Cityshape: communicating and evaluating community design

UD 514 5th week Submission

Murat Cevikayak

152002001

To help counteract the view that community design decisions are merely expressions of subjective opinion, this paper presents a framework or taxonomy for community planners and designers to use to help citizens understand an evaluate community designs. Utilizing commonly understood words, the taxonomy is grounded in research on basic human needs and on a broad range of concepts from the literature and practice of urban design, urban planning, the building arts, and the visual arts. This article includes an evaluation guide, which provides a coherent, versatile framework for analyzing community design issues. This guide is intended as a diagnostic tool to elicit creative community response and to facilitate more informed discussions.

Although community or urban design plays an essential role in guiding development and enhancing the quality of our built environment, this social art has only recently emerged as a distinct discipline, and definitions of its specific substance, role, and language are still evolving. Opinions differ considerably among both professionals and academics not only about the field's component elements, but also about its relationship to urban planning and the building arts - architecture, landscape architecture, and engineering.

Some assume shortsightedly that community design is nothing more than the arrangement (or rearrangement) of various architectural forms to suit land use regulations. Others focus more insightfully on decoding the interplay among complementary and competing environmental and social forces. Because of involving many different voices speaking in seemingly different languages about complex, dynamic process of community design, Greene presented the taxanomy to resolve the confusion. He describes four basic principles: function, order, identity and appeal.

- Function requires that the design work effectively for the convenience and comfort of all its users

- Order assures that users can become oriented to the environment and understand it.

- Identity denotes a visual image of the environment that reflects special or unique qualities.

- Appeal characterizes a design that gives pleasure to its users over time.

By using these principles Greene describes community design evaluation guide for proposals or site evaluation. Evaluation guide relates the principles, qualities and guidelines of community design to elements of environment. By five point check-off rating system scheme allows the various evaluations to be easily organized and compared.

To sum up, Sherwin Greene makes a transparent, value free taxanomy in terms of understandable by everyone. By describing the evaluation guide, he makes a method of evaluating ideas that often difficult to verbalize. Although he never avoids the parts of subjectivity in this process, he tries to get a general language for citizens and all dicipleners to understand the community design. The process of community design is interdiciplinary and includes citizens because of these seperated parts he gives importance to general communication ehile evaluating the projects to help for easy perception.

5th week Submission

CITYSHAPE – Communicating and Evaluating Community Design

Sherwin Greene

The article presents a framework or taxanomy for community planners and designers to use to help citizens understand and evaluate community dessigns ( author prefers using this term because it conveys a less restrictive sense of geographic scale than the term “urban design”). The taxanomy is more than a theoretical exercise, it is designed as a tool for planning practitioners and their constituencies to apply to design problems in their communities.

For designing a framework for communicating and evaluating community design issues, Grene describes four basic principles: function, order, identity and appeal. These principles, Greene suggests are a synthesis of multiple source and represent attributes that are significant enough to have universal application to all environments. First of all he describes elements of the environment under two groups natural and built as masses, spaces and paths. Then he defines aesthetic requirements according to users needs in terms of physical, psychology and sociology. Because Greene describes community design as a visual experience. While he describing these principles of community design, he also defines taxanomy that defines these principles along with explanatory qualities and guidelines.

• Function is the ability of an environment to satisfy the needs of all its users.
• Order means the clarity of the environment from the users viewpoint
• Identity is the ability of the environment to connote special visual images
• Appeal is the ability of the environment to offer pleasure to its users.

To supply easy perception in terms of citizens he firtly defines community design then communication and at the end evaluation. The community design evaluation guide can be used to evaluate proposals or to make assestments of existing developments. Participants in this assessment can include both professionals and nonprofessionals. Repeated assessments of existing environments, both at night and during the day, can evoke different reactions that are useful starting points for discussion. A five-point rating scale allows for comparisons between participants observations in the assessment process. The five point check off rating system allows the various evaluations to be easily organized and compared. Evaluators first note basic data about project and then record their first imprssions. The next step is to generate a carefully considered rating of the project in terms of each of the four community design principles.

As a conclusion, Greene tries to make a universal language about community design by presenting community design principles. Because complex, dynamic process of community design involves many different voices speaking in seemingly different languages. The taxanomy presented here attempts to resolve the confusion.

Gülnur Vuruskan
152002002

5th week submission

Onur MENGI
UD 514 Spring’08 IYTE
5th Week Summary Submission

City Shape
Communicating and Evaluating Community Design

This article written by Sherwin Green who is professor of urban planning in the department of urban planning and real estate development, School of Business and Public Management, at The George Washington University, presents a framework or taxonomy for community planners and designers to use to help citizens understand and evaluate community design. It also includes an evaluation guide, which provides a coherent, versatile framework for analyzing community design issues.

In this article, use the term of “communicating” identifies jargon-free and universal language. Skills of designer are always essential. An easily understood terminolgy, however, would encourage public participation in the design process and promote more productive dialogue between designer and designed-for communitiy. Such dialogue could significantly increase the potential for clarifying design issuses and producing good design. Too often professional evaluations of design are nothing more than subjective reactions based on a sophisticated-but poorly articulated-understanding of what works.

Besides “taxonomy” here refers to classification. It is more than a theoretical exercise-a hands-on tool. Also used to structure community design issues or research, to organize concepts and plans, to explain community design and to evaluate existing development s and proposals. This taxonomy can found in approaches of Lynch and Alexander too.

Framework for “evaluation” describes four basic principles of community design;
Function which requires thet the design work effectively for the convenience and comfort of all its users.
Order that assures that users can become oriented to the environment and understand it.
Identity which identifies a visual image of the enviroment that reflects special or unique qualities.
Appeal that characterizes a design that gives pleasure to its users over time.
This process includes taxonomy that defines these, along with explanatory qualities and guidelines and evaluation guide to help participants formulate and structure their responses to places and proposals in terms of the taxonomy.

Evalutioan guide in this article which alike brochure, requires evaluators to decide on the relevance of a wide variety of community design considerations and to organize their responses. The guide consists of 4 step; data, first impression, detailed project evaluation, project relation to context.The five-point check-off rating system allows various evaluations to be easily organized and compared; excellent, good, acceptable, poor and unacceptable.

The ultimate purpose of community design is to improve the function and quality of the built environment. It requires interdisciplinary skills and talents and involves a large clientele. Besides taxonomy attempts to resolve the confusion that is caused by complex and dynamic process of community design involves different voices speaking.

Three Theories Of Urban Spatial Design

The research identifies urban design theory with three aproaches which are figure Grand theory, linkage theory and place theory. Eachother is important to understand evolution of modern spaces and the analysis of historic precedents.
Figure-ground theory is based on the connection between voids(figure) and solids (ground). How can we define solids and voids pattern ? And how can we use these relationships in existing pattern? These define structre of the urban space in the city such as major land Marks, open spaces and buildings.
The best example of the figure-ground theory of urban design is Giambattista Nolli’s Map of Rome.İn Nolli, Open space is a positive thing that is more figural than solids. İn spite of the modern concept of space. The open space is characterized like an interier and exterial spaces and with activities.
The term poche is used in figure-groun theory. This term defines walls, colon and other solid of buildings. On the other hand, on exterior, poche is energy the buildings to their neighboring voids.
The figure-ground theory points out that vertical elements on the large ground cause to be vast and horizontal places must be well articulated.
Avlar Aalto of Finland is most important architects about describing achive positive voids. The way is that the structures have more caverage than the surrounding firl and is carved out of mass.
Suzana Torre associates, spatial orientation is defined by the the configuration of urban block that collectively form districts neighborhoods. It is the articulation and differ-entiation of solids and voids that make up the fabric of the city and establish the physical sequences and visual orientation between places.
Figure-ground studies disclosure urban form as six typological patterns solids and voids that are grid, angular, curvilinear, radial cocentric, axial and organic.
Urban solids and voids: Urban solids are defined under three types. First type is public moniments or instiutions which serve as counter pieces in the city fabric. Secand type is predominant field of urban blocks and the last type is formed by directional or edge defining builds that are generally onrepetitive, specialized forms often linear in configuration. Otherwise, urban voids are caracterized by five types such as the entry foyer space or passages, iner block voids, network of streats and squares, public parks and gardens, linear open space system commenly related to major wate features.
The Linkage Theory is based on ‘live’ correctly each parts of city. These lines that invole streats, pedestian roads, linear open space o other, correct buildins to spaces.
This theory regars to organize a system of corrects or a network that establishes a stucture for ordering space.
Compositional form includes individual buildings and typical of Functional planing methots.
Mega form regards connection between individual spaces and includes a frame network in a hierarchical.
Group form results from a incremental accumulation of structures along an armature of communal open space and linkage is naturally and organically evolved.
All three types, Maki emphases linkage as the controlling idea for ordering buildings and spaces in design.
Kenzo Tange, 1960s points out the problem of containing exterior space and designed around circulation patterns.
The Place theory is differ from linkage and figure-ground theory about regarding cultural and human characteristing of physical space. İt is derived from cultrul and regional content. A place only has characteristic of physical but also has sociol. The goal is to achive creating both a place that is well designed physically and a place that has cultrul and historical concepts.
Ian Mcharg brings the term ‘ecological approche’ to design which depends on discovering and working with the qualities of given local.
Kevin Lynch studied on the mental mapping process of individuals in the city and he looked at city in parts in attempt to define a theory of place. He submits three rules for designing city places such as legibility, imageability and structure and identity.
Another approch is that liveable streets projects by Donald Apployard. He points out the physical and social complexities of street and developed an ecology of street life.

3rd Week Summary Submission_2

Onur MENGI
UD 514 Spring’08 IYTE
3rd Week Summary Submission

Sources of Architectural Form

In this article examine the theories of design within boader context of the history of Western philosophy since theoriests inherited from their culture, attitude and methods. Many theorists worked out variations on five basic idea ranging from the idea that forms are generated within the creative imagination to the idea that they derive from function and climate. These provide the conceptual foundations for most of the historical theories.

“An architectural form is shaped by its intended function”; according to this view, the form of a good building is shaped by the various physical, social, psychological and symbolic functions it it expected to perform. For instance ideal shape of a concert hall should be generated by setting uninterrupted sight lines for every spectator; the shape and location of the entries should be determined by the flow of people to and from their seats; and outside appearence should be shaped by the symbolic role of a concert hall. According to this view, designer must be like a scientist finding some form in a body of pre-existing facts. Besides, if designing building involved nothing more than functions, one would expect no evidence of architect’s personality. Designer in this view avoids, preconceptions, gathering, analysing and synthesizing.

“Architectural form is generated within the creative imagination”; all proponents of this theory agree that inner source is somehow dependent on individual personality of designer and some of designers have a greater gift for employing this source than others. But this theory can not give reasonable explainations for why one hardly find considerable variations in the collected works of society in the same period as well as several generations. While classifying buildings of Renaissance, Gothic or Post-modern show that architects working at the same time tend to use shared ideas, but this theory on its own can not explain how these shared ideas influence individual minds.

“ Architectural form is shaped by the prevailing spirit of the age”; according to this view, no matter how much an individual designer might think he is following personal creative urges, his work will unconsciously respond to the world-view, the source of his design ideas is to be found ‘in the air’ around him. There are several spirits from which a designer must choose, but this freedom of choice contradicts the basic premise of the entire theory.

“Architectural form is determined by the prevailing social and economic conditions”; this theory assets like spirit of age thoery, an architect unconsciously acquire that society’s underlying ideological assumptions. But through centuries it is almost impossible to find one-to-one correlation between socio-economic system and the building form. This theory is insufficent to explain the different form of buildings in the same society.

“Architectural form derives from timeless principles of form that transcend particular designers, cultures and climates”; contrast to other theories above, this suggests that certain universal forms underlie all good architecture, no matter what the particular circumstances of the design problem, designer or culture. While one version of this theory says that ‘there are certain forms like the basilica, the courtyard or the atrium’, another says that ‘this theory looks not to whole forms, but to general principals of form which are more abstract and universal’. But this theory does not explain how they came to be so different given the same starting point. Furthermore how types like skyscrapers or multi storeys first invented. Clearly architects adapt old types for new purposes, but this theory can not explain why.

None of these western theories can not give complete or convincing account of the source of design ideas. Whether consciously or not, many designers today recognize the inadequacies of any single theory, and tend to use two or more. But this juxtaposing does not make a coherent theory. This paradox derives from a conceptual problem built deeply into Western culture’s most fundamental assumptions about the individual and his relationship to the world as the subject-object problem. On the one hand, the individual can be thought of as a physical object in the nature whose actions and behaviour are completely determined, like all other physical objects, but on the other hand individual can just as easily be thought of a s a freely thinking, acting and creative whose actions and behaviour are completely determined by his or her own inner desires free from externalities. From the designer’s personal perspective, one looks like an artist process of inventing new information and giving it to the outside world, while the other looks like a scientific process of taking in existing outside information. Theorists thorughout history have articulated variations on six archetypal interpretations of the individual’s relationship the outside world; theories of creation and theories of knowledge;
Romantism(creation)/Idalism(knowledge); Form is to be find in the inner intuitions of the individual designer. Importance of individual ability.
Positivism(creation)/Empricism(knowledge); Form is merely discovered by designer which is already prefigured by external determinants.
Classicism(creation)/Rationalism(knowledge); Form is to be found outside the mind of designer, as an objective property of the external world. This group is more aware than the other two that necessary balance between mind and world.

Sources of Architectural Form

Introduction: The central problem of design theory

Design process is the main question to be studied through time, to answer what is needed to create, form, realize a thing that defines where we live, what we use and how we live. In this essay the studied topic is some of the theories. This chapter tries to identify the process of design, more than a process of collecting data and processing it till a product is realized. This includes the search of the basis of the design both from the product’s and the producer’s entities. In the western philosophy these five theories are explained to clarify the search of this process.

The first to be explained is the intensive action of thing that are designed that effects the process, as the product itself will be having a use, the design process should be considering these needs to realize the final creation.

The other theory refers to the designer who has a creative mind and individual character, to form the thing. The designers idea is what the product is shaped accordingly.

Third theory is about the ”spirit of the age” or “zeitgeist” which means the time has its own character and identity to effect what is inside, so in design process problem we can approach this theory as the design having been effected by the period of time.

The fourth theory tells that beyond all properties or effects in the design process, the social or economic structure of the place where the process has been taken in will be effecting the product very much. As a design can be realized in a place due to economic conditions but not in a different location due another reason from social or economic conditions.

The last one is as a conclusion to all former theories, the general idea is all good architectural example ( acc. to whom ) will surely have common properties that we can have them generally as a basis for all processes.

The former theories listed above can partially define how the process works but, in fact what lies behind a creation can not be reduced to these theories. Every single design has its own information and meaning inside. However we can classify the design understanding and processes according to different perceptions. But we can not forsee any upcoming thoery in design process though we don’t have any clue about designs that will guide new things.

Murat ÇEVİKAYAK - 152002001

Sources of Architectural Form

Source of architectural form is examined in this article under the basic questions such as; “What is the source of an architect’s design ideas or How is this idea generated, What influences its shape, what is it derived from?” Theorists and theories within the context of the history of western philosophy beginning from the ancient world to the present are mentioned in the article.

In western philosophy five theories are generated to give an aswer for where is the architectural form coming from.

1.“An architectural form is shaped by its intended function”: According to this theory, a good building is shaped by the physical, social,psychological and symbolic functions it is expected to perform. A designer is accepted as a scientist that he/she should explore the client’s needs, climatological conditions, community values and designer avoids preconceptions, gathers together the objective facts about design and draws out the final form.At the end of this theory it is seen that function alone can not explain other influences on building form.

2. “ Architectural form is generated within the creative imagination”: A form of a building depends on inner resources, intutitions of designer. Source of form is appeared according to individual personality. However, if all forms depens on only personality and inner resources, how can we classify buildings as Renaissance, Gothic or how can generic forms as basilica, courtyard, atrium be composed.

3. “ Architectural form is shaped by the prevailing spirit of the age”: This theory accepts that every age has its own spirit and gives shape to buildings. It is thought as a stamp. The problem of this view is; it is insufficient to explain some ages may appear to possess several spirits simultaneously.

4. “Architectural form is determined by the prevailing social and economic conditions”: This theory assets that all individual artistic efforts fall under the coercieveinflunce of larger shared forces. It attributes physical conditions like methods of economic production and distribution prevalent in the architect’s society. Designer can effected from society’s underlying ideological assumptions. But there is no strict connection between socio-economic system and the building form. It can ot explain the different form of buildings in the same society.

5. “ Architectural form derives from timeless principles of form that tanscend particular designers, cultures and climates”: It suggests that certain universal forms underlie all good architecture, no matter what the particular circumstances of the design problem, designer or culture.

This western theories of design cause a paradox in it. Because none of them completely explains how is an architectural form composed. Every theory consists of some insufficient points while answering the question completely. The basement of this paradox in design depends on fundamental assumptions about the individual and his relation to the world.This is known as subject-object problem. It originated in a philosophical system first invented by the ancient Greek. In terms of design theory, the duality created by the subject-object problem between knowing(science) and creating(art) between mind and world.According to this relation, theorists throughout history have articulated variations on six archetypal interpretations of the individual’s relationship to the outside world. Three of these are ostensibly concerned with creation and three are concerned with knowledge.When one view advanced to the forefront in any given period the others were still to be found as minority views in the background or even as anomalies in the other’s concepts. Theories of creation are Classical tradition, Romanticism, Positivism and theories of knowledge are Empricism, Continental Rationalism and German Idealism

Gülnur Vuruşkan

152002002

3 Theories of Urban Spatial Design

Urban design theories try to figure out how and why a city is composed and according to which effects they are organized. Although these topics need different understanding and work strategy, they need to studied together to form a rational practice.

One of the theories for the urban spatial design issue is the figure-ground theory. It defines the physical spaces of a city as a solid void pattern. The building masses as the solids, which forms the exterior space with both its shape and its exterior facade as we can see in the map of Rome, And according to Aalvar Aalto, relating the building with their suurounding is important in the case of forming positive voids, where people tend to use that space more densely. By this Sussana Torre describes the relation of voids and solids as the sequences between open spaces to more closed spaces which also can be varied in different shapes.

One another theory which effects the organizational relations in the city is the linkage theory. As understood from the name, this theory is intented to identify the relations between the spaces in more pathwise way. The aim is to be understood as a tryout to make effective areas of the city linked /related according to provisioned paths. This results with the order and control within the city.

The final theory is the “Place theory”. Although there can not be seen any physical understanding in this theory firstly, as it mentions the difference between space and place concepts in the name of contexual meanings which relates more cultural and sociological understanding inside. This theory defines the concept of the physical form of the city from the users eye. As the qualities and properties of the spaces were given dominantly by the humans who composed those spaces, the technique in pointing the idea behind it will surely relate to both sociological and psyhcological entities. For example, ecological approach depends on the intrinsic qualities of local which Mcharg defined, mental map studies in the city to declare the basic idea of users about the city as Lynch defined, Cullen’s definition about the sequences in the city that includes three dimesion and plans to explain the change and relations within the city, and as Appleyard defined in “Livable streets project” , city is modified, contextualized and developed by the citizens in the streets.

Murat Çevikayak - 152002001

David Gosling ' Definition of Urban Design'

David Gossling emphasizes on forces which controlled the form of cities. These are economic, politic and social forces which are necessary to reach some general definitons of forms.

The moden movement describe city with the functionalist view that divides city by functions and classifies city by dominant activities.Then, the city becames machine for living.

David Gossling considered that architecture is principal for cunstruction of the city. So during the research he gives examples about buildings which build in different terms.

İn the different cultural periods and locations, the different typologies determine the city, such as infrastructure, transportation networks and open spaces.

İn history, Different major concerns caused future direction of urban design to acquare differentcharacters.

3rd Week Summary Submission_1

Onur MENGI
UD 514 Spring’08 IYTE
3rd Week Summary Submission

THEORIES OF URBAN SPATIAL DESIGN
This article examine three significantly different theories of urban spatial design on the basis of research into the evolution of modern space; figure-ground theory, linkage theory and place theory.

Figure-ground theory is founded on consideration of land coverage buildings as solid mass to open voids. Naturally each environment has an existence of “solids” and “voids”; in spatial design, figure-ground theory is to manipulate these relationship by “adding” or “substracting”. Figure-ground studies reveal the collectivety of patterns and classify them;
The first important type of urban solid can be characterized as public manuments or institutions which express political and social signifincance. Following these, predominant field of urban blocks define urban solids, since field is organized by repetition of parcels determined by use; residential, office, retail or industrial. Size, pattern and orientation of urban blocks are also considerably important. Another category of solids is formed by directional or edge-defining buildings that are generally nonrepetitive, specialized form, often linear in configuration; such as buildings adjusted to face a boulvard, circle or square, or to establish the edge of a district.
Five types of urban voids play a part in exterior city; entry foyer street that establish security-eye on the street, inner block voids-semiprivate residential space, network of street and squares that contains active public life, public park and gardens that contrast to architectural urban forms and lastly linear open space system related to waterfront features.

Linkage theory was highly popular in 1960’s. This theory involves the organization of lines connects the parts of the city and indicates flow of movement, axis and buildng adge. According to Maki, urban space is defined by three different types; “compositional form” consists of buildings in abstract patterns that are composed of two-dimensional plan, “megaform” where structures are connected to a linear framework in a hierarchial, open-ended system in that linkage is physically imposed and “group form” that results from communal open space which historic towns and villages have tended to develop. Leading figure was generated by Kenzo in Expo’70 where futuristic forms connected by circulation systems. Another example of this theory is Urban Design Manhattan that emphasize scheme for horizantal linkages between high-rise elements. A further illustration is Peter Cook’s Plug-in City of 1964 where interchangable parts are lined by transportation systems. In these experiments, relating to this theory, dominates machine aesthetic and technology.

Place theory begins with understanding the cultural and human characteristics of physcal space. Following this one should be aware of that “space” is purposeful void or bounded with potential of physical linking things, it only becomes “place” when it is given contextual meaning derived from cultural and regional context.
For designers to create truely unique contextual places, they must more than superficially explore the local history, the feelings and the needs of the inhabitans, the traditions and political and economic realities of the community. “You must just listen carefully.”
The most important question is how designers respond to time and place in these too much zoning and too much planning perpective. According to Kevin Lynch; to establish or to maintain nodes, paths, edges, landmarks and to connect and to define districts, manument that give “imaginability” to a city. There are some more major approaches to the place theory like Lynch’s “mental map that consists of legibility, imaginability, structure and identity,”. While Stanford studies the ecology, Lucien Kroll allows clients to create their own designs. Besides, Erskine is one of the famous contextualist whose designs blend proposed and existing structures in an informal organic arrangements. Another member of reaction against functionalists; French contextualists are occupied with adding richness by imposing completely different and contradictory geometries that penetrate the existings. They see the city as a complex system of confrontataions that enrich the meaning of district.

To sum up, one failure that designer could do is to be obsessed with one of these three, since living city consists of a layering of elements in each theory. For instance, if the place theory is applied without regarding to linkage and figure-background, important connections outside the design area or new opportunities may be lost. Taking together all theories can provide us potential strategies, since each of them has own value. According to article, the key is to apply these conviently and collectively to each urban design project.

"Spatial Design Theories" Trancik, R (1986) - 3rd week summary

THREE THEORIES OF URBAN SPATIAL DESIGN

In the article three approaches are defined for urban design theory such as figure-ground theory, linkage theory and place theory. When the article was reading, it is seen that while some people choose place theory and the others may choose other figure-ground or linkage theory for urban spatial design. However at the end it is obviously appeared that obsessing with one of these theories could cause lack of some points.For example if an urban complex is designed around the linkage theory, it falls short because the product becomes nonspatial and therefore nonexperiental.If the place theory is applied without linkage and figure-ground theory, important connections can be lost and if figure-ground theory is applied user needs and implementation level has problems.

A- Figure-Ground Theory: In this approach urban environment is composed of solid-void pattern. While solid defines building masses, void means that gound, open spaces. The objective of this manipulation is to clarify the structure of urba spaces in a city or district by establishing a hierarchy of spaeces of different sizes that are individually anclosed but ordered directionally in relation to eachother. The most known example is Giambattista nolli’s Map of Rome.Because the systems of solid and void is clearly defined and building coverage is denser than exterior space, so, its believed that building coverage give shape to public opening. Alvar Aalto is one of the architects of this century and he describes the problem of spatial design as one of connecting the form of the building to the structure of the site or of twisting and turning buildig’s facades to create positive exterior space. In this theory, creating positive voids is important using buildings vertical or horizantal. On the other hand, sequence between public, semipublic and private domains are important. Susana torre thinks that getting sequences to work, circulation barriers and gabs in contiunity must be minimized or eliminated.In the context, most cities are built from combination and permutations of six typological patterns of solids and voids as grid, angular, curvilinear, radial/concentric, axial and organic.

Urban solids are categorized under three types. First one is public monuments or institutions which serve as counterpieces in the city fabric. Second one is predominant field of urban blocks and the third type is formed by directional or edge defining buildings that are generally nonrepetitive, specialised forms, often linear in circulation. On the other hand, urban voids are defined under five types such as the entry foyer space as transition points or passages, inner block voids, network of streets and squares, public parks and gardens, linear open space system commonly related to major water features.

B- Linkage Theory: It is highly popular in 1960s and involves the organisation of lines that connect the parts of the city and the design of spatial datum from these lines relate buildings to spaces. Linkage is simply the glue of the city. The important point is to make comprehensible links between dicrete things. According to Fumihiko Maki, linkage is the most important characteristic of urban exterior space. He defines three different formal types of urban space; compositional, mega and group forms. For instance, Kenzo Tange and Norioki Kurukowa study on megaforms. In all three types, Maki stresses linkage as the controlling idea for ordering buildings and space in design.

C- Place Theory: Difference of place theory from other theories is the cultural and human characteristics of physical space. While the meaning of “ space” is bounded or purposeful void with the potential of physically linking things, it becomes “place” when it is given a contextual meaning derived from cultural or regional content. The understanding of context of place term begins after 1960s. A place is a space ehich has a distinct character and the role of urban designer is to manipulate form to make space but to create place through a synthesis of the components of the total environment, including the social. The aim is to find best profile between the physical and cultural context and the needs of contemporary users. The perceptiveness of design of places is changing according to time, place and the researchers. For eample; Ian Mcharg brings the term “ecological approach” to design which depends on discovering and working with the intrinsic qualities of given local. In 1950, team 10 promotes the idea of the house as a particular house in a particular place, part of an existing community that should try to extend the laws and disciplines of that community. Besides these; Hermen Herzberger is known as one of the contextual designer and he thinks design is nothing more than finding out what person and object want to be. Kevin lynch studied on the mental mapping process of individuals in the city and he looked at the city in parts in attempt to define a theory of place . He presents rules for the designing city spaces; 1) Legibility: the mental mp of the area which held by the users. 2) Structure and identity: The recognizable, coherent pattern of urban solid voids. 3) Imageability: User perception in motion and how people experience the space of the city. According to Lynch successful urban spaces can be as well as ınquireing these requirements with the elements of urban forms as paths, edges, districts, nodes and landmarks. Gordon Cullen has a different approach for spatial perception with the term “ sequences”. He uses drawings to capture the sensation of movement through space. In addition to the perception of place and the image of space, he implicitly addresses the physic content of the exterior city, the relationship between object and movement. According to his drawings, he brings two dimensional plans to life by sketching perspective sequences that illiminate contrasts and transitions, emphasizing the powerful effect of the third dimension. Another approach to the understanding of context is the work of Donald Appleyard. By his “liveable streets project”, he explores the physical and social complexities of street and developed an ecology of street life. He says people modifies their environment as a defense against traffic. He takes streets as spatial entity.

As it is mentioned above these three urban spatial theoriescan not be thinking separately. All of these should be applied to a urban design projects collectively.

2nd week - ( Definitions of Urban Design )

DEFINITIONS OF URBAN DESIGN – David GOSLING

The process of the morphology of the city had been the very major concern of the theorists. After the essay “concepts of urban design” which was prepared to review the general theories going on, in this article, the definitions which are necessary in the analysis of urban form are discussed.

In different perspectives analysed, the city described as a homogenous product of formal realms with the classification and division of activities in the citylike in the modern movement ,or as a part of a larger structure that consists of the functions of life like living, working, recreation etc.

The underlying thought, how the city can be described accordingly to formal terms, is what is the root of the cities that maket hem as in present and how the city works in formal terms to condition itself to the technologies. This will lead us to the general understanding of this essay; David Gosling includes the discussion of the notion of the third typology to his essay rather than discussing the divisions and forces in the city what are used to describe it.

The principles of typology and architecture is related with the design theory. The formal situation of construction types and the city is the result of waht and how we perceive the whole through the public realm, architecture is taken as the major force to effect the city.

The relationship between the inhabitants and physical space, the power of the inevitable being of the existing adn old, the flow of time which forces to change or develop, the importance of the identity and attraction, the importance of the spaces of perception in human scale and the unique adn dominat aspect of the public structure are what makes the definition ıf the urban morpholgy important. What makes urban morpholgy is , the power and essence of the past and present both with social and physical structures.

Murat ÇEVİKAYAK

152002001

2nd week - David GOSLING

DEFINITIONS OF URBAN DESIGN ( David GOSLING )

City itself consists of many interdiciplinary actions roll together to unify the different functions of it, such as economics, engineering, sociology etc. Through the periods, theorists described the process according to different realms.

In the modern movement, the functional view has been taken into account which defined the city as a sum of dominant activities and functions, on the other hand we can see “machine for living” which places the city as a part of a larger structure that consists working, shopping, transport, recreational functions inside.

David Gosling discusses the approach to urban design from an architectural way rather than others. “ Typology”, he mentions, to be the major element to compose the city as theyphysically stand in history and create the sense of memory and permanance.

Architecture of different cultural periods and locations determine the forms of the cities, perception angles and formal expressions to individuals with their typological character.

The future directed thoughts of urban design theories are defined by different design approaches according to their major concerns.

The mediation role of urban design takes the inhabitants into account with their ideas and participation process support which results with pushing the repetitional building system out of the line and taking the realisation of individual choices of the inhabitants in. The revitalisation role of urban design is defined to balance the acitons of preventing decrease in attraction of the place and destructions caused by economical forces .Urban design challanges the existing uses and patterns to provide the better. This surely results as change, whether it is re-cycling between the old and proposed of back and future with their reasons, the inversion is in every stage of process with the emergence of the newcomes.

The impressive being of center locations of every city is what makes them desired. These are complex places where the life flows in it, where as well important, these are the general view of the city defining the character of the city.

Derek Walker on the other hand discusses that the existing system of a city is the root of any modification or change that comes after. His idea is related with the assumption the assumption of the functional and spatial matrix idea which would help to form a structure for the city.

The public realm of the city is the ordering system of the city whether public or private every space serves to it, which leads us to “typology” definition which uses architectural characters, spatial properties and formal expression in whole to compose the system.

To sum up, discussed theories and practices to define the urban design theories for the future of the cities and the clarifications in the researches that the use of the traditional systems to uncover the modern chaos, according to the results of former strategies of other specialists, it will be faster and reliable in proposing new cities relating with the old.

Gülnur VURUŞKAN - 152002002

2nd week ( Reconsidering Urban Design by Thomas W. Schurch)

RECONSIDERING URBAN DESIGN:

Context of the article is composed of researching the history of urban design what it is affected, defining definion of it with the help of literature review, answering the question of urban design is a proffession or field or it is emerged from other proffesions such as architecture, urban planning or landscape planning and what it is the scale of urban design.

All the questions and answers of article are shaped around the lack of theory which usually preceds definition of a profession or field. Schurch mention that the methodology of urban design is hermeneutical and in hermeneutical terms the significance is twofold. İt confirms the idea that urban design is neither a profession nor a field. Second, the lack of academic or theory does not preclude serious consideration of a definition of urban design.

In literature, there are many definitions of urban design with the different terms. Urban design definitons starts after second world war until today. While Kevin Lynch thinks that it is extension of architecture, on the other hand some people thinks that in the history urban design starts with landscpe architecture.Besides, for example according to Jon Lang the term urban design replaced with civic design and it is associated with city beautiful movement. At the end there are also common ideas about the definition of urban design and it is devided five categories as;

1) fundamental, superficial and cursory,

2) Qualitative and prescriptive

3) Historic,

4) Propriarietary,

5) Process.

Meanwhile under these categories framework of urban design and physical characteristics of urban life is mentioned.

Urban design concerns specific types of design venues as thresholds of scale and associated with the various venues is the issue of quality of life, particularly in terms of the public realm. As a defining of urban design extension of other fields cause scale problem also but according to Schurch, urban design can be grouped into neighbourhood or district or entire city or the architecture, landscape architecture study are site specific scale of individual land parcel or the region and corridors which design area of urban planning. Urba design can be composed os combination of these too.

As a conclusion, urban design is still an emeerging field but nat an extension of other proffessions or fields. Because designing urban field city engineering, law and real estate, as well as disciplines in the natural and social sciences are important elements of urban design. It is merging particular aspects of architecture, landscape architecture and urban planning, potentially to form a true field. Inspite of the lack of consensus as to what it is, urban design may offer an enormous potential as a field. But it has no difinite prospects of such realization in the foreseeable future.

Murat Çevikayak

152002001

Reconsidering Urban Design - Thomas W. Schurch ( 2nd week summary)

RECONSIDERING URBAN DESIGN:

Thoughts about its Definition And Status as a Field or Profession

Thomas W. Schurch especially mentioned about the definion of urban design and the place of it in the proffesional area, on the other hand the other main point that is trying to answer is who are the urban designers.

‘Urban design’ term began after the post second war in the history with the other synonymous terms such as Jon Lang’s “civic design”, it was associated with the American City Beautiful Movement or it was defined as city design which was branch of architecture. Then, to show the history of urban design, the framework is discussed in the literature as;

• Jon Lang(in 1960s) thought that UD is occured or replaced with civic design mean that it deal with designing municipal building, opera house etc. And the relation between boulevards affected of city beautiful movement.
• Kevin Lynch says that UD is similar as architecture,
• David Mackey talking about UD is easy than writing and its placed between planning and architecture.
• Alan Kreditor says that we know what it is not,

After all these different definions of UD literature contains some aggrements on it and they make five categories such as,

- fundamental,Superficial and cursory

- Qualitative and prescriptive,

- Historic

- Propriarietary

- Process

The scale of urban design is mentioned in the article and grouped under five threshold of scale 1) The site specific scale of an individual land parcel2) neighbourhood or district 3) An entire city 4) The region in which a city lies and 5) Corridors and UD practice can be grouped into any one or possibly a combination of five interrelated project scales. With the disscussion of scale, the question of where urban design belongs is tired to be answered is it belon architecture or urban planning or landscape architecture.

To sum up, it is determined that architecture, landscape architecture and urban planning do nat stand alone as professions or fields of import to urban design. Civil engineering, law and real estate are important components of urban design. The most important point is urban design is not be narrowly perceived as an extension of any one profession or area and that it is clearly defined.

Gülnur Vuruşkan - 152002002

2nd Week summary submission_1+2

Onur MENGI
UD 514 Spring’08 IYTE
2nd Week Summary Submission

URBAN DESIGN: DEFINITIONS, DIMENSIONS, ROLES
In articles (Schurch, T.W. Reconsidering Urban Design and Gosling, D. Definitions of Urban Design), different considerations and definitions of Urban Design as a field are emphasized through Urban Planning, Architecture and Landscape Architecture.

In his article, reconsidering Urban Design, T.W. Schurch is looking for answer of what defines Urban Design. While reading, anyone can easily recognize his considerations about Urban Design in the point of his field, since he is a landscape architect. In general, he describe Urban Desing compassing Planning, Architecture and Landscape Architecture.
When one looks at literature what it tells about Urban Design, he probably faces discussions about Urban Design has continued for few decades. For instance, according to Kevin Lynch, Urban Design is thought to be a branch of Architecture. Also for Mackey, Urban Design can be recognized by its absence. Similar to this, Alan Kreditor attemps to find out what it is not.
For better understanding, T.W. Schurch divides definitions into five categories; fundamental, superficial and cursory, qualitative and prescriptive, historic, proprietary and process. In these five, he fills his answers about Urban Design with the help of different fields. While he tells it is the composition of Architecture, he also defends its inclusion of Landscape Architecture as well as buildings and rural areas as well as cities.
Furthermore, he tries to explain practical considerations that concerns specific types of design joints referred as “threshold of scale” in possible interrelated project scales;
The site-specific scale of an individual land parcel: Occupation of Arch.
Neighbourhood or distirict: Occupation of U.Design
An entire city: Occupation of U.Design
The region in which a city lies: Occupation of Planning
Corridors: Occupation of Planning
In order to make comprehensive understanding, he emphasizes the relation between Urban Design and every single of other 3; Planning, Architecture and Landscape Architecture. Architecture contribution is examplified by building facades and complexes, semi-public spaces, historic preservation, waterfront development, street layout and so on. In contrast, Landscape Architecture approach assembling building masses and sensitively manupilations relationship of space and mass. At least partially fills a void in shaping Urban Design that Architecture could not or would not. Similarly, Urban Planning adresses social and functional concerns beyond solutions of physical design.
Briefly, finding “common ground” is considered possible solution. Design at one scale requires consideration of the context of the other scale. For instance, design activity concerning a street, would require consideration of neighbourhood that the street lies in. Similarly, consideration of individual building in neighbourhood. On the other hand, not only Architecture, Planning and Landscape Architecure stand alone as professions important to Urban Design, but also Civil Engineering, Law, Real Estate, disciplines in the Natural and Social Science are important.
To sum up T.W. Schurch’s view, Urban Design is merging particular aspects of Architecture, Urban Planning and Landscape Architecture potentially to form a true field.

In his article, definition of urban design, David Gosling as an architect he tries to show the great impact of Architecture on Urban Design.
According to him, so far, through history, building typologies determine the form of the city, including total infrastructure, transportation, open spaces, public and private realm. In general, city is thought to be “built environment” and open spaces are “the rest of them urban form”.
Necessarily, he is looking for the answer of what the aims and limitations of urban designer’s activity are. He explains that by placing Architecture in the middle of Urban Design. For instance, in the context of Urban Design as internal space, he tells about Rob Krier who sets out an interesting theory relating to the design of interior space. His interior space design shows in the horizental geometric ground plan forms square, triangle, circle and amorphous figures and in the vertical possibilities of transportation of these basic elements.
To sum up David Gosling’s approach, Architecture is considered as the primary element in the construction of the city.