OF THE STREET NETWORK IS PART OF WHAT DEFINES AS A CITY AND WHAT MAKES EACH CITY UNIQUE. SAMPLE OF A STREET MAIN STREET IT IS USALLY A FOCAL POINT FOR SHOPS AND RETAILERS. SAMPLE OF A STREET HIGH AND FORE STREE T HIGH STREET FREQUENTLY USED FOT THE STREET NAME OF THE PRIMARY BUSINESS STREET OF TOWNS OR CITIES. FORE STREETS ARE OFTEN USED FOR THE MAIN STREET. SAMPLE OF A STREET SKYWAY SKYWAY IS USUALLY USED IN THE US FOR LONG OR HIGH BRIDGES FOR TRAFFIC SAMPLE OF A STREET SKYWAY SKYWAY IS USUALLY USED IN THE US FOR LONG OR HIGH BRIDGES FOR TRAFFIC SAMPLE OF A STREET BOULEVARD MULTILANE ARTERIAL THOROUGHFARE, DIVIDED WITH A MEDIAN DOWN THE CENTER, AND PERHAPS WITH ROADWAYS ALONG EACH SIDE DESIGNED AS SLOW TRAVEL AND PARKING LANES AND FOR BICYCLE AND PEDESTRIAN USAGE, OFTEN WITH ABOVE-AVERAGE QUALITY OF LANDSCAPING AND SCENERY. SAMPLE OF A STREET ESPLANADE LONG, OPEN, LEVEL AREA, USUALLY NEXT TO RIVER OR LARGE BODY OF WATER, WHERE PEOPLE MAY WALK. SAMPLE OF A STREET ALLE Y A NARROW PASSAGEWAY BETWEEN OR BEHIND BUILDINGS. URBAN DESIGN MAP (FOREIGN) LOCATION: CALIFORNIA, USA (SKYWAY) https://www.theatlantic.com/technology/archive/2012/09/how-google-builds-its-maps-and-what-it-means-for-the-future-of- URBAN DESIGN MAP (LOCAL) LOCATION: KALAKLAN – SBFZ OLONGAPO CITY (FREEWAY) http://philippine-sailor.net/2019/07/28/kalaklan-point-sbfz-kalaklan-gate-area- TRANSPOR T TRANSPORT SYSTEM CONNECT THE PARTS OF CITIES AND HELP SHAPE THEM AND ENABLE MOVEMENT THROUGHOUT THE CITY. THEY INCLUDE ROAD, RAIL, BICYCLE AND PEDESTRIAN NETWORKS TOGETHER FORM THE TOTAL MOVEMENT SYSTEM OF A CITY. THE BALANCE OF THESE VARIOUS TRANSPORT SYSTEMS IN WHAT HELPS DEFINE THE QUALITY AND CHARACTER OF CITIES AND MAKES THEM EITHER FRIENDLY OR HOSTILE TO PEDESTRIANS. SAMPLE OF A TRANSPORT TRAIN BUS JEEPNEY S TAXIS TRICYCLE S PRIVATE AUTOMOBILES BICYCLE SIDEWALK URBAN DESIGN MAP (FOREIGN) TRAIN STATION AIRPLANE ETC. https://www.smashingmagazine.com/2017/07/transportation-map- URBAN DESIGN MAP (LOCAL) LOCATION: MANILA CITY (TRAIN STATION) https://www.smashingmagazine.com/2017/07/transportation-map- LANDSCAPE IT IS THE GREEN PART OF THE CITY THAT WEAVES THROUGHOUT, IN THE FORM OF UEBAN PARKS, STREET TREES, PLANTS, FLOWERS, AND WATER IN MANY FORMS. THE LANDSCAPE HELPS DEFINE THE CHARACTER AND BEAUTY OF A CITY AND CREATES SOFT, CONTRASTING SPACES AND ELEMENTS. SAMPLE OF A LANDSCAPE CENTRAL PARK ONE OF THOSE PLACES THAT MAKE NEW YORK SUCH GREAT PLACE TO LIVE. THE HUGE PARK. 341 HECTARE LARGE (843 ACRES). IS LOCATED IN THE CENTER OF MANHATTAN. ITS DESIGN HAS SERVED AS AN EXAMPLE FOR CITY PARKS AROUND THE WORLD. SAMPLE OF A LANDSCAPE POCKET PARK SMALL PARK ACCESSIBLE TO THE GENERAL PUBLIC. POCKET PARKS ARE FREQUENTLY CREATED ON A SINGLE VACANT BUILDING LOT OR ON SMALL, IRREGULAR PIECES OF LAND. THEY ALSO MAY BE CREATED AS A COMPOMENT OF THE PUBLIC SPACE REQUIREMENT OF LARGE BUILDING PROJECTS. URBAN DESIGN MAP (FOREIGN) LOCATION: WASHINGTON, USA (POCKET PARK) https://worldlandscapearchitect.com/design-concept-selected-for-community-connector-project-city-of-vancouver-washington- END OF PRESENTATION! THANK YOU FOR LISTENING. ▪ Kevin Andrew Lynch ▪ American urban planner and author ▪ Best known for his work on mental mapping & on perceptual form of urban environments ▪ Famous book: The Image of the City ▪ Disciple of Frank Lloyd Wright, spend his academic career at Massachusetts Institute of Technology ▪ Practice site planning and urban design ▪ 1960 book ▪ about the look of cities, and whether this look is of any importance, and whether it can be changed ▪ result of a five-year study of Boston, Jersey City and Los Angeles ▪ First section of the book -New concepts of LEGIBILITY and IMAGEABILITY are presented ▪ Followed by that, Lynch introduced three American cities as examples ▪ Third Section of the book - five elements and their interrelationships are summarized ▪ In Lynch’s view, IMAGE can be explained as: -“a picture especially in the mind” - sentimental combination between objective city image and subjective human thoughts  ▪ Productions of environment images are influenced by two process between the observer and the observed ▪ The observer, with great adaptability and in the light of his own purposes, selects, organizes and endows with meaning what he/she sees ▪ Therefore, the specific image can be totally BUILDING THE IMAGE different from the different perspective of observers KEVIN LYNCH says that: ▪ A city is constructed in space, but of a vast scale. ▪ A city is described with its surroundings and elements. ▪ Explains that people’s perception of the city is important. ▪ Going through a city from the viewers mind is “image of the city”. ▪ Elements like nodes, paths, districts, edges, landmarks make a city. ▪ To make a visual plan (map) ▪ Analyzing the forms and public areas. ▪ Understand problems, opportunities and use them in designing a city CONCEPT OF LEGIBILITY ▪ It is said to be the ease with which people understand the layout of a place. ▪ To understand the layout of the city, people make a mental map, which contains mental images of the city constrains (varies from every individual) CREATING A MENTAL MAP Mental Map- person’s perception of the world ▪ A mental map is an individual’s own map of their known world ▪ Mental maps of individuals can be investigated. -By asking for directions to a landmark or other location. -By asking someone to draw a sketch map of an area or describe that area. -By asking a person to name as many places as possible in a short period of time. Every person has a different mental map according to his/ her understanding of the city. CONCEPT OF IMAGEABILITY ▪ Another term introduced by Lynch ▪ Quality of physical object, which gives an observer a strong vivid image ▪ High imageable city would be well formed, would contain distinct paths ▪ They should be instantly recognizable ▪ Well formed city is highly dependent upon the elements ▪ Remembering your city on images is meaningful ▪ E.g.: Well designed paths include special lighting, clarity of direction, etc. ▪ Similarly with nodes, landmarks, districts, edges ▪ These elements placed in good form, increase human ability to see and remember patterns and it is these patterns which make easier to learn IMAGEABILITY Maybe analyzed into three components: ▪ Identity (as a separate entity) ▪ Structure (spatial relationship between elements) ▪ Meaning (practical or emotional)  Maybe be strengthened by 5 major elements: ▪ Paths IMAGEABILITY ▪ Edges ▪ Districts ▪ Nodes ▪ Landmarks ELEMENTS OF THE CITY https://www.youtube.com/watch?v=yM7QYvyvCuc ELEMENTS OF THE CITY PATH/S ▪ Channel along which the observer customarily, occasionally, or potentially moves ▪ May be the streets, walkways, transit lines, canals, railroads and other channels in which people travel ▪ Along these path the other environmental elements are arranged and related. PATHS PATHS EDGE/S ▪ Linear elements not used or considered as paths by the observer ▪ Boundaries between two phases, linear breaks in continuity: shores, railroad cuts, edges of development, walls. EDGES DISTRICT/S ▪ Medium-to-large sections of the city ▪ conceived of as having two-dimensional extent ▪ which the observer mentally enters “inside of” ▪ recognizable as having some common, identifying character ▪ Always identifiable from the inside ▪ also used for exterior reference if visible from the outside DISTRICTS  NODE/S ▪ Points, the strategic spots in a city into which an observer can enter, and which are the intensive foci to and from which he is traveling ▪ May be primarily junctions, places of a break in transportation, a crossing or convergence of paths, moments of shift from one structure to another NODES LANDMARK/S ▪ A rather simply defined physical object: building, sign, store, mountain ▪ Use involves the singling our of one element from a host of possibilities ▪ Some are distant ones, typically seen from many angles and distances, over the tops of smaller elements, and used as radial references LANDMARKS