picturesque-sequential analysis

8/9/2019 Picturesque-sequential Analysis

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Picturesque studies

Se q u e n t i o n a l a n a ly s is

Urban Analysiscode 7W565

Copyright Technische Universiteit Eindhoven 2010

This material is intended for personal use by students of the Technische Universiteit

Eindhoven following this course only.

No part of it may be reproduced, distributed or publicized in any form.

Lecturer: Reinder Rutgers


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Picturesque

Like a painting

Aimed at the picture

Perception

=

Well being

The notion 'Picturesque'

The idea of the picturesque in urban design is the idea of looking at the environment as a

'picture' or a collection of 'pictures'. Analysis is aimed at discovering and categorizing

these 'pictures' and design is aimed at making 'pictures': spatial compositions of

buildings and objects. This means this activity is aimed at the perception of the

environment. The idea being that a pleasant composition can evoke a feeling of wellbeing and thus contribute to a good environment.


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Sequentional analysis

Sequence =

A series of images expressing a thought

or feeling

cinematographic view

space-time experience


In the visual arts, architecture and urban design a sequence is a series of images

expressing a thought or feeling.

space-time experience

In architecture and urban design the idea behind sequences is that the represent a

certain space-time experience. This space-time experience is an unavoidable part ofany architecture and urban design. As the size and scale of design increases it plays

a more important role. On e could say that a very large building complex or city can

only be experienced as a sequence

cinematographic view

Characteristic for the idea of sequences is the cinematographic view. The environment is

interpreted as a dynamic succession of scenes. Together they constitute a story.

In essence sequences are about manipulating experiences and feelings. The most

extreme form of this are theme park rides that manipulate visual impressions but

above all impressions of the human system of equilibrium. This leads to what in

psychological terns is called a 'Kinesthetic experience' (the word is a combination of

'kinetic' and 'esthetic').


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Movement towards a goal

Rythmic intervals by interruptions,

elongations and beautification.

Continuity (but the tempo may vary)

Building tension

Final goal: climax where tension is relieved.

Construction of a sequence


Construction of a sequence

The tradition construction of a sequence consitst of a movement towards a goal. This

movement can be interrupted, elongated and beautified by rhythmic intervals, the

tempo may vary but it never completely loses its forward speed. During the movement

tension is built up. This is relieved at the final goal: the climax of the sequence. This

climax may not be postponed too long and the tension that has been built up may notbe thrown away by an anti-climax.


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Babylon 680 v.Chr: Procession street

Origin of the sequentional view: Processions / pilgrimages

The sequence in processions and pilgrimages is a metaphor for the spiritual 'Werdegang'

(German for: a path leading towards a transformation of the person). By the way, this

had nothing to do with a picturesque view of the world.


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FlorencePalazzo Medici1445

Originally: a static view of the environment in architecture and urban design

Static power and the static universe that never changes are emphasized. 'Nature' is

interpreted as 'eternal the cosmic laws'. The known and controllable is opposed

against the uncontrollable, onpredictable and often threatening 'natural world'


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Stourhead 1760

Stourhead 1760

In the 18the century a more dynamic view of nature evolves. The better man is able to

control nature the more his attitude towards nature changes. It looks as if the

environment can be controlled. In western Europe the parts that are still 'wild' become

smaller and smaller. Nature is no longer seen as just being hostile nut also as

something romantic. An ideal view of nature evolves: an Arcadian landscape thatreflects the grandness of gods creation. This is reflected in the 'landscape style' that

evolves in England. In this form of landscape architecture landscape is arranged in

scenes based on visual relations. It is not without reason that the English language

uses the word 'scenery' as an equivalent of landscape (Which by the way is a Dutch

word). The idea is that somebody who walks through the artificial landscape will be

presented by a number of arranged scenes. The walk is a metaphor of the 'walk of

life', the scenes are meant to evoke thoughts, they show classical temples, symbolic

statues etc. In the tradition of the 18th and 19th century architecture and landscape

design have the ambition to educate the observers.

Dotted lines: lines of sights of the arranged scenes

Illustrations of Stourhead from 'Archutecture and landscape' by Wouter Reh and Clemens Steenbergen.


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Stourhead 1799

Stourhead 1799

Over years the number of scenes and mutual relations between elements in the park was

increased


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Stourhead 1820

Perspective of the situation in 1820

Showing the architectural elements. In architecture the small purely decorative buildings

in a park often with a 'strange' larchitecture are referred to as 'follies'.


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11Stourhead

Photograph Stourhead

The theatrical approach to design is aimed at making static compositions that form

scenes of their own. Walking is just a way of going from one scene to the other. Later

the walk itself becomes the starting point for the experience: a dynamic succession of

scenes.


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12Peter Joseph Lenn Design of a garden Dahlwitz 1835

Design for a garden in Dahlwitz (Brandenburg, Germany) 1835. Peter Joseph Lenn

The conceptual lines of the composition are still visible in the drawing. They form the

framework of the composition. Each line represents the centre axle of a scene. The

totally of the composition is based on the walk through the garden.


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14Cornelis van Eesteren design for the new town Lelystad 1963

Van Eesteren: design Lelystad 1963

Although the idea of a sequence is very appealing and keeps resurfacing in urban design

it certainly did not play a leading role since the time of Regent's Street. The formal

way of organizing space remained important. In modernism it again became the only

way of organizing space.

The dynamics of the type of modernistic plans like that of the Dutch new town Lelystadonly consists of transportation from A to B. The way this is experienced plays no role.


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15Gaicomo Balla, Flight of a Swallow, 1913

Giacomo Balla: Flight of a swallow, 1913

Balla was part of the Futurist movement.

In first part of the 20th century besides modernism there were an under streams in which

the experience of movement and experience in motion played an important role. One

of them was Italian Futurism. They were inspired by new forms of transport like the

car and in new ways of presenting movement, like the famous photographs byMuybridge or film. In art the new school of Futurism is inspired by movement and the

new way of viewing the environment.

The two approaches: static and dynamic are still topical. Static: The idea that movement

itself is not important but that the stages or stations matter equals the idea that an

urban environment, or city for that matter, is a fragmented network environment in

which people 'zap' between seperate environments that could be approached as

'scenes', such as the orchestrated environment of a shopping mall.

In the dynamic tradition is the idea that sequences take on a different form in the modernenvironment. Being on the internet, looking TV or driving a car are part of it.


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17Castle Combe

Castle Combe, England

Illustration from 'Town planning in practice' 1909

The idea of the sequence as a part of urban design is elaborated by Raymond Unwin.

Unwin takes the picturesque English old towns and countryside as an example. This

illustration is emblematic. Castle Combe and in particular this bridge with its cottages

has been the background for many films, perhaps because it was illustrated inUnwins book.


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Unwin TownPlanning inPractice 1909

'Town planning in practice' contains direct references to English landscape architecture

and its scenographic approach.


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Sequence High Street Oxford.

From:Unwin Town Planning in Practice 1909

Analysis of the sequence of High Street, Oxford

From 'Town planning in practice'.

Architectural theorists working from the ideas of Gestalt psychology have influenced

thinking in terms of sequences. They emphasized the concept of succesive spaces.


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20Westminster regained, 1947

Gordon Cullen

Gordon Cullen. Illustration from 'Westminster Regained', 1947

The way of looking at the environment that characterizes 'Town planning in practice' is

taken up by Gordon Cullen in the 1950's.

Cullen starts his career in the 1930's as a modernist architect. He works in the office of

Lubetkin the design of the world famous Pinguin Pool in London Zoo, an icon of the

modern movement.In the 1940's Cullen shifts his attention to public space. In modernism public space in

most cases is an abstract space and a left over between buildings. Cullen sees the

negative implications of this attitude long before modernist spaces are really

becoming a problem in practice. He is of the opinion that public space should be a

pleasant place to stay in and not just rest space and transportation space dominated

by the car. Public space should be the bearer of an urban design. He does not equal

this with classical urban design but with a picturesque approach. This is not as far

removed from modernism as one might think. Modernistic forms are based on a-

symmetry and the inter relations of volumes. In fact this is also the basis of

picturesque urban design. The difference is the scale and the detailing and the fact

that the modernist composition is made on the drawing board or in the model while the

picturesque approach is based on the perception at street level.

Cullens first plan is for the area around the house of parliament in London. He proposes

to make it a car-free zone. This is a pioneering idea and the forerunner of the later

pedestrian zones in inner cities. The illustrations show the emphasis on public space

and its use as a place to stay.


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drawingasanalysis

Towns

cape

Ingredients of townscape

INGREDIENT 1 The act of drawing as a way of analysing.

Analyzing the way space works and the way it is detailed by using drawing technique.

From: Durley study, 1956


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Observingmeticulously

Towns

cape

INGREDIENT 2 Observing meticulously

Details can be just as important as the 'general picture'. Details often show the way space

is used and the particular local traditions in building. This vision is opposed to the

modernist approach that emphasizes the generic and place independent aspects.


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Observing meticulously leads Cullen to an ever more accurate style of drawing and

analyzing.

From a studie of Orleans (France), 1974

Cullen strives for a style of drawing that has a deeper meaning. Meticulous observation is

not by definition equal to a lot of drawings. One drawing from a well chosen position

with well chosen expression sometimes can say more about an environment that lotsof abstract information.

Cullens caption for this drawing:

Entry to the city. The road divides, revealing two aspects of the overall unity. On the right

is a quiet and urban residential quartier retaining its upper level privilege and

asserting its sense of place by the curve so that we assume a centre point in its

vicinity, i.e*: it is not a straight road with a vanishing point five miles away. To the left,

the road loops down to a distant urban confrontation between God and Mammon. City

centre and suburb, business and culture we know intellectually that these exist in

every town, but it is only when they are shown to exist that the town begins to vibrate.

*(i.e. = id est (latin) that is to say)


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outrage

1955

Observing meticulous makes Cullen aware of the effects of the way public space is

dealt with.

Outrage, 1955

Comparing public space with the aid of drawings showing 'before' and 'after' or 'present

situation' and 'how it could be' is a way of making people more aware of the effects of

neglecting public space or only taking one aspect into account (most of the timetraffic).


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DavidGosling

1960

Serialvision

Towns

cape

INGREDIENT 4 Serial vision.

From the 'Berlin turnpike, New Haven' study by David Gosling a pupil of Cullen, 1960

The impact of the car fuels the interest in sequences. On motorways the experience of

space is almost totally serial.


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Gordon Cullen

Townscape

Ingredients

Drawing as a tool Meticulous analysis,

Functional tradition

Serial vision

Art of relationship

Unicity

Pliability

Other prepositions

Townscape

Cullen formulates his theory of Townscape in a book with the same name, published in

1961.

Besides the four basic ingredients, covered in the previous slides, he formulates three

other prepositions.

Art of relationship. The combination of buildings, space and objects (trees, street

futniture, etc.) is more than a collection of their individual properties. There is an 'art of

relationship': the way they interact.

Unicity 'Average solutions' can never provide goor solutions for specific problems.

Pliability A city absorbs a multitude of patterns (individual behavior patterns, conflicts,

etc). Despite this it is successful. The ability to absorb many patterns and still be

successful is called 'pliability'. For Cullen this means that big gestures are not the best

way to deal with urban design, it should be more like 'manipulation of tolerances'.

This is related to the 'art of relationship', being very carefull with all aspects of public

space. A modern word for 'pliability' could be 'layered'.


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Movement

Position (place)

Content (=materialization)

Serial Vision

Outside Transition - Inside

Details, expression of theplace

Gordon Cullen

Townscape

Basic categories of analysis and design

Basic categories of analysis and design in Townscape

1. Movement. The urban landscape is revealed by a series of abrupt transitions. Thes

must be identified to be able to manipulate the environment..

2. Position. This has to do with the static aspects of the environment, especially the

spatially of places. These can also be analyzed in term as being in a place, outside a

place and entering of leaving it.3. Content. Cullen uses the word 'content' largely as the equivalent of the more usual

word 'materiality'. This is to emphasize that materiality matters. Architectural and

urban design is not just about 'space' in abstracto, it is also important how the

environment is materialized. This is related to the 'Genius loci', the 'spirit of the place',

the way people interact with space. Looking at the 'content' also provides clues about

how permanence and change interact in an environment. Translated into design

Cullen is of the opinion that the design should provide the common framework of an

environment. This should not neither be rigid nor anarchistic, it should produce

'playfullness'.


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Gordon Cullen

Townscape

main characteristics

- Aimed at visual experience (perception)

- Human scale

- approriateness

- affection

- specific properties of a place

- time

Main characteristics of Townscape

Townscape is aimed at the visual experiencing of the environment (perception). Cullen

supposes this is determining for the way the environment influences us: the way we

act, value it, know it.

Above all Townscape is about the human scale, the way residents appropriate theirenvironment and the affective values of the environment. This means that the specific

charcteristics of a place are important, just as its development over time.

According to Cullen Townscape is the science to discover the hidden visual knowledge in

an environment and to distinguish between order and chaos. We discover order in the

accidental en concentrate on that.(It could also be called 'hidden order').

He emphasizes that his intention is not nostalgia or 'cosy design', but a humane

environment.


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Gordon Cullen

Townscape

- Observation

dynamic and static

- Analytic drawing

Sequences

Abstractions of spatial relations

Relevant images / emblematic situations

Relevant details

methods


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32Analysis Tenterden (1967)

Example, Cullens analysis of Tenterden, 1967

Tenterden, location

As regards the position of the town in its environment Cullen looks at:

Landscape setting Shape

Entances

He emphasizes that the division in these aspects is artificial, in reality the several aspects

form a coherent whole. However it is important to look at several aspects separately

to get a clearer picture about how the impression of a town is formed.


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34Shape

Shape

The visual structure of the town as a whole. The differences in height of the landscape,

the main elements of the town, the contours along the lenght of the main streets,

cross sections, the most important elements such as squares and parks.


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35Entrances

Entances 1

The sequences that are experienced when entering the town. In this example the

entrance is accompanied by a line of country houses and there are several points

where the image changes. These constitute stages in the sequence.


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37Vistas, transitions, character, rhytm, relations

Analysis of urban spaces

To look at the fundamental aspects of spatiality Cullen uses abstractions of urban space.

He is looking for transitions, vistas, the general character, the rhythm of space and

interrelations between buildings and space . He then tries to relate these to the way

space is fitted out in reality.


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38Construction of urban space

Construction of urban space

In modern terms this could be called a deconstrucion of a situation.

Cullen interprets a corner in an urban space as a series of transformations from two main

building volumes and one main space. He uses this to make the viewer (including

himself) aware of the fact that the detailing is important and not only the building

volumes (as is the prepostion of many modern plans).1. Diagram of the corner. A situation that all too often can be found in modernistic

designs.

2. The space is enlivened by making an opening.

3. The impersonal blocks are given scale by adding a small building.

4. Now the inner corner is brought to live by the design of the inner block that relates to

the design of the small building that was added. The form of the block brings

movement to the space.

5. Dark trees provide depth to the space and bring contrast.

6. Facades enliven the space and refine the feeling of scale.


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39Groups

Groups

Ensembles of spaces and buildings.

Special attention for recesses because they are important for the way space is percieved.

According to Cullen places and groups are two seperate systems that sometimes

coincide, sometimes not.


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40Character and tempo

Character and tempo

A detailed study of the 'micro relief' of urban space. Variations in height and in building

line. Tempo has to do with style, scale and silhouette of the buildings along side a

road.


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42Movement: Serial vision

Movement: Serial vision

How is space percieved in motion. In this example Cullen shows how the view of the

church changes as the central space of the town is transversed.


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43Movement: relation road - context

Movement: relation between road and context.

In moving along a street the relation between the road (space of movement) and its

context is experienced. The way this relation is constituted influences the character of

the space and should therefore be studied.


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45Time

Time

Cullen pays special attention to the changing character of the environment. An urban

environment is dynamic. Not only buildings change but also the zoning and furnishing

of space. These can affect the spatial impression significantly.

Two examples from Tenterden. Above: original situation. Below the same situation in

1967.


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46Design Marycluther

Design

Cullen uses his approach in several new urban plans.

Design for the new town Marycluther.Serial vision plays an important role in this design. All routes are designed to evoque the

feeling of sequences. In the plan also other principles of Townscape can be found,

such as the difference between places and movement.


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Design for Greenwich Peninsula (1988) (present day name: Docklands & Canary

Wharf).

A 'Venetian' atmosphere bases on the presence of existing docks/ Although Cullen

emphasizes the fact that designs should be place specific, this one is on the brink of

being a generic idea applied to a specific situation. In its idea it is the fore runner of

later neo-urban projects like the ones of Rob Krier (for example Brandevoort,Helmond, The Netherlands). However the architecture in Cullens plan is not nostalgic.

Perhaps in present day eyes it look that way, but in 1988 this was current architecture.


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49Greenwich

Streetview from the Greenwich plan.

In their non-accuracy these type of drawings are better than modern day computer

drawings that suggest an accuracy that is not present in the ideas and in the design.

One of the biggest problems of computer drawings with CAD or 3-D systems is that

they do not allow for uncertainties or 'vague' solutions. This is only an advantage in

advanced stages of a design when things really have to be exact. In other stages it isan invitation to 'inaccurate accuracy', that can easily become a fall pit in the design

process.


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The view

from the road

Appleyard

Lynch

Myer

1964

The view from the road

Donald Appleyard, Kevin Lynch, John Myer

The first comprehensive study of the visual aspects of the highway. The undertone is that

the highway is a positive experience that combines movement, space and image in an

esthetical experience.


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highway experience

Level 1: perception

Aspects of attention

Level 2: cognition

There are two levels of 'highway experience: perception and

cognition.

The direct experience and the way it is represented in the mind.

First level: PerceptionAspects of attention (how does vision on a highway work)

The vision of a car driver is strongly directive.

Research shows that two thirds of the objects seen by car drivers are straight ahead.

The higher the speed the narrower the field of vision.

Objects along side the road cover a large part of the field of vision.

Interruptions in the form of viaducts, barriers and transitions, guide the view. These

are also means for the designer.


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Movement of the field Alignment

highway experience

Level 1: perception

Movement of the field: the apparent movement of the surroundings

The apparent movement of objects in the environment are clues to interpret your own

movement. When the car is considered to be stable location from the point of view of

the driver, objects appear to do a choreography in the space outside. This can be a

pleasure to watch.

AlignmentIn general a sinuous alignment of the route with spacious curves is appreciated by

drivers. A strong bend can evoke a powerful effect. The alignment can be related to

the landscape, communicating properties of the landscape to the driver.


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Spatial experience Extension of the body

highway experience

Level 1: perception

Spatial experience

The basic experience of space is one of enclosement and dimensions. The experience of

space can be altered by the speed of movement through it. Limitations of the space

(walls, tunnels, etc.) are always observed.

Extension of the body

One of the strongest visual sensations is the relation of scale between an observer and

its surroundings. The car provides a link between the limited human scale and the

large scale of the city. The car evokes the feeling that that large scale can be

controlled.


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Orientation

Level 2: cognition

Succesion of landmarks

Meaning

highway experience

Second level of the highway experience: cognition

The succession of landmarks

Movement along a road exists of a succession of prominent and less prominent

landmarks. These are goals the driver moves towards and passes until the destination

is reaches, which could also be marked by a landmark.

Landmarks can be distant points or points that slowly change as one moves towards

them, or points close to the road that divide the road into visual segments. If a long

distance goal is not always visible it should reappear regularly in the field of vision to

sustain the feeling of progression.

Orientation

Besides the defectiveness and the feeling of progression evolved by landmarks, drivers

and passengers use the general surroundings for orientation. This is partly a practical,

partly an esthetic activity. An environment that is easy to navigate provides more

emotional reassurance and arouses less stress. (Comment: this is even true in the

age of navigation systems. On a smaller scale it had been shown that people relymore on the visual information a given traffic situation provides than on artificial

signs.)

Meaning

Drivers try to discover meaning in the things they see, they try to relate visual objects to

the collection of ideas and examples in their brains. Seeing an activity or something

that has meaning is an important source of pleasure when driving along a road. The

researchers add that it is less and less possible to see other people when driving on

highways (it is 1964).


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Rhythm and continuity Sequentional form /transitions

Level 2: cognition

highway experience

Rhythm and continuity

To little variety leads to boredom and less concentration while driving. Perhaps there is

an optimal band width for the interval between strong impressions. Long intervals

cause boredom, very short ones lead to stress and confusion. If the idea of the effect

of rhythm is correct this means that a highway should have a regular base frequency.

This could be varied, but the variation should be coherent and within certain limits.Sequentional form / transitions

On a highway there is no traditional sequence with a beginning and an end. The

sequentional form is more like of a series of sub-goals with an underlaying

development. The sub-goals divide the road into sub-compartments in between them

there are transitions. These transitions can have a number of forms, ranging from

completely abrupt to very gradual. In 'The view from the road' six types of transitions

are identified.


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Analysing method

1. Relation between movement and formof the road

2. Orientation

Two parts:

To be recorded with a system of symbols

Photographs and film are not suitedto communicate about a sequence

Analysing method

The disadvantages of photographs and film (or so called 'realistic' representations in

general).

Recording highway sequences with a camera has the advantage that it is recognizable

and detailed. The disadvantage is that this way of recording does not highlight the

essence of sequences and that it is difficult, if not impossible, to communicate aboutthe sequences. A third disadvantage is that it is almost impossible to bridge the gap

between a series of recorded images and design. In a design process there hs to be

a conceptual level, without it design is impossible.

Therefore a technique has to be developed to communicate about the sequences.

because the technique is about the essence of the design it has to be two-

dimensional. Appleyard an associates introduce an elaborate and fairly complicated

notation system. This is based on their theory about the highway experience.

The notation system distinguishes between the two main aspects of the theory:

1. The experience of movement via the changing spatial form and the way it is visible

(lighting is also taken into account).2. Orientation


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1. Relation movement form of the road

Apparent self-motion

Apparent motion of the surroundings

Relation between movement and the form of the road

Notation system

Symbols for:

Apparent self-motion

Speed

Direction

Changes: stopping- driving away, accelerating-decellerating, up-down, right-left

Apparent motion of the visual field (surroundings)

Moving alongside, over, under

Rotation

Translation

Widening or narrowing of the sides of the road or of the texture

General stability or instability

Apparent speed or the lack of it


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1. Relatie beweging vorm van de weg

Spatial characteristics Proportion and scale


Spatial characteristics / Proportion and scale

Bounderies

Properties of the space

For both aspects: symbols that indicate the how strong the effects are.


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Light Overlapping and changing spaces


Light

Type and quality of the light

General light intensity

Overlapping and changing spaces

Overlap between spaces (spaces that can be observed simultaneously)

The way parts of a sequence connect (from gradually to abrupt)


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2. Orientation

elements

parts of the route

Orientation: symbols

In principle Lynches system of notation with five fundamental categories is used, but it is

augmented with five specific symbols that indicate elements of a route that have to do

with orientations. This is understandable as Lynches original system only knows the

category 'route', which would be to coarse for an analysis that is concerned with

roads.


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2. Orintatie

landmarks

2. Orientation

Landmarks

Also an addition to the original notation system are indications of the way landmarks

relate to the road and are perceived in motion.


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65rhytm and attention elements that stand out

Sequence diagrams

Sequence diagrams 2

Rhythm and attention. At what points of the road is the attention focussed straight ahead

(centre column) and at what points on the sides (columns on the sides).

Elements that stand out are typified by small drawings


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66Position in the structure of the context

Sequention diagrams

Sequence diagrams 3

Position of the road in the structure of the context.

This is also the starting point for a redesign of the highway with visual quality as a starting

point.


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Space-motion & view

in two directions

Design

Relation between space, motion and view

A way to relate back suggestions from the design diagram to the real situation is to

project it on the topography. In this example it is done for both directions of traveling

along the Boston ring road.

It is imaginable that this method could also be used to analyze the views one has

travelling on the road.


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Linear representation of aring road

Design

A round sequence (ring road) depicted linear

The analysis and design of a ring road is presented as a linear sequence, making it

easier to work on. The bottom of the diagram connects with the top.


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Elaboration

Problems

Design


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Night diagram

Design

Night diagram

Appleyard and consorts are the first to point at the importance of artificial lighting for the

way a road is experienced and not just for the technical aspects (visibility, safety).

They make a plea for a specail light design. This should be tuned to the general

principle of the design of a road and should also involve prominent landmarks along

the road. This is the first time a special integrated light design is ever mentioned(1964). Only very recent in the beginning of the 21st century this has become a real

item in the urban environment. Alas modern light designs often lack the connection

with the overall urban concept or -design.

The drawing in 'The view from the road' already has the 'night look' so familiar with

modern light designs (be it more sophisticated nowadays).


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72

72Visualisation

Visualisation

Eventually the design can be visualized in the form af an image sequence. In case new

design elements are still in an abstract stage, the drawings can reflect this abstratcion.

General conclusion about the method.

It is a pioneering analysis. The background idea of the method is good: providing an in

between level to communicate about a temporal experience. The same

methodological problem can be found in music and film. However the notation

method that is suggested is very complicated and not easy to understand. The idea

behind it is that experts would be able to use the method, just like composers and

musicians are able to interpret musical scripts. But this presupposes that all those

involved are fluent in the drawing language that is presented in 'The view from the

road'. In practice this never caught on for understandable reasons: many professions

are involved in designing road systems, each profession. As with many methods for

urban analysis it is up to the individual researcher to take up the good ideas and

overcome the drawbacks of this method.


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74

Amsterdam

Rotterdam

UtrechtDen Haag

'Highway ring' Randstad*

(Road numbers: A2, A12, A20, A13, A4)

Left: topographic correct, Right: schematized to an exact circle

The idea is that this road ring to a certain extends defines the image of this part of the

country and that it is thus of importance to analyze the visual impact and if necessary

make re-designsThe strips depict aspects of the road along its length.

Upper strips: road plus direct surroundings

Number of traffic lanes

Slip roads to the inside of the ring

Viaducts passing over the road

Underpasses

Petrol stations, roadside restaurants, etc.

Advertizing

Lower strips: alongside the road.

Walls

Businesses

Grass and fields

Sound walls

Greenhouses

Houses

These categories are elaborated a little bit different in other drawings

.

* Randstad is a generally used metaphore for the circle of towns formed by Amsterdam, Haarlem, Den Haag,

Rotterdam, Utrecht and the towns in between them.


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Left: various aspects, Right: Landmarks

Left in the small rings::

Access to the inside of the ring, Underpasses that can be observed from the road,

Program, Scenography , Viaducts crossing the road, Maximum speeds, Number of

lanes

Right: Landmarks along side the road


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Typological drawing of the zoning of the road

Houben distinguishes between: field, verge and road

These are the zones that could be the subject of designs.

Four drawings below: visualization of sequences and new design solutions.


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79

79Historical development

Two examples of historic plans

History of the ring.

In this respect the approach differs from the two previous ones. These did not take

symbolic value into account. History is part of that.


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80

80Historical development

Development of the ring 1921 - 2004


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82

82Physical aspects of the ring

Analysing aspects by means of the abstract schema

The abstraction makes it possible to combine several aspects in one schema. This

illustration and the ones following show some of the analyses. IN the real research more

schemas where investigated.

Illustrations:

Number of traffic lanes Hight of the road surface above ground level

Viaducts and underpasses Intensity of the traffic and crossings


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84Spatial aspects

Spatial aspects (geographic, 3-D)

Green Building height and profile

Width of the profile between buildinsg Width between the rows of trees


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85

85Traffic technical aspects / environmental aspects

Traffic technical aspects / environmental aspects

Crossings at street level Crossings and traffic lights

Traffic burden Traffic burden, crossings and polution


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86

86Safety / furnishing

Safety / furnishing

Feeling of unsafelt Unsafety and height of the road surface

Lanterns Advertizing


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87

87Orientation / mental map

Orientation / mental image

Landmarks Mental map, things that stand out

The pride of Eindhoven


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88Photo analysis

Photoanalysis: Image-sequence in two directions


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90Characteristic elements

Characteristic elements of the ring

The areas indicated with dotted lines are described seperately in the research.


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91

Conceptualideas

Three conceptual ideas

The ring as a:

'necklace with beads' , based on the areas.

'rollercoaster', based on the relief in combination with the areas.

'a city wall or an arena', based on the fact that ring encloses the city centre and is a

barrier.


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92Concept

Concepual design

Based on all three initial concepts. The idea is to have a meaningfull interpretation of the

ring that is based on its real, but often weak, properties and is aimed at reinforcing the

available potential.


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93

Elaboration of theprofile

Examples of the eleboration of the road profile

The element that can most easily be adapted is the public space of the road. The design

consists of a main theme that reappears along the ring and specific eleborations for

the parts of the concept. The solution are presented in cross section, length sections,

schemas and 3-D visualizations.


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94

94E;laboration of the nodes

Example of the elaboration of a node

The elaboration of nodes brings to light technical difficulties an possible solutions as well

as the possibilities to make spatial solutions that fit into the general concept, thus

ensuring the relation between the perception and the cognition of space. This is an

example of analysis by design. If it is not possible to translate the concept into a real

environment that can be experiences, the concept should be changed.


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95

Example of a sequence

Checking the design by investigating how space is percieved in sequence by car, bicycle

and on foot.


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97

Various examples


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100

100La t e r a l d e f i n e d sp a ce Ce n t r a l d i f i n e d s p a ce

properties delineation transitions

Sy m m e t r y A sy m m e t r y

General properties of the space

1 symmetry / asymmetry

2 Space that is defined latarally i.e.: by its walls / space that is defined centrally i.e.: by

its fitting out


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101

101


Co n v e x i t y Co n ca v i t y

Op e n i n g u p Cl o s i n g

continued

3 opening up of space / closing in of space

4 convexity / concavity


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102

102

A r t i c u l a t i o n o f t h e p r o f i l e a l o n g i t s l e n g t h

schermen bochten

Relatie gevelwanden


Tw o w a l l s r e s p e c t i n g e a ch o t h e r Tw o w a l l s c om p e t i n g

P r o f i l e s o f t h e s i d e s o f b u i l d i n g s Un d u l a t i n g w a l l s

Properties of the delineation of space

5 Articulation along the length of the street (length profile):

Vertical or horizontal articulation (undulating landscape and undulating street walls

(blocking vision and creating a sense of enclosement)

6 relation between the two walls of the street: respecting each other, competing


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103

103


Em p h a s i z i n g t h e t r a n s i t i o n I n f o r m a l t r a n s i t i o n

N a r r o w i n g Si d e w i n g s

Properties of the transitions and the way space continues

7 Narrowing of the street and the effect of theatrical side wings

8 Emphasizing a transition or a casual transition


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104


La t e r a l d em a r ca t i o n Ce n t r a l d em a r ca t i o n

D e f l e c t i o n : sh a r p b e n d Gr a d u a l b e n d

cont inued

9 Sharp bend, deflecting the direction of the sequence. Gradual bend

10 Lateral demarcation or central demarcation of the transition


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105

Fr a m i n g ( 3 e x a m p l es )


cont inued

11 Framing of the transition. 3 examples


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106

Panerai,

DepauleSchematizingthe sequence

Schematizing the sequence

Castex and Paneray take both the perception and the cognition of space into account and

make there own variation of the notation methods proposed by Lynch and Appleyard.

Their method is simpler and therefore easier to use and understand. However one

could imagine a more direct link between the 11 types of sequentional spatial

elements and the diagram that expresses the experience of space.The example shows Regents street in London.


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107

107

Some possibilities to construct sequences

(based on Panerai and Depaule)

Some possibilities to construct sequences

(based on Panerai and Depaule)

The analyzing method could be used to construct sequences. Either to improve existing

situations or to make completely new designs.

Regrouping a collection of visual sub-areas that are linked to the same object. This

object is most likely a monument or landmark that pay a major role in the sequence.

Visual sub-areas can also be ordered on the basis of there affinity. The transitions are

the situated at the spots where one passes from one family of areas to another. The

transition is more recognizable if there is a small landmark.

The transition to another sequence can also occur in a number of successive steps,

for example via an overlapping zone or via a common visual sub-area that plays the

role of a connector.

An increasing frequency of sub-areas and elements contributes in building tension

and emphasizing the goal of the sequence, 'climax' of threshold where one passes

into another visual world.

Final remark: sequences often only work in one direction. By analyzing a route in two

directions the elements can be found that play a role in two directions. This makes it

easier to understand the subtle working of certain areas.


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108

108

Park analysis

Steenbergen en Reh

2003

Park analysis

In their book 'Architecture and landscape' (2003) Clemens Steenbergen and Wouter Reh

analyse a number of sequences that have been used in baroque gardens and urban

design.

Vaux le Vicomte

The first French baroque garden. An example for later designs.

The sequence shows the succession of visual images one get coming from the entrance

of the park to the house and onwards into the garden. The house is the focal point of

two opposing sequences.


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110

In front of the house


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111

From the terrace of the house looking into the garden

The house is a threshold in the totality of the sequence. A monument is the goal of this

part of the sequence.


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112

In the garden

Looking from the 'Parterre' towards the monument.


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113

At a sub-goal (or landmark) looking at the goal.


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114Vaux le Vicomte Sequentie terug vanuit tuin naar huis

Looking back from the monument

Now the house becomes the goal of the sequence in the opposite direction.


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115

At the sub-goal

(also represented in the sequence from the house to the monument)


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116

Nearing the house

At the 'Parterre'.


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117

Close to the house


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118

118

Light for Cities

Brandi

2007

'Light for Cities'

In their book 'Light for Cities' (2007) Ulrike and Christoph Brandi use a sequence to show

how light influences our perception of the modern city. Light indicates several realms

within a city and gives us clues about the environment we are in. In traveling through

various areas at night we experience sequences of changing light.

The sequence is also meant to show how the perception of space at night could beimproved.

The sequence is a good example of the effective use of drawing technique to show an

idea. For this purpose much better suited than so called 'realistic' images.


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119

1191

1

A traveler arrives by plane. From the descending plane he/she sees the lights of the

city. He/she can recognize streets, squares, sports fields, industrial areas, living

quarters, etc., among others by means of the type of lighting.


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1202

2

On the final descent perhaps the lighting of the runway is visible. This is an extreme form

of the relation between space and light.


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1213

3

The platform is an anonymous place without references that is lighted evenly. The

docking bridges also have a cold and impersonal lighting.


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1224

4

There are always escalators in airports. Most of the time the lighting is close to the

ground. Fluorescent lights are used.


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1235

5

The internal spaces of an airport have a hybrid character. On the one hand continuous

monotonous light, often with abrubt transitions. On the other had complex lighting of

shops. There is an enormous contrast between the well designed interior of a plane

and the airport that follows after leaving it.


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1246

6

After the airport formalities the traveler hoes to a car rental. The parking lot is of the same

anonymity as the aircraft platform and the docking bridges.

The interior of the car is full of gimmicks. Still often it is not a pleasantly lighted

environment.


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7

Leaving the parking lot and the airport means passing a lot of ramps, often with a lot of

concrete. The head lights of the car evoke a feeling of safety in the vicinity of the car.


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8

The road leading to the city is lighted uniformly and bright. Lanterns at regular distances.

In the city itself the light is more irregular and the lampposts are lower.


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127

1279

9

In the city centre the light is more diverse. Most lanterns are still lower. There are traffic

lights and lighted signs.


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12810

10

In some areas special lighting is used. For instance at bus stops, underground stations,

etc.


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129

12911

11

The car trip ends in a parking garage, again with impersonal even lighting.

After checking in into the hotel the traveler goes into town. The town hall is lighted with

two floodlights. Besides this there is not much lighting. It is not an inviting place at

night.


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13012

12

In the pedestrian zone there is a lot of light but it is emitted by shop windows and

advertisements. An illusive type of lighting.


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13113

13

At the end of the night the traveller looks out of the window of the hotel room onto an

illuminated city.


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132

Sequence Las Vegas Strip

From: Learning from Las Vegas, 1972

Learning from Las Vegas: sequence along the strip

Robert Venturi,; Denise Scott Brown, Steven Izenour, 1972.

Learning from Las Vegas was a ground braking research, introducing a new perspective

on urban analysis.

The new urban environment determined by the motor car plays an important role in the

research. The 'Strip' is an urban type that is about dynamics and not about traditional

static urban spaces. Consequently sequences play an important role. This is reflected

in the analysis.


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Importance of the visual qualities in motion

The role sequences can play

The examples show:

The limitations of sequences

Final conclusion

The works of Cullen, Appleyard and others make us aware of:

The importance of the visual qualities of urban space experienced in motion.

The role sequences can play in enlivening space - making it more interesting and

pleasant - and in making design concepts experiencable.

___________

On the other hand it shows that analysis and design can never solely be based on spatial

sequences

picturesque-sequential analysis

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