Daniela brose 1750 assignsubmission file final project p32002

St Clement’s Car Park Development

DESIGN CODE Designing the City [P32002]

for the attention of

Laura Azevedo Jon Cooper

Daniela Brose [12055932] 02.05.2013

Department of Planning Oxford Brookes University

INTRODUCTION

1 INTRODUCTION TO THE WORKBOOK

.table of contents

This document is a complete design code document for the regeneration of the St. Clement’s car

PART I workbook document

park site.

It is divided into two parts.

site analysis

1

The first part is the workbook,

3

SWOT

which comprises the site appraisal design vision

4

The second part is the actual de-

design motif

6

sign code document with the de-

7

and the development of a new design.

concept matrix

tailed design, the regulating plan, more detailed plans such as street

design actions

8

sections and other illustrated regulations.

resume

12

St. Clement’s car park is a small site in Oxford, close to the centre

PART II design code document

and very well connected.

Several planning applications have

detailed design [1:500]

15

regulationg plan [1:500]

16

design code

17

been rejected. However the city council is still keen on regenerating the site due to its high value.

B

R

I

E

F

The city council expects the very

cross-sections

highest standards of design and

building types

development to be achieved, and

public realm

the codes will be the key to achievfeasibility study

24

uses that you consider suitable af-

conclusion

25

ter the site analysis to characterise

ing these. The development will be mostly residential with a few other

a mixed- use development.

reflective statement

DESIGN VISON

2.1 INTRODUCTION TO THE DESIGN VISION 2.1.1 .conclusion of site analysis The site analysis proofed the site to be very valuable with many strengths. However it will be tough to handle the inactive edges and make this site a rich and diverse place.

The shape of the site is relatively irregular but so are the morphology (differing building heights and plot sizes), the materials (brick, wood, glass, steel, different colour) and the uses (residential, student accommodation,

shops,

nursery

homes) of the surrounding area that offers much diversity.

Also even though the site is rather small it has several access points which will help to make the site permeable and legible.

On St Clement’s St. there is plenty mixed use and quite a lot traffic of pedestrians. So little commercial use in the new design is possible but then again the site is fairly hidden. That means the new design should include an attracting effect.

Taking everything from the site analysis into account the new design has to pick up the context of the site within its area and also the new design should be inviting and inclusive with a distinctive but original character.

DESIGN VISION 2.2

THE VISION

The vision for the regeneration of

VISION I: KEY

the site (fig. 5.1) is to develop a

movement lines

new buildings

place that will serve various needs:

active edges

asset

inactive edges

square

accommodation, offices, shops, cafés, culture, public space and so

edges/landmarks

forth.

One of the key aspects of the vision is the priority for pedestrians and cyclist. Cars cannot access

The illustrations of the vision (fig.

the site, unless the deliver to the

5.1 and 5.2) show the rough stra-

shops. There will be parking space

tegy for the new design. Almost

on the western side of this site.

all of the inactive edges have been

Figure 5.3, sketch: closed vista from St Clement’s

covered and connections have 2.2.1 .the design objectives

been made to increase the per-

1 RICHNESS - maintaining the rich-

heart of the new design and has

meability. The square will be the the potential to become a very

ness of the area and even increa-

important part of the whole area.

Figure 5.1, illustration: vision for St Clement’s Car Park I

But since the site is hidden be-

tures such as projection and reces-

hind the shops at St Clement’s St.

sion, different heights; also through

people need to either know of the

a variety of colours and materials

place or need to be attracted when

and the experience of the public

passing by. Figure 5.2. concen-

space

trates on the two viewpoints from St. Clement’s St. One leads to the

2 VIABILITY - mixed uses around

Angel and Greyhound Meadow,

a small square in the middle that is visible from the main road and attracts people to engage with the

so to the nature. A path will be maintained so they could get there

SQUARE

quickly while passing the square.

place; the square could be also

The other viewpoint is through

used for a market or open air cin-

Pensons Gardnes and will point

ema and other cultural things

at a interesting wall and the opening of towards the square (fig 5.3).

3 PERMEABILITY - opening access points (Caroline St) and con-

Behind the vision stands an idea of variety through projections and reces-

VISION II: KEY

necting path along River Cherwell.

Also parking sport and access to the back of the shops on St Clement’s St. will be maintained.

Figure 5.4, image: variety through projection and recession [HIC*: Amann-Cánovas-Maruri Arquitectos | Hospedería en Extremadura]

Figure 5.2, illustration: vision for St Clement’s Car Park II

sion to make the small square more attractive. This idea does not become

permeability

new buildings

visible in the figures 5.1 and 5.2 so the picture above is there to give an idea

views

commercial use possible

the idea of procession and recession, not material colours and height.

of what the place could look like. However figure 5.4. is only to illustrate

S T CL E ME N T’ S NIC HE DE S IG N V ISI ON

sing it through morphological fea-

5

3.1 DESIGN MOTIF MIND MAP The design motif is a wordplay of two words: melt pot and pot-pourri. These words cam to my mind when I

DESIGN MOTIF

thought of how to explain my vision best. The words are rather abstract and arty but they leave room for ideas.

3.1

.the mind map

melt pot-pourri.

Both expressions stand symbolic for diverse, mixed, energetic, dynamic, viable, vital, mystic and colourful places that have been adapted by their residents over generations.

Good examples for melt pots are Los Angeles and New York City in the USA and London and Berlin in

Figure 3.1.1, image: “The City” (1917, Georg Grosz)

Europe. Melt pot and pot-pourri are symbolic in this sense so they are intangible. However everyone has a picture in mind which is more an idea and a feeling than an actual clear picture. This picture came to my mind when thinking of a vision for the St Clement’s Car Park.

Obviously we are not in any of the named cities, but Oxford is international, young and creative. The site is close to the city centre which is

Figure 3.1.1, model: shapes, heights, enclosure and exposure [source: unknown]

historical and tradiotional but even

Figure 3.1, map: location of the site and proximity to the city centre [Google]

more close to Cowley Road which is full of life. There are living from all around the world and it is a place for sometimes more unconventional individuals with a uniquely tolerant neighbourhood. The figures 3.1 to 3.5 give a rough impression of the atmosphere that could only happen in a place that is tiny and dense but

Figure 3.1.3, image: colours, modern materials, atmosphere [source: ReUse @ NDSM, Amsterdam]

Figure 3.1.4, image: a courtyard in Berlin, public space and socialising [source: Georg Knoll]

also leaves room for individual and

Figure 3.1.5, image: green facades [source: edouardfrancois.com]

alternative living. Here everyone and everything can come together and feel to be part of the whole. So Figure 3.1.6, image: urban living ; The Lily Vanilli Bakery in London [source: communiquemag]

St Clement’s Car Park becomes > St Clement’s Niche. <

DESIGN ACTIONS

4.1 INTRODUCTION TO THE DESIGN ACTIONS 4.1.1 .from the vision to the design A vision is something embryonic and the design motif is something very abstract. The concept matrix helps to organize the ideas of the vision and to visualise them.

Now the design actions are following. They help to summarize the thoughts and findings and put them into something more concrete, more tangible; something that helps to put the rough vision and the intangible design motif into something more concrete, something from which a design code can evolve.

The design code is the logical re-

The brief from the city council con-

sult of the design actions which

tains the need for a flagship design

are the logical result of the brief,

for this innter-city part of Oxford.

the appraisal including the SWOT

The city council also demands for

analysis, the vision including the

the very highest standards of de-

design objectives and last but not

sign and development.

least from experience and general

However the vision for the new

urban design criteria.

design, the vision of St Clementâ&#x20AC;&#x2122;s Niche is more than that. It gives Oxford a new touch of vibrance and of modernity and still all design actions on the following page derive from the rules of responsive environment, from the design objectives and obviously from the basic site analysis.

DESIGN ACTIONS variety & richness

4.2 THE DESIGN ACTIONS

.design action 1 (DA1) Implement

new

buildings

with

active fronts to the public and

DA1, DA4, DA6, DA7

.interim design

.DA1 creating active edges

.DA2

.DA3

increase permeabilty

maintain view on

site or existing built environment

safety

does not allow new building to > (DA1) <

inactive

DA1, DA2, DA5, DA6

edges

because create ac-

tive fronts that make the place

permeability & legibility

safer, richer and more pleasant

C

D

.design action 2 (DA2) Open and connect access points

DA2, DA5, DA7, DA10

B

(open Caroline Street and con-

townscape & imageability

nect footpath along the river, connect to York Place), create clear

DA7, DA8, DA10

A

structures with building lines, subtle surfacing and street vegetation

uniformity & continuity

/ street furniture to > increase permeability

and

DA4, DA6

Florey Buildung

work with art where shape of

eliminate

feasibility

legibil-

DA7, DA8

ity (DA2) < to make the site more accessible, to remove barriers and create a movement ‘flow’

robustness DA2, DA4, DA6, DA7

.design action 3 (DA3) No buildings or treets should stand in front of the Florey building to > maintain view onto

active edge

Florey Building (DA4) < to do

routes to and within the site

justice to the fact that the building is listed and also this was a reason why the last planning

Figure 9.1, illustration: interim design where design actions are being applied not to scale

KEY

A

ecology DA6, DA9

appropriateness

block

application has been put down

Figure 9.2, matrix: key aspects of a good design and relating design actions Daniela Brose [12055932]

DA2, DA3, DA7, DA8

ST C L E ME N T’S N IC HE DE S IG N A CTI ON S

HOW > WHAT < WHY

9

DESIGN ACTIONS .design action 6 (DA6) .DA4

.DA5

.DA6

extend footpath who will mixed use

protect site from being

(but mainly residential)

pedestrian and bicycle

flooded

orientated environment

make the site unaccessible for cars (delivery etc. excluded), create car parking in the eastern corner, provide many bike racks and inviting street furniture > pedestrian and bicycle orientated

environment

(DA7)

< to support the vision of a lively, modern site where life can hap-

P

pen on the street, also supports walkability and therefore safety

P .design action 4 (DA4) commercial

and plot sizes (small to medium)

use

to > make sure the new

(shops, offices, café, etc.) in build-

design of the site is ap-

ST C LE M E NT’ S N IC H E DE S IG N A CIO N S

ings with residential use in the

10

propriate (DA6) < to create

above storeys > mainly resi-

a design that is sympathetic to

dential use with ‘suitable’

its surroundings, to provide rich-

other uses (DA3) < to create a mixed environment that makes the place more viable and lively

ness and leave space for variation

KEY

Figure 10.1, illustration: applied design actions not to scale

throughout the day and eventu-

foot path

ally create the desired atmosphere

shop fronts of mixed use

that connects to the surroundings.

.design action 5 (DA5)

pedestrians and bicycles only parking spots, restricted access with car

rey Building along River Cherwell to to other site (from west to east) > reduce the risk that the site could be flooded (DA5) < to lower the risk but also to crethe site again more permeable

.DA7 appropriate design

extend the footpath north of the Flo-

ate a new connection that makes

provide restrictions of builiding heights (max. 4 storeys or 12 m)

Design a ground floor that can accommodate

.design action 7 (DA7)

Figure 10.2, model: 3D model of interim design to visualize ideas of building heights

Daniela Brose [12055932]

DESIGN ACTIONS .design action 8 (DA8)

.design action 9 (DA9)

use colours and matrials that are part of the existing built environment and also adopt morphological shapes (such as rectengular

.DA9

maintain as much vegetation as

green network

in the new design to > supprt

possible and work with vegetation the blue and green network

windows, clear lines etc.) to >

(DA9) < because green is a domi-

create uniformity and conti-

nant colour and because the site is

nuity (DA8) < because this will

adjacent to a meadow

make the site more homogeneous within the whole area

.design action 10 (DA10) work with building lines, facades

Figure 11.2, matrix: creating variation while maintaining continuity through shape

and ao create deflection or lines that close your view or leas you view > close view through Pensons Gardens (DA10a)

.DA10

and maintain view onto the meadow through car access

continuity and uniformity

point

(DA10b) < because the

closed view should include a deflections that encourages people to ente the site and also the closed view creates a feeling of enclosure

.DA10

which is essential to create the atmosphere that the vision aims

views into the site

for (DA10a). Nevertheless people should still be able that the meadFigure 11.4, illustration: maintained and closed views not to scale

Figure 11.1, matrix: colour palette for the new design

Daniela Brose [12055932]

ow is only a stone throw away and accessible (DA10b)

ST C L E ME N Tâ&#x20AC;&#x2122;S NIC HE DE S IG N A CTI ON S

Figure 11.3, illustration: vegetation that could be saved not to scale

11

RESUME ANALYSIS

5. RESUME OF FIRST PART The first part of the document illustrates the creation of a new design beginning with the site visit and the site analysis.

The site analysis is the crucial first step for a new design. It is necessary to become familiar with the site and the surrounding area. This comprises bringing together as many information as possible. Essential information are the location, the morphological layers and the use of the buildings in the area.

These information together with the brief and the interest of other stakeholders build the basis and starting point for a new design.

With these information as framework the creative part, the actual design, can begin. A good design meets the stakeholderâ&#x20AC;&#x2122;s interests but also comprises the approaches of contemporary understanding of a good urban design and thus creating a sense of place. The design action and concept matrix are the results of trying to find the best solution and work and transition between the factual fundament and the design.

The design is the eventual outcome of all these processes and the visualisation of the aforegoing thoughts on a appropriate restructuring of the site.

The second part of the document starts with exactly this visualisation, the detailed design of the new design for St. Clementâ&#x20AC;&#x2122;s Car Park.

This visualisation then will be translated into a regulating plan that brings design back to a formal format.

6.0 INTRODUCTION TO THE DESIGN CODE

DESIGN CODE

.creating a new place

As mentioned aforehand the design code document is all about putting thoughts, ideas and given formal specifications into formal plans that are official for all people involved.

Even though the given elements of a analysis are always the same people see different things and have different visions. The earlier site analysis lead to the vision and the design motif and also gave a formal framework for the design.

What might be imprecise in the workbook becomes now an official design with a design code.

The second part of the document includes: detailed design [1:500]

15

regulationg plan [1:500]

16

design code

17

- cross-sections

- building types

- public realm

feasibility study

24

conclusion

25

- reflective statement

DETAILED DESIGN 7. THE DETAILED DESIGN

.square

The square is the heart of the new design. Here is where shops and cafés have their fronts and where there is space for innovative street furniture such as seating and lightning of the public realm.

FOOTPATH

PARKING FLAT & GREEN ROOFS

C D NO CARS

B

OUTSIDE SEATING FOR CAFÉS

SQUARE

A

BINS

ACCESS FOR CARS

.blocks A, B, C & D

A - commercial use on the ground floor, residential use above

1:500

B - ommercial use on the ground floor, residential use above C - student accomodation D - partially commercial use on the ground floor, student accomodation

Daniela Brose [12055932]

0

50

ST C L E ME N T’S N IC HE DE TAILE D DE SIG N

BICYCLE RACKS

15

REGULATING PLAN KEY FOR THE REGULATING PLAN 1:500 site boundary plot boundary building line

P

max. projection line building code

RU III 1 10 C 3

MU IV 0,8 13 D 2,6

ST C LE M E NTâ&#x20AC;&#x2122; S N IC H E DE S IG N CO DE

use* MU coverage ratio 1 code B

III 10 3

max. number of storeys max. height (in m) building line

*MU = mixed use CU = commercial use

CU III 1 10 B 2

BP

16

P

P

MU III 1 10 A 2,5

building footprint

traffic area

building footprint (with max. extension)

area for pedestrians and bicycles only

semi-private area

restricted traffic area

area for commercial use (outside seating)

P BP

parking

public seating area

bicycle parking

area for wheelie bins

preserved trees

new trees

1:500 0

Daniela Brose [12055932]

50

DESIGN CODE 9. THE NEW DEVELOPMENT IN DETAIL 9.1

.morphology

Figure 9.2 shows the varying levels

Before turning to the design code

of height within the new develop-

this page serves to depict some

ment. Generally the new develop-

important facets of the new design

ment integrates well into the envi-

illustrated in the figures 9.1 to 9.4.

ronment and leaves the focus to the Florey Building. The only buil-

Figure 9.1 and 9.2 give an im-

ding that stands out is the corner of

pression

building D.

structures.

of

the The

morphological new

buildings

To add richness to the architectu-

are distinguishable from the exis-

ral form the heights differ a lot but

ting development but on the figure

mainly the buildings have 2 - 3 sto-

ground plan it also becomes clear

reys.

that they do not massively stand 9.2

.permeability and edges

The site will be permeable with the The visualization of the figure

new development. The legibilty is

ground plan is helpful to illustrate

slighty limited but that is on pur-

the spatial relationships which are

pose to create the atmosphere of

very balanced in the new design.

a “niche”. FIgure 9.4 shows that the

What is sticking out is the space in

inactive edges have mainly been

front of the Florey Building that fa-

removed and the place will have

cilitates the sustainment of the view

an environment where pedestrians

onto this listed building.

feel safe.

Figure 9.3, illstration: movement flow (pedestrians) not to scale

KEY (new) active edge landmark

Figure 9.4, illstration: active edges before and after not to scale

KEY < 3.3 m 3.4 m - 6.6 m 6.7 m - 10 m

KEY (before)

> 10 m

Figure 9.1, illstration: figure ground plan not to scale

active edge

Figure 9.2, illstration: building heights not to scale Daniela Brose [12055932]

inactive edge

ST C L E ME N T’S N IC HE DE S IG N C O DE

out when it comes to their footprint.

17

CROSS SECTIONS 10. CROSS-SECTIONS semi-private yard parking

1:200 next plot

projection line

building line BUILDING D

BUILDING D

BUILDING C

Figure 2.11: yellow brick and stone

ST C LE M E NTâ&#x20AC;&#x2122; S N IC H E DE S IG N CO DE

Figure 10.1, illustartion: cross-section A; scale 1:200

entrance to the site / extended Pensons Gardens

P

cross-section A

MU III 1 10 C 3

MU IV 0,8 13 D 2,6

CU III 1 10 B 2

P

P

MU III

1 10 cross-section B A 2,5

Figure 10.2, map: cross-section shown on the regulating plan

18

BUILDING C

Figure 10.2, illustartion: cross-section B; scale 1:200 Daniela Brose [12055932]

BUILDING B

BUILDING A

P

BUILDING TYPES MU IV 0,8 13 Dmixed 2,6 use

coverage ratio building code

Building A together with Building B will lead pedestrians to the heart of the new development, the square.

MU

III

1

10 3

A

max.3 storeys max.10m high floor space index

It will be the most conservative

CU III 1 10 B 2

It also introduces the architectural

1.5m 1m

P

plot size

~ 200 sqm

building line

aligned to plot line

building type

appartment house with commercial use on ground floor

roof

shape: flat restrictions: no roof terraces options: green rooftop, installation of solar panels

projections

projections may vary from 0.5m to 1.5m projections are a must but stay in the assigned area to promote architectural variety restrictions: no balconies options: combine projections with windows

building in the new design creating a softer transitions from the asset.

P

composition with many projections.

Furthermore it serves as cover for the inactive edges, the backs of the shops on St Clement’s Street.

To

3.25m

detailed code for design of building A

maintain

access

to

gar-

bage bins and delivery access this building must have a pas-

8m 1m

8m

sageway with restricted access.

The design code

provides the

ground floor to be used for small shops or offices (such as for real estate aganecies et cetera) and the Figure 11.1.1, illustration: building A with dimensions (not to scale)

windows/doors

two upper floors for residential use with some smaller appartments for single or couple households.

shape: rectengular, geometric emphasis may focus on vertical line materials: glass, steel, wood colours: natural if steel frame, if wood frame also natural or a deep dark colour materials: dark brick (red/brown tones)

material/colours

Figure 11.1.4, table: design code of building A

ground floor for

passageway

commercial use Figure 11.1.2, illustration: 3D-drawing of building A (not to scale)

Figure 11.1.3, photo: this is a picture shows the entrance to the site through Pensons Gardens The design of Building A ought to orientate on the groundfloor use and the colors and material used for the whole building to create a uniformity that again gives pedestrians a feeling of safety to enter St Clement’s Niche.

Daniela Brose [12055932]

Figure 11.1.5, photo: an example of a flat green roof [source: jwscudderroofing.org]

ST C L E ME N T’S NIC HE DE S IG N C O DE

MU III 1 10 11.1 BUILDING A C 3

11. BUILDINGS IN DETAIL

19

REFLECTIVE STATEMENT 14.2 REFLECTIVE STATEMENT ON THE WHOLE PROJECT

The design code is a document that

sets guidelines and rules for the

.my design

studio sessions, the feedback,

realised that after now four design

already more than half of the

I am very proud of my final design.

working on my own and other

projects my way of thinking and

world’s population lives urban ar-

new development. It can be used

It is not perfect, but it feels like it is

things just worked hand in hand

seeing and understanding things

eas. Urban designers have new

as a tool by architects, planners

really me and my ideas combined

and pushed me forward step by

has changed.

responsibilties such as the sustain-

and other professionals involved in

with my skills and knowledge that I

step.

Having done more than 4 site anal-

able cities.

the process.

have learned up to here.

However it is hard to realise that

ysis I pick up details more quickly

There is a lot of research going on

This design code leaves a lot space

During the process of the whole

you can not do and include every-

and I am able to put a site into the

about cities and how we can im-

for creativity. The main aim was to

term I never had any doubt that this

thing you would like to. The litera-

surrounding areas.

prove them. The job of the ruban

transport the vision of the ‘niche’.

is my design and it works for me.

ture read and the websites visited

Nontheless me as an urban de-

designer is to consider all of them

However few things are presciptive

I am the expert of my design, I see

always gave more input and cre-

signer in this module am not the

and bring different professions to-

to make sure that any development

all the details, I have the view of the

ated an urge to make it perfect.

only professional involved in a new

gether to create the future of our cit-

will stay in a appropriate frame and

whole and I hope I accomplished to

Sometimes it was hard working

development. This time it became

ies. That is a big responsibility and

becomes part of a organic develop-

transport this in my design code.

alone on my own design and not

more clear what people and how

should be taken seriously. As soon

ment of the whole area and even

Everything just came naturally.

really have someone with whom I

many are involved in the process.

as something has been developed

the city. That is, was the desin code

From the moment on I visited the

could discuss certain aspects.

The feasibility study was uncom-

it will not change for a while.

is for, it gives architects and land-

site the first time I saw something

At my university in Berlin we did a

fortable because I did not want to

Urban designers have to work

scape designer soem structure and

there and with the help of the differ-

design as a group of four people

think of it but it made clear how

carefully and listen to not only other

oundation so they can actually feel

ent steps during this module I have

and it was incredibly intense. I was

important all the other factors are

professionals and the results of re-

secure to be creative because it

reated a design that, in my eyes,

lucky because my group worked

such as economics, policies and

search but also to the people that

has been taken care of seeing the

makes sense.

well and everyone was commited.

the people living in an area.

live in an area that is about to be

development in the big scale and

We had great discussions where

developed.

everyone had ideas and input and

.the field of urban design

Summing this up urban design

I had problems getting started in

different opinions. The whole pro-

Urban design is a vey diverse field

does not only mean designing and

many changes in spatial, social

the beginning. I had an overall

cess works differently in a group. I

that combines numerous hard and

being creative. It takes so much

and economic structures.

blockade and I was frustrated and

am happy and also lucky I had the

soft skills with creativity. Urban

more to create a ‘sense of place’.

demotivated by the load of work

chance to experience both.

design in the society has become

what impact it will have because

every new development brings

.the working process

more and more important. The

that was ahead.

But having already internalized cer-

.learning outcomes

view from the city as a place where

tain skills and structures working

This is one of the great modules

you have to live because that is

on the last design project I could

where you have a massively steep

where to money and the jobs are

overcome the creative blockade

learning curve without actually re-

has changed to a lifestyle the ur-

and start working and the analy-

alising how much you learn and im-

ban way of living. When the urban

sis which is more based on having

prove your skills.

form of living rose with the indus-

knowledge about the process than

For me it was like applying every-

trialisation urban design was more

on having ideas.

thing I have learned so far onto one

about functional structures than liv-

After this one thing lead to another

single project.

able neighbourhoods. The empha-

and the combination of everything

I finally became confident when

sis changed from quantity to qual-

knowledge, skills, exchange in the

talking about urban design. I also

ity. Cities are the future and by now

Daniela Brose [12055932]

Daniela Brose, 28 April 2013

ST C L E ME N T’S N IC HE C O NC LU SIO N

14.1 CONCLUSION OF THE DESIGN CODE DOCUMENT

25

REPORT THE PLOT Thesis: In how far are design codes applicable to the approach described

the functions and land use of larger urban areas, urban design is defined

thus create a new form of document that has the potential to become

in the book The Plot by Jonathan Tarbatt?

as the art of making places. Design Codes are flexible as an instrument

a holistic planning-design-document. However design codes may only

and have a high potential to become one of the most important instru-

work up to a certain scale but so does the approach of Tarbatt. Develop-

The ideology in the book The Plot by Jonathan Tarbatt is about creating

ment for urban designers to convince planners of their design. Design

ments have to happen step by step, on development after another. Histo-

environmental, economic, social and liveable places with focussing on

codes include both design and planning aspects.

ry shows us that planning a whole town is almost determined to fail. Even

RE PO RT TH E PLOT PO S TG RADUATE ASSIG N M E N T

the plot, which is the basic unit when it comes to urban development.

26

though Tarbatt mentions that - depending on the type of development and

“These are the essential components of sustainable places and sustain-

At the moment there is no uniform standard on how a design code docu-

the density you wish to achieve - glose-grain development sometimes

able communities” (Tarbatt 2012, 12)

ment has to look like and what needs to be included. Current official de-

means smaller plots and sometimes bigger plots, you can not design a

According to Tarbatt those places can be achieved by using smaller plots

sign code documents range from giving an idea of how an are looks like

very large area (on a regional level maybe) but you might be able to plan

and thus creating a plot-based close-grain urban structure. Smaller plots

(Cotswold Design Code) with a prescriptive part that only encourages

for a large area (planning here understood as defined earlier). So design

provide an extremely high flexibility that facilitates diversity of architec-

stakeholders to keep new development in the “Cotswold Style” to Design

codes can bring these two disciplines together. As Tarbatt says about

tural form and built environment. Diversity is a key indicator for “impar-

Code Documents that are strongly prescriptive even about details such

urban design: it “overlaps with the traditional domains of architecture and

ting to each place its own unique character and identity and its sense

as in the Rotherham or the Kingsmead South Design Code. Another as-

planning with the intention of putting in place the three-dimensional de-

of place”(Tarbatt 2012, 12). The core of plot based urbanism is the de-

pect that varies within the numerous design codes is the scale. Again

sign frameworks within which these and related disciplines (auch as ur-

sign aspect. Smaller plots particularly enable diversity in the architectural

the Cotswold Design Code applies to a whole area which is not even

ban and economic geography, engineering , transport, planning) can be

form. However close-grain structure can also foster mixed-used streets.

declared in the document when on the other hand the Rotherham Design

brought together to create successful places” (Tarbatt 2012, 20) and so

Summing it up the book argues that the plot is “the invisible substrate of

Code comprises a certain area.

does the design code.

urban form” (Tarbatt 2012. 14) that has the potential to “foster diversity,

Another vague feature of design codes is their presentation. While the

support local economies and facilitate a range of alternative development

Rotherham and the Kindsmead South Design Codes include various

Summing up, it can be said, that design codes definetly are applicable to

models that can support the creation of more sustainable places” (Tarbatt

maps and plans the Cotswold Design Code consists of pictures only with

the approach of a plot-based urban design, because both elements are

2012, 12).

some words on the ‘Cotswold Style’ itself. So while the Cotswold Design

as flexible as the other. A design code can prescribe the plot sizes and

Code appears like a booklet to attracts tourists to that area the other men-

leave enough freedrom for architectural diversity, that comes from the in-

Such places are desired by urban designer but are they also desired by

tioned documents have a more professional look.

dividual developer, and also leaves the prescription of use to the planner,

planner? Also it is debatable if a place like a close-grain block in Sluse-

This sums up the general flexibilty of use and presentation of design

if neccessary. Eventually design codes generally have been created to

holmen, Copenhagen, Denmark is always the best meaning appropriate

codes. This can be seen as something negative, but in my opinion exactly

develop a sensibilty for good places and good urban design amongst the

solution. In my opinion the main approach urban design, detached from

this flexibilty is the big potential of design codes. It makes them applicable

planner and the plot-based approach aims to create exactly that: good

planning policies, is to create places that that almost seemingless fit into

in a wide range. At the moment they are superseded by policies and de-

places that are diverse in any aspect: architecture, use, economics and

their environment. That includes trying to create a “sense of place” but

velopment plans. This hierarchy probably will never change. Nontheless

social mix. And this again is something that planner want to achieve as

this is not always calculatable. Generally the idea behind the plot sounds

the policies always provide a framework and a foundation urban designer

well. The design codes will never be as formal as development plans

like basic knowledge for any urban designer. It is something that every

can work with and in whose boundaries they can act.

but this is the good thing about it. But design codes fill gaps in the plan-

urban designer should have in mind when designing a new development.

ning system, where no other document can provide information that are

But good urban design does not always automatically create a high qua

So in how far are design codes applicable to the close-grain approach

important from the view of an urban designer. The plot-based approach

lity neighbourhood. There are many other aspects on a bigger scale that

described by Tarbatt and also the other way around.I think they could go

is mainly an urban design approach, so design codes will help urban

need to be considered. Urban designer have to work tohether with plan-

hand in hand. The approach of Tarbatt definetely is no holistic and every-

designer to implant well designed places into the planning world and well

ner and other professionals to get as close as possible to a well func-

where applicable approach, but the intention is right. Design codes can

designed places can be created through the diversity and comes with the

tioning neighbourhood.

contribute a great deal to the realisation of the close-grain approach. De-

close-grain urban structure.

sign codes may include regulating plans that are on a smaller scale and The design code as an instrument delivers a great chance to bringt to-

more detailed that development plans or even masterplans. Design codes

gether planning and urban design ambitions. While planning is focused on

combine technical and planning elements with design elements and

Daniela Brose [12055932]

Daniela Brose, 1st of May 2013