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DesignandOrder
DesignandOrder
PerceptualExperienceofBuiltForm-PrinciplesinthePlanning andMakingofPlace
NigelC.Lewis Designer London,UK
Thiseditionfirstpublished2020
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Names:Lewis,NigelC.,author.
Title:Designandorder:perceptualexperienceofbuiltform-principlesin theplanningandmakingofplace/NigelCLewis.
Description:Firstedition.|Hoboken,NJ:Wiley,2020.|Includes bibliographicalreferencesandindex.
Identifiers:LCCN2020008266(print)|LCCN2020008267(ebook)|ISBN 9781119539513(paperback)|ISBN9781119539537(adobepdf)|ISBN 9781119539551(epub)
Subjects:LCSH:Architecture–Composition,proportion,etc.| Architecture–Humanfactors.
Classification:LCCNA2760.L472020(print)|LCCNA2760(ebook)|DDC 720.1/03–dc23
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Outline xix Preface xxiii
PartITheEnvironment–Natural,Ecologicaland Historical(Topography) 3
1NaturalSitesandPlaces 5
1.1NatureandLandscape 5
1.2NaturalPlacesandCharacteristics 5
1.3CreationofMan-MadePlaces 6
1.4ExistentialSpaceandPlace 7
1.5NaturalLandscapeandSensing 9 FurtherReading 10
2EcologicalandClimaticContextandBasicProtection Needs 11
2.1PrimitiveNeeds 11
2.2ClimaticZonesandNaturalMaterialsforShelter 11
2.3ShelterTypes,UsesandPurposes 13
2.4Socio-CulturalFactorsandHumanNeeds 14
2.5TheoryofHumanNeeds 15
Exhibit2.1BasicHumanNeeds 18 FurtherReading 19
3HistoricalandRegionalDevelopment 21
3.1HistoricErasandDevelopment 21
3.2RegionalVariations,EarlyCulturesandSettlements 22
3.3Topography,ClimateandMaterials–FormDeterminants 23
Exhibit3.1IndividualDwellingTypes 24 FurtherReading 27
PartIIHumanBehaviour(Neuro-Physiology) 31
4TheBrain,theMindandSensing 33
4.1TheBrainandNeurologicalSystems–Seeing,TouchingandHearing 33
4.2Seeing–VisualProcessingandMemory 33
4.3TouchingandHearing 35
4.4TheMind–MentalLearningandThinking–Cognition 36
4.5TheMind–VisceralFeelings–EmotionandMotivation 38
4.6ConsciousnessandSelf 39
4.7HumanBodyandtheSensingofForm 40
4.8Meaning,IntentionalityandImagination 41
4.9MetaphorandConsciousness 42
Exhibit4.1TheHumanBrain–NeurologicalSensing 45 FurtherReading 52
5TheEyesandtheVisualSystem 55
5.1VisualPerception 55
5.2VisualWorldandVisualField 57
5.3VisualPerceptionandAffordances 61
5.4PerceptualExperience–VisualSystem 62
5.5VisualSystemandOpticArrays 63
5.6Recognition,EyeMovementsandAnalogueTheory 65
Exhibit5.1TheHumanEye 66
Exhibit5.2Affordances 72
Exhibit5.3Perspective–SensoryShifts 73 FurtherReading 74
6TheSenses 75
6.1TheSystemofSenses 75
6.2TheSenses 76
6.3FurtherSenses 78
6.4TheSensesandMulti-SensoryExperience 81
6.5Multi-SensoryEmotions,FeelingsandAspirations 83
6.6Pleasure 85
Exhibit6.1TheHumanEar 86
Exhibit6.2TheHumanSenses 88 FurtherReading 89
PartIIIPerceptualExperienceofForm(Psychologyand Phenomenology) 91
7AestheticTheoriesandPerceptionofBuiltForm 93
7.1Perception 93
7.2TheoriesofPerception 93
7.3SchematisationandPhenomena 94
7.4Equilibrium,WholesandRe-centring 96
7.5Partsandthe‘Whole’ 96
7.6PerceptualProperties 98
7.7PerceptionofForm 98
7.8PsychologyofForm 99
7.9DynamicsofSpace 100
7.10PerceptionandCognition 102
7.11MeaningandSymbols 104
7.12Synopsis–PerceptualExperience 106
Exhibit7.1PrinciplesofConfiguration 108
Exhibit7.2Perspective 111 FurtherReading 113
PartIVGrammarandSyntaxofForm,and Composition 115
8ArchitecturalOrdering,Composition,FormandBeauty 117
8.1Order 117
8.2GrammarofDesignandSyntax 118
8.3CompositionandCharacteristics 122
8.4RhythmandHarmony 124
8.5Purposiveness 125
8.6ObjectsandArrangements 125
8.7CompositionandType 126
8.8WaysofOrdering 127
8.9ObjectiveProperties 129
Exhibit8.1PrinciplesofComposition 130
Exhibit8.2BasicRulesofCompositionforOrderandUnity 132 FurtherReading 140
PartVPlanningandDesignProcess,andProgramme Requirements(Methodology) 141
9DesignFramework,MethodsandApproaches 143
9.1ProblemFormulation 143
9.2Setting 143
9.3FitnessandFit 144
9.4Self-ConsciousDesignApproach 145
9.5AffordancesandBehaviourSettings 146
9.6ProgrammeRequirements 146
9.7DesigningandDesignApproaches 147
x Contents
9.8DesignProcess,ReflectionandAppraisal 149
9.9IntendedResultsandEvaluation 155
9.10Designof‘Good’Form 157
Exhibit9.1NatureofDesignRequirements,InventionandMaking 158
Exhibit9.2ModernDesignApproach–Programme,BriefandProcess 161 FurtherReading 164
10‘PatternLanguage’Approach 167
10.1FormLanguage 167
10.2OrderandLife–‘Wholeness’ 169
10.3Life-CreatingTransformationsofCentres 171
10.4LanguageofForm 173
10.5FundamentalMaxim–‘Unity’ofthe‘Whole’ 175
Exhibit10.1PatternLanguage–Properties 176
Exhibit10.2RulesofScaleinOrder 180
Exhibit10.3Ambience 184
Exhibit10.4‘Well’Building 186 FurtherReading 188
SectionIIIForm,FunctionandFit 189
PartVIFormandFit 191
11PhysicalBuiltForminSpace 193
11.1Form–MassandSpatialVolume 193
11.2TransformationofForm 193
11.3AdditiveForm 194
11.4IntegrationofForms 196
11.5FormandSpace 196
11.6HorizontalPlanes 197
11.7VerticalPlanes 197
11.8ArchitecturalSpace,EnclosuresandVistas 200
11.9SpatialQualitiesandLayout 201
11.10Light,SoundandAtmosphericQualitiesinBuiltForm 202
Exhibit11.1PrinciplesofArticulationandConjugation 204 FurtherReading 205
12GeometricalLayoutandOrganisation–Axes,Shapesand RepeatingPatterns 207
12.1DatumandAxes 207
12.2OrderingPrinciples 207
12.3HierarchyandScale 208
12.4RhythmandRepetition 208
12.5Symmetry 208
12.6Transformations 209
12.7GenerativeDesignProcesses 211
12.8Fractals 212
12.9OtherFormsofGeometry–Non-Euclidean 212
12.10PatternsofRepeatingElementsforDecoration 213
Exhibit12.1PrinciplesintheDesignofDecorative,GeometricandMotifPatterns 214 FurtherReading 216
13Proportion,SymmetryandHarmony 217
13.1Proportion–History 217
13.2ProportionandPhysicalRelationships 220
13.3Symmetry 220
13.4HumanProportions 222
13.5RoomProportions 222
13.6RegulatingLines 224
13.7LatentGeometricRelationships 226
13.8GoodProportioning 226
13.9AnthropometricsandHumanFactors 227
13.10Scale 227
13.11Harmony 228
13.12ExpressionsofForm 229
Exhibit13.1PrinciplesofProportionandSymmetry 230
Exhibit13.2TypesofSeries,Proportion,SymmetryandNaturalGrowth 233
Exhibit13.3PrinciplesofRhythmandHarmony 249
Exhibit13.4EssayonHarmonyasItRelatestoBuilding–RobertMorris 251
Exhibit13.5MusicalHarmony 252
Exhibit13.6RhythmandSyncopationinBuiltFormbyEra 257 FurtherReading 258 Photos 259
14OrganisationalFormsandLayout 261
14.1LinearOrganisation 261
14.2CentralisedOrganisation 261
14.3RadialOrganisation 261
14.4Grid 262
14.5ClusteredOrganisation 263
14.6InteriorEnclosedSpace 264
Exhibit14.1PrinciplesofOrganisationandArrangement 265
Exhibit14.2TheModulor 267
Exhibit14.3JapaneseDesignArrangementsforDwelling 271 FurtherReading 272
15FunctionalPurposeandUseofSpace 275
15.1Function 275
15.2Utility,SignificanceandPurposefulness 275
15.3Use,ActivitiesandSpatialRequirements 275
15.4StructuralSystemandComponents 276
15.5Materials 277
15.6PersonalSpace 278
15.7Territoriality 279
15.8DefensibleSpace 280
Exhibit15.1PrinciplesofFunctionandPurpose 283
Exhibit15.2Purposiveness 285
Exhibit15.3PrinciplesofUniversalDesign 286 FurtherReading 286
16Circulation,PlanandElevation 287
16.1Approach 287
16.2Entrance 287
16.3DynamicSpatialExperience 288
16.4ConfigurationforCommunication 289
16.5AccessPaths 289
16.6InternalCirculation 289
16.7StairsandStaircases 290
16.8BuiltSection 290
Exhibit16.1PrinciplesofCommunicationandCirculation 292 FurtherReading 293
17ColourandContrast 295
17.1LightandSpectrum 295
17.2ColourPigments 295
17.3PigmentsforPrinting 297
17.4ComplementaryColours 299
17.5FeaturesofColour 300
17.6ColourCircle,SphereandStar 303
17.7PerceptualBasisofColour 304
17.8ColourInteraction 307
17.9ColourSerialisation 308
Exhibit17.1PrinciplesofColourandContrast 309
Exhibit17.2ColourParametersandPrinciples 311
Exhibit17.3ContrastinColour 317 FurtherReading 319
PartVIIBuildingStructureandTypes 321
18Structure 323
18.1Beginnings 323
18.2LawsofNature 323
18.3LateralStability 324
18.4Materials 324
18.5DesignMethods 325
18.6ConnectionsandJointing 325
18.7StructuralTypes 326
18.8MaintainabilityandSustainability 328
18.9GenerativeParametrics 328
18.10Resiliency 328
Exhibit18.1PrinciplesofStructure 329
FurtherReading 331
Photos 331
PartVIII‘Good’Practice–BuiltForm 337
19BuildingsandDwellings 339
19.1SpaceandHumanInteraction 339
19.2Creationof‘Place’ 340
19.3‘Good’Building 341
19.4BuiltFormDeterminants 342
19.5Re-Use 345
19.6UseTypesofBuildings 346
19.7Goalsof‘Good’BuiltForm 347
Exhibit19.1PrinciplesofAssembly–BuiltForm 349
Exhibit19.2SelectiveModern‘Good’BuildingPracticebyUseType 352
Exhibit19.3ExamplesofBuiltTypeForms 354
Exhibit19.4ModernMovementsandPractitioners 358
Exhibit19.5IconicModernBuildings 360
Exhibit19.6ModernIconicUSBuildings 365
FurtherReading 368
Photos 368
PartIX‘Good’Practice–UrbanForm 375
20UrbanForm 377
20.1FormDeterminantsinUrbanSettlements–NaturalandMan-Made Features 377
20.2HistoricalDevelopments 379
20.3DifferentRegionalandCulturalTypologies 381
20.4Multi-NucleusandMixedDevelopment 383
20.5ModernDevelopments 385
20.6ElementsofUrbanForm 386
20.7Legibility 388
20.8Organisation 389
20.9LifeSpaceandTopology 391
20.10UrbanFormandLife 391
20.11LayoutofUrbanNeighbourhoods 393
20.12Development 395
20.13‘Good’CityForm 396
20.14Urban‘Open’Forms 398
20.15Goalsof‘Good’UrbanForm 398
Exhibit20.1PrinciplesofEmplacement–UrbanForm 400
Exhibit20.2UrbanSpaceRequirements 403
Exhibit20.3SelectiveModern‘Good’UrbanisticPractice 406
Exhibit20.4UrbanTypeFormsbyUsePurpose 410
FurtherReading 411
Photos 412
Summary 419
Bibliography 423
Appendices–PartI 433
AppendixI.3.1AncientSettings–Europe,NearEast,AsiaandAmericas 435
I.3.1.1NeolithicAge10000–3000BC–MidEastandEurope 435
I.3.1.2BronzeAge3000–1000BC–EuropeandMidEast 436
I.3.1.3AncientIronAge1000BCto0AD–MidEast 437
I.3.1.4EarlyAge0–1000AD–EuropeandMidEast 439
I.3.1.5Mesoamericato1500AD 440
I.3.1.6NorthAmericato1500AD 440
I.3.1.7AsiaandtheOrientto1500AD 441
I.3.1.8Africato1500AD 443
I.3.1.9Europe–MediaevalCitiesAfter1000AD 443 FurtherReading 444
Photos 444
AppendixI.3.2AncientCityPlaces 449
FurtherReading 451
Appendices–PartII 453
AppendixII.6.1FeelingsofSpaceandFormintheEnvironment 455
II.6.1.1NaturalLight 455
II.6.1.2Movement 455
II.6.1.3ComplementarityofForm 456
II.6.1.4Balance 457
II.6.1.5Individuality 457
II.6.1.6OpaqueGeometryandOcclusion 457
II.6.1.7SenseofSpatialPerception 458
II.6.1.8FormSensing 459 FurtherReading 459
AppendixII.6.2ArtificialPerception 461 FurtherReading 462
Appendices–PartIV 463
AppendixIV.8.1‘TheClassicalOrders’ 465
IV.8.1.1TheOrders 465
IV.8.1.2Tuscan 467
IV.8.1.3Doric 467
IV.8.1.4Ionic 467
IV.8.1.5Corinthian 467
IV.8.1.6Composite 468
IV.8.1.7Entasis 469
IV.8.1.8Composition 469
IV.8.1.9Language–ElementsofArchitecture 470 FurtherReading 471 Photos 471
AppendixIV.8.2AestheticJudgementandBeauty 473
IV.8.2.1UtilityandDelight 473
IV.8.2.2Qualities 473
IV.8.2.3Beauty 474
IV.8.2.4AssessmentofBeauty 475
IV.8.2.5InterestandStateof‘Disinterestedness’ 476
IV.8.2.6FormandElegance 476
IV.8.2.7AestheticTheoriesandSelf-ConsciousDesign 478
IV.8.2.8SenseofBeautyasDescribedinDifferentEras 478 FurtherReading 481
Appendices–PartV 483
AppendixV.9.1DesignMethods–ComparativeHistoricalDesignApproaches andPedagogy 485
V.9.1.1ClassicalDesign 486
V.9.1.2RenaissanceDesign 486
V.9.1.3EuropeanDesignMethods 487
V.9.1.4ModernInternationalDesignMethods 491
V.9.1.5PuristDesign 493
V.9.1.6RationalGeometricDesign 496
V.9.1.7OrganicistDesign 497
V.9.1.8ModernDesignMethodsandSystemsApproach 500
V.9.1.9GenerativeComputerisedDesign 502 FurtherReading 504
AppendixV.10.1PatternLanguage–DesignandHumanNeeds(Illustration) 505 FurtherReading 508
Appendices–PartVI 509
AppendixVI.13.1Decoration–Patterns,Features,MotifsandGeometricsof RepeatingElements 511
VI.13.1.1Decoration–Materials,MethodsandTechniques 511
VI.13.1.2Features 512
VI.13.1.3PatternGroups–Floral,Figurative,GeometricandRepresentational 512
VI.13.1.4PatternArrangements–Lattices,Powdering,BordersandFeatures 514
VI.13.1.5EmergentForms 517
VI.13.1.6SpecialMotifsandSymbols 521 FurtherReading 524
AppendixVI.13.2OrnamentinEarlierTimesandHistoricEra 525
VI.13.2.1Antiquity 525
VI.13.2.2Mediaeval 526
VI.13.2.3TheRenaissance 527
VI.13.2.4Recent 527
VI.13.2.5‘Generalprinciplesinthearrangementofformandcolourinarchitecture andthedecorativearts’,–TheGrammarofOrnament–OwenJones 529
VI.13.2.6MoresquePrinciplesofOrnament–OwenJones 531 FurtherReading 534
Appendices–PartVIII 535
AppendixVIII.19.1BuildingMaterialsandHouseTypesinVernacularBritain 537
VIII.19.1.1Walling 537
VIII.19.1.2Roofing 540
VIII.19.1.3Types–PlanandSection 542 FurtherReading 546 Photos 547
AppendixVIII.19.2BuildingElementsandFeatures 553
VIII.19.2.1Floors,WallsandCeilings 553
VIII.19.2.2WindowsandDoors 554
VIII.19.2.3Mouldings 554
VIII.19.2.4Assembly 555 FurtherReading 555 Photos 556
AppendixVIII.19.3ArchitecturalStyles,PeriodsandPractitioners 565
VIII.19.3.1WesternArchitecture 565
VIII.19.3.2ReligiousPeriods 566
VIII.19.3.3CompositionMethods–TheoristsandKeyPractitionersbyEra 567
AppendixVIII.19.4HistoricEcclesiasticandCivicBuildings;GeometricModernand IconicModernUSBuildings 569
VIII.19.4.1HistoricEcclesiasticalBuildings 569
VIII.19.4.2HistoricCivicBuildings 571 Photos 574
VIII.19.4.3ModernGeometricBuildings 581
VIII.19.4.4ModernIconicTowerBuildings 588
Appendices–PartIX 593
AppendixIX.20.1UrbanPlaces 595
IX.20.1.1UrbanCityForm–HistoricPlaces 595
IX.20.1.2Modern20thCenturyPlaces 598
AppendixIX.20.2SustainingPrinciples 601
IX.20.2.1‘TenThesesonArchitecture’–RobKrier 601
IX.20.2.2‘TenPrinciplesonWhichWeCanBuild’–HRHThePrinceofWales 602
IX.20.2.3‘TheHannoverPrinciples’–Expo2000WorldFair,William McDonough 603
IX.20.2.4‘OnePlanet–LivingCommunitiesProgramme’ 604
IX.20.2.5BiophilicDesignPrinciples 605 FurtherReading 610
AppendixIX.20.3UrbanSettlementModelsandPatterns 611
IX.20.3.1UrbanFormandUseTypes 611
IX.20.3.2UrbanLayoutPrinciples 613
IX.20.3.3OrganisingFeatures 614
IX.20.3.4BuildingFormTypes 616
Index 617
Outline
Context–ManandtheEnvironment
Throughevolution,humanshavebecomebi-peds.Theirbrainshavebeenenlarged,and theyhaveacquiredextensivepracticalandcommunicationskills.Man,asasocialanimal, alsolikestoliveinlocalcommunities.Onthissmallplanet,muchofthehabitablelandhas beensettled,andpopulationhasexpandedenormouslyoneverycontinent.Somuchsothat nowoverhalfoftheworld’spopulationlivesinurbanisedareas,whichhavebeencreated, developedandbuiltbyman.Thishasbeendrivenbybasichumanneeds–developingfrom thefundamentalneedsofshelter,sustenanceanddwelling,tomorepersonalrequirements andhigherneedsofself-actualisation,self-esteemandfulfilment.
Humansettlementshavedevelopedfromtheearliestencampmentstomorepermanent communalsites,havinginitialprotectionfromtheweatherusingavailablematerials,to quitestylisedbuildingsanddwellings.Foreachofthese,man-madebuiltformhasbeen responsivetoparticularneeds.Overtime,thesehavedevelopedmoreself-consciously,and moresophisticatedbuildingtechniqueshavebeenusedinordertorespondtomorerecent challengingandcomplexrequirements.
Hence,wearewherewearetoday–weexistinanincreasinglyover-populatedand urbanisedworld,withhighlyintegratedmoderncommunicationandtransportation systems,networkedgloballyaroundtheworld.Andyet,withindustrialisationandmodernisation,ourcommunitiesarestillsubjecttonaturalevents,resourcesarenotwholly sustainable,andtheenvironmentisbecomingincreasinglyfragile.Theenvironment, humanbehaviourandbuiltforminterfaceremainscritical.
FormandFit
Giventhesechallenges,thegoalistofindthebestwaytoaccommodatetheseincreasingly demandingrequirementsforhabitat,butatahumanscaleandatalocallevel.Urbanised areasareanaggregationofindividualbuiltunits,assembledandorientatedaroundlocal communities,havingparticularfacilitiesandnetworks.Thetargetistoproducehouses anddwellingsnotonlyeconomically,witharealsenseof‘place’,satisfyingtheirfunctional requirements,butwhichcanalsoprovideoccupiersanduserstheopportunitytofulfilboth themselvesandtheirfamiliessocially,physicallyandpsychologically.
Thisisthepaththatweareseeking,giventhenaturalcontextandsurroundings,through informedhumanunderstandingtodeterminebetterwaysinwhichbuiltformmaybecreated,inordertorespondtotheactualhumanandbehaviouralrequirementsasdemanded intheirparticularenvironmentandnaturalsetting(s).
Inonesimpleword,itisthisgood‘fit’andfittingnessthatdesignersshouldaspireto,in ordertoachieveattainmentofdefinedgoalsandobjectivesofusersofthebuiltformina particularsettingthatalsohasa‘spiritofplace’.
PerceptionandMulti-sensoryProcesses
Hence,thechallengesoftheprocessarehowtorecogniseessentialhumanneeds,toachieve givenspatialrequirements,tosatisfythedefined‘programme’andtofulfilalloftheseusers’ needs.
Inordertodothis,weneedabetterbehaviouralunderstanding,whichshouldbedeveloped atahumanlevel–wearecentredinthisworldandweperceiveeverythingfromourown individualperspective.
Thence,theinitialtaskistobetterexploreourownunderstandingoftheworld–throughall ofour‘senses’,withperceptionoftheimmediateenvironmentthroughourbrainandeyes, andviaourvisual,tactileandaudiblesensations.Thus,throughourindividualsensingof theworldandpersonalfeelings,andthroughdeeperunderstandinganduseofmemory,we canassembleclearerpicturesandmeaningsofourindividualspace.
Forthis,itisimportanttoextendourunderstandingoftheperceptualexperienceofbuilt formbyexploringdifferenttheoriesofperceptionofspaceandtime.Themindisacomplex organismandispivotalwithalloursensesintheunderstandingandaestheticappreciation andinterpretationofformandplace.
LanguageofForm,DesignApproaches,SetofRules andOrderingPrinciples
Inordertodothis,weneedtoexplorethe‘languageofform’andtofindthebestwaysnot onlytoassessbutalsotoexpressourfeelingsintheappreciationof‘good’form.Theworld constitutesboundlessthree-dimensionalnaturalspace,yetthecreationof‘place’through thecarefuldesign,shapingandplacingofman-madeobjectsandformsisoneofthekey challengesinthepresentworld.
Notjustthecreationofanyplace,butratherthecreationofplacesandcentresthathave life,delightandsenseoforder,andwhichareupliftingtothehumanspirit.Herewehaveto delvedeeper,forexample,intoGestaltpsychologytoassesslines,shapes,colours,patterns andforms,which,whendevelopedsystematicallyandcreatedtectonically,canleadtoreal ‘geniusloci’.
Onthisbasis,theprocessofdesignandcompositionisexploredfurther,whereby,through appropriatelanguageandtheapplicationofagrammarofdesignandfittingsyntax,the physicalsizeandshapesofbuiltformcanbebettercreated,appreciatedandexperienced.
Herediscussionoforder,proportion,symmetry,rhythm,harmonyand‘wholes’isimportant,whichcanbeappliedinarigorousdesignprocessfromahumanperspective. Designstrategies,approachesandmethodologiesareexplored,andahierarchicalsetof rules,canonsororderingprincipleshavebeendeveloped,whichaddresscompositionand configuration,massingandvolumes,organisationandgeometry,functionandcirculation, allofwhichareinstrumentalinthecreationofattractiveformwithharmonyandbalance andhaving‘goodfit’and‘humanspirit’.
BuiltandUrbanForm
Throughsuchholisticandmulti-sensoryapproach,fromahumanperspective,itis suggestedthatthiscanbeinterpretedthroughsystematicappraisalofrequirementsand throughtheapplicationofappropriaterulesandprinciplesthatleadtothegeneration ofbuiltformthatprovidesrealopportunitiesandpleasurableexperiencetoownersand users.
Examplesofsuch‘good’builtformandurbanformareanalysedandillustratedextensively. Bothpastandpresent,thisincludeselementsofurbanformandtheiraggregationandcombination,frompublictoprivatespaces.Thisincludesvernacularbuildingsanddifferent buildingtypesandtypologies,individualdwellingsandtheiradjacentspacesandassessmentof‘places’ofhumaninteraction.
Whilstnotintendedasaformaldesignmanual,itdoesseektobringtogetherasetofcanons ororderingprinciplesfromahumanandmulti-sensoryperspective,ofthenecessaryconstituentfactorsinacoherentmannerthatprovideguidanceinaddressinganapproachto thepurposefulcreationofbuiltform,soastosecureattractiveandliveableplaces.Inparticular,itaimstohighlightcertaintargeteddesignprinciplesthatneedtobeaddressedso astocreatepositiveexperiencesofresultantbuiltformhavingarealsenseof‘place’. Ihavebeenguidedbymanydifferentgroupsofauthors,butprincipallyinthefollowing areasby:
● Historical:Mumford,Pevsner,ScullyandMallgrave.
● Aestheticandpsychological:Arnheim,Gibson,Lewin,KoehlerandKoffka.
● Spatial:Alexander,Appleyard,LynchandMoore.
● Social:Jacobs,RapoportandWhyte.
● Contextual:Norberg-Schulz,RasmussenandPallasmaa.
IwasinspiredandmentoredbymyformertutorProf.JonLang.
Accordingly,thetextisdividedintofour(4)sectionswithnine(9)mainpartsandtwenty (20)chaptersalongwithaccompanyingexhibitsthatoutlinedifferentcanonsorordering principlesfordesignandcompositionof‘good’builtform:
SectionI–TheEnvironment
● PartIaddressesthenaturalenvironment,itstopographicalsettingsandplaces.Itcites theimportanceofthehistoricalcontext,regionalcontext,ecologicalandclimaticenvironmentandtheinterfacewithman’sbehaviourandbasichumanneeds(Human Needs).
SectionII–HumanBehaviourandDesign
● PartIIaddressesthehumanbody,thebrainandeyes,themindandthesenses.It assessesalloftheperceptualsensesandfeelingsin‘being’oftheworld.Itaddresses humanbehaviourandoutlinesthemechanicsofvisionandtheimportanceofother sensesandfeelings(NeurologicalSenses).
● PartIIIaddressestheperceptualexperienceofman-madeformanddifferenttheories ofperceptionofformandaesthetics.Itaddressesconfigurationandtheneedfororder andbalance,andGestaltprinciples(PrinciplesofConfiguration).
● PartIVprovidesanoverviewofdesignlanguageandgrammar,inaddressingdesign andorderanddifferentelementsinthecreationofform.Thisincludesthegrammar ofdesignandsyntax,compositionofform,aestheticjudgementandbeauty(Principles ofComposition).
● PartVaddressesdesignprocesses,strategyandmethodologicalapproachestodesign. Itaddressesthe‘programme’anduserneedsandspatialrequirements.Itaddresses differentdesignapproachesanddesignrequirementsandtheimportanceoforderand self-consciousdesign,‘wholes’andcentreshavinglifeandspirit(PatternLanguage).
SectionIII–Form,FunctionandFit
● PartVIaddressesasetofdesignrulesforformthatrelatestouse,functionandfit, organisation,patterns,decoration,symbolsandcolourinthedevelopmentofbuilt form(Principlesof:Articulation&Conjugation,Rhythm&Harmony,Proportion&Symmetry,Organisation&Arrangement,Function&Purpose,Communication&Circulation,Colour&Contrast).
● PartVIIaddressesdifferentbuildingtypesandstructures,theirform,materialsand texture,structure,skinandlayout,sustainability,etc.(PrinciplesofStructure).
SectionIV–GoodPractice–BuiltandUrbanForm
● PartVIIIsummarisesandillustratesexamplesof‘good’builtformandtheirrealisation bothindividuallyandgrouped.Fromawideculturalperspective,thisincludesbuildingsofdifferentuseandformtypesandinparticulardwellings,whichconstitutethe vitalessenceofhomelifeandcommunity(PrinciplesofAssembly).
● PartIXsummarisesandextensivelyillustratesexamplesof‘good’urbanform.This addresses,fromaninternationalperspective,thepracticeofbuildingandcreationof bothtownsandplaceshaving‘geniusloci’indifferentenvironmentsandlocationsin urbanandman-madebuilt-upareas(PrinciplesofEmplacement).
Preface
NaturalEnvironment
Inanincreasinglyoverpopulatedandcongestedglobe,withinaplanethavingfinitesources, humankindiscentredinthisworld.Whilstadaptingtothenaturalhabitatandusingfound materials,inorganisinganddevelopingtheirowntechniques,humanshavecreatedtheir ownshelterandformsofdwellingindifferentregionsandhavebeenabletoadvancetothe levelofcivilisationthatwefindourselvesintoday.
HumanSenses
Thishasbeenpossiblethroughtheuseofourbrainandmindtolearnandunderstandand toorganiseourselves,usingourindividualsensestocreateaman-madehabitatthatfits withinthenaturalenvironment,andaffordsusthenumerousactivitiesthatwearenow ableandwishtopursue.
Fromtheearliestsurvivalneedstophysiologicalandsecurityneeds,withsophistication wenowaremorefocusedonwell-being,belongingness,esteemandself-actualisationmotivations.Inthisway,wehavedevelopedourowncognitiveabilitiesandarestartingtobetter understandourneuro-biologicalsystemandindividualsenses.
Whilstmostemphasishasbeenonvisionandthevisualsystem,wecontinuetoseekto betterunderstandourperceptualexperiencesincorporatingallofourotheraural,tactile andolfactorysensinginthemodernworld.
Man-MadeSettings
Intermsofbuildingsaroundus,wereactandadaptdifferentlyundervaryingspatialand temporalconditions,asourmoodandfeelingsareinvariablyshapedbyoursurroundings. Whilstbeingdependentonclimateinourregionalcontext,weareabletoadaptoursettingstobestsuitourintendedactivitiesandpurposes.However,inordertoexertcontrol overdullormonotonousdevelopment,werequirenotonlyconsensusastogeneralusesbut alsoaffirmationastothesize,shape,orderandbalanceofbuiltform,andalsoitsstructure, materialsandsustainability.
DesignProcessandLanguage
Thisleadsustothesearchforbetterdesign,organisation,andimplementationofbuiltfacilitiesthatnotonlyenhanceourlifeexperiencesbutalsoarethemselvesfitforpurpose.Such self-consciousdesignneedstobeabletocreateupliftingspacesas‘wholes’,havingasense ofplace,whichallusersandobservers,notjustaparticularsub-group,canrecogniseand enjoywithdelight.
Tothisend,thegoalis,throughbetterunderstandingofthehumanbody,thebrainand eyesandvisualandrelatedsenses,todevelopadesignlanguage,withassociatedgrammar andsyntax,whichcanbeusedsuchastoenableanenhanceddesignprocesstobepursued.
DesignApproach
Buildinguponearlierknowledgeanddetailedhistoricalexperience,asetoforderingprinciplesrelatingtodesignhavebeenderived,whichmaybeconsideredasusefulpillarsupon whichanintegratedandmoreobjectiveprocessofdesignandordermaybedeveloped.
Whilstnotfullycomprehensive,theyareconsideredasfundamentalbuildingblocksfor anintegratedprocessofdesign,whichoftenappearstohavebeenneglected.Designisa mysterious,multi-facetedandrecursiveprocessthatrequiresdetailedembeddedknowledgeandresearch.However,builtandurbanformshavedifferentrolesandpurposes,and differingrequirementsforgroupsofusers,inordertoafforddesiredfeaturesinvariedsettings.
Such‘affordances’notonlyneedtoservetheirpurposesanduserswellbutalsoneedto beabletocreateharmoniousandcerebralpersonalexperiencesthatresultinthecreation ofrecognisedplaceshaving‘geniusloci’.
Principles
Itistobehopedthereforethatbyfocusingattentiononsuchdetailsandordering,theconcerningtwelve(12)principlesorcanonsare:
● Configuration
● Composition
● Articulationandconjugation
● Proportionandsymmetry
● Rhythmandharmony
● Organisationandarrangement
● Functionandpurpose
● Communicationandcirculation
● Colourandcontrast
● Structure
● Assembly
● Emplacement
Rhythm
