Boek Fini

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE
to our families
DATE:
5TH NOVEMBER 2010
RESEARCH:
STUDENTS:
Francesco Visco
Arne Lijbers
TUTORS:
Dipl.ing. B. Jurgenhake
Ir. D. van den Heuvel
Prof.ir. D. van Gameren
4040856 fra.dime@hotmail.it
1561340 a_lijbers@hotmail.com
B.Jurgenhake@tudelft.nl
D.vandenHeuvel@tudelft.nl
D.E.vanGameren@tudelft.nl
TABLE OF CONTENTS
PAGE
INTRODUCTION
GROUP STATEMENT, KEYWORDS AND RESEARCH QUESTION
5-7
PERSONAL STATEMENT, RESEARCH QUESTION AND ESSAYS
8-23
Francesco Visco
Arne Lijbers
The narrative experience of the specific space.

A patchwork within a patchwork metropolis.
1.0 CRITERIA OF RESEARCH FIELDS
24-25
1.1 LIST OF CASE STUDIES
26-27
2.0 METHODS OF RESEARCH
28-29
2.1 METHODS OF ANALYSIS

1 - STUDY THE PATH
2 - STUDY THE FRAGMENTS
29-31
30-31
31-32
2.2 METHODS OF READING THE RESULTS
33-36
2.3 COMBINE THE ANALYSIS AND ORGANIZE THE CONCLUSIONS
37-41
3.0 CASE STUDIES
42-172
3.1.0 - PENTAGON
3.1.1 - FINAL REPORT
3.2.0 - SCHUTTER
3.3.0 - JAVA ISLAND
43-84
85-88
89-126
127-130
131-168
169-172
4.0 GRID OF CONCLUSIONS
173-174
4.1 REFELCTIONS ABOUT THE CASE STUDIES CONCLUSIONS
175-177
4.2 DISCUSSION
178-179
5.0 BIBLIOGRAPHY
180-181
INTRODUCTION
We choose to organize this booklet following the main idea of the research which
has been since the beginning to develop a methodology. The purpose has been to
make possible the analytical observation of the spatial forms which characterize the
experience of moving through a space.
This booklet reports the final outcome of research and it mainly represents the
ongoing process.
Thus, the biggest part of it is dedicated to the several analyses on the research field.
The layout of the analysis has been organized as simple as possible, giving enough
blank space to the reader, inviting him to sketch beside the drawings and to use the
booklet for its main purpose: to be an instrument of research.
The outcomes of the analysis are present within the booklet at the end of each case
study. These are arranged following the same organization of the analysis.
In addition, the reader will find four panels linked to the booklet which play the role of
summaries of the analysis and related results on the three case studies analyzed.
The use of panels is not secondary to the booklet but rather, it completes the meaning. The panels provide the ability to read and to combine together the analysis that
we made on each case study. Thus, the reader can relate and understand in a direct
way the significance of the results with the meaning of the analysis.
We believe in the value of this booklet as instrument to investigate the domain of the
visual perception, to investigate the juxtaposition of the spatial forms which produce
the narrative experience of moving through the city, to make a first step towards the
understanding of the sense of drama and emotional reactions that the space of the
city releases.
Arne Lijbers
&
Francesco Visco
GROUP STATEMENT, KEYWORDS AND RESEARCH QUESTION
GROUP STATEMENT, KEYWORDS AND RESEARCH QEUSTION

We state that,
FLUCTUATING THROUGH THE FRAGMENTS OF THE PATCHWORK CITY,

THE DWELLER MOVES THROUGH A SEQUENCE OF JUXTAPOSED SPATIAL
FORMS THAT DEFINE THE NARRATIVE EXPERIENCE
ship between all the elements that go to create the environment: buildings, trees,
nature, water, traffic, floors, and so on, and to weave them together 3 in such a way
that the narration is released. We define the established relations between the elements as single spatial forms and the whole that these constitute as fragment of the
patchwork.
A city must be read as a carpet of spatial programmatic fragments, as a continuum

sequence of changing spatial patterns. The carpet metro pool occurs as an orderedunordered whole of fragments, each with their specific program and interpretation.
Her richness lies in the unprecedented diversity of patterns and the unprecedented
of options that thereby are generate 1
Following the thought of Neutelings, the contemporary city should be considered as

fragmented, dynamical, polyvalent and unfinished spaces that constitutes the environment for interactive coexistences and evolutions. During the experience of the
urban environment, the dweller does not move within a single body but he moves
through a sequence of many single images, many single spatial forms that define the
peculiarity of a places. Thus, what it actually constitutes the public image of the city
2
is the overlap and the several relations between all the parts that diversify the city
within its fabric. In this way, the urban fabric of the city can be better described as an
example of intensive patchwork.
The patchwork is a metaphor to explain the way in which the city is made up. It is not
the result of any unitary drawing but it comes from the collage of fragments, in a progressive definition of diverse scenes. Each fragment has a specific physical structure
and it is defined by both formal and informal uses of the spaces. In such urban fabric
made up by different parts, the fragments become a complex and typical places
where the inhabitants design their local routine and customize their paths within it.
The fragment is the basic unit of the sequence. It is pinpointed by the Art of relation1 Jan Neutelings, Urbanism research commissioned by the city Den Haag
2 Kevin Lynch, The image of the city
3 Gordon Cullen, The concise townscape
ONE VISUALIZATION
The research is supposed to investigate the patchwork urban structure through the
study of the relations of the spatial forms that characterize the environment within
a single fragment of the patchwork. Through the analysis of the relations will be
directly researched the effects of physical and visual perceptible spatial forms in
the experience of the inhabitant that moves through the fragments. In the research,
the sequence of fragments has to be intended as a succession of spatial forms in
which each part relates to the next through a constant play of variation. Thus, the
sequence of spaces should seem to be part of one extended whole, the patchwork.
The interest of the research is to analyze the visual consequences of the spatial
forms when seen as a sequence. Therefore, the spaces should not be seen flat and
static, but as a progression through which one moves 4.
From this assumption, we state that moving is the way to experience the city and
to see how each single fragment allow a single plastic experience, a sequence of
constraint and relief.
Consequently, the objective of the research is to uncover
WHICH JUXTAPOSITION OF SPATIAL FORMS DEFINES THE NARRATIVE EXPERIENCE MOVING THROUGH THE SEQUENCE OF FRAGMENTS OF THE
PATCHWORK?
4 Kevin Lynch, Site Planning
PERSONAL STATEMENT, RESEARCH QUESTION AND ESSAYS
PERSONAL STATEMENT AND RESEARCH QUESTION
FRANCESCO VISCO
The narrative experience of the specific space.
The objective of the essay is to explore the properties which define the
experience of the narration moving through a specific place.
Moving through the juxtaposed spatial forms of the city, the dweller
experiences the narration of the space
Thus, the question is: Which properties define the episodes of narration
moving through the specific places of the city?
The contemporary city should be considered as fragmented, dynamical,

polyvalent and unfinished spaces that constitutes the environment for
interactive coexistences and evolutions. During the experience of the urban
environment, the dweller does not move within a single body but he moves
through a sequence of many specific images, many interweaved elements and
overlapped peculiarities that define the specific place1. Thus, what it actually
constitutes the public image 2 of the city is the overlap and the several relations
between all the parts that diversify the city within its fabric.
The specific place is a space made by general interweaved elements that
actually determine several properties which make the place specific. Thus, the
properties of the specific place are based on the art of relations between the
general environmental elements.
Discovering and understanding the specificity of a place is only possible by
moving through the space and having an experience, which is an anchor
between the inhabitant and the place made by the emotional reactions that
the experience entails. The emotional reactions are produces by the Art
of relationship between all the elements that go to create the environment:
buildings, trees, nature, water, traffic, floors, and so on, and to weave them
together 3 in such a way that the narration is released. The established relations
between the elements can be described by the idea of single spatial forms.
During the experience, more the spatial forms are strong and more they
can generate a series of feeling reactions to the position of the citizen in the
environment. These relations transform the space of the city into a coherent
narration or drama of juxtaposition4, turning the facts into an emotional
situation and finally making possible the anchor between citizen and place.
Henry James, in Malnar and Vodvarka, Sensory Design
Kevin Lynch, The image of the city
Gordon Cullen, The concise townscape
ESSAY THE NARRATIVE EXPERIENCE OF THE SPECIFIC PLACE
FRANCESCO VISCO
THE NARRATIVE EXPERIENCE OF THE SPECIFIC SPACE
According to Cullen, the experience of the space provokes responsive emotions

inside the inhabitant which he calls emotional reactions. This is possible first
of all thanks to the faculty of sight. Although the pedestrian walks through the
town at uniform speed, <<the scenery of towns is often revealed in a series of
jerks or revelations. This we call serial vision>>5.
With this idea, Cullen wanted stress the observation that the human mind
reacts to contrasts, to the differences between things. He stated that when two
pictures are in the mind, a vivid contrast is felt by the observer. Thus, the town
or the city should become <<visible in a deeper sense. It comes alive through
the drama of juxtaposition>>6.
In addition, dealing with the idea of the serial vision, Cullen defines a basic
relation with the property of moving through the space. According to him,
the city can not be unity from the optical point of view. The reason lies in the
fact that the experience through the space is made of an accidental chain of
two basic events: existing view and emerging view. These two events start
to characterize the space in the moment that they are interwoven together in
a continuous process. Therefore, thinking the city as a continuous chain of
existing and emerging views means dealing with the dynamic sense of position
that the citizen feels while he moves through the space. Looking at the space
of the city from this point of view (the one of the moving person), it stops to
be a static entity and it becomes a <<plastic experience, a journey through
pressures and vacuums, a sequence of exposure and enclosures, of constraint
and relief>>7.
The space is the essential device of the architecture. It has several forms
and several meanings in different scales: the voids and the space around the
architecture, the wideness of the landscape or the cities, the indefinable space
of the universe. Therefore, <<the space is something intrinsic and relational>>1.
I want to start from this assumption, to make possible the critic approach to the
objective of this essay which is:
Explore the properties which define the experience of the narration moving
through a specific place.
Basically, using the words of Henry James, <<places are specific but their
elements are general>>2. Therefore, the space should be considered the main
general element of each place. Furthermore, If the space is considered also
a relational item, it makes sense thinking that the narration of a specific place
lies in the research of the relations between the elements which constitute the
place. Thus, the activity of moving through the space could be considered the
first property of the narration, because it means researching and discovering
the relations between each specific part.
<<Per un edificio limmobilit un eccezione: il nostro piacere viene dal
camminarci intorno facendo in modo che ledificio si muova a asua volta,
godendo di ogni combinazione delle sue parti. Mentre queste variano, la
colonna gira, le profondit indietreggiano, le gallerie scorrono: la fuga di migliaia
di visioni>>3
Within the book The concise Townscape, Gordon Cullen stated in 1967 the
primary importance of the faculty of sight in the experience of a space: <<it is
almost entirely through vision that the environment is apprehended>>4.
In 1984, through the book Site Planning, Kevin Lynch also stressed his
position about the idea of moving as basic dynamic property for achieve a
narrative experience. His thought is more direct compare the though of Cullen.
He stated that <<spaces vary in effect by the way in which they are entered,
passed through, and left behind, as well as by the related spaces that precede
and follow them>>8.
This quote gives us the possibility to makes several relations between Cullens
ideas and the thought of Lynch about two reflections which can be called
sub-properties of the moving: orientation and position of the observer and the
sequence of views. I have already analyzed these two topics in the thought
Steven Holl, Parallax
Henry James in Malnar and Vodvarka, Sensory Design
Paul Valery, Il metodo di Leonardo
Kevin Lynch, Site Planning
The importance of moving through the space to experience its qualities and
to understand its specificity has been stated by the though of both several
architects and thinkers during the recent history.
10
of Cullen highlighting the way in which they are interwoven together. Lynch,
speaking about viewpoint, state that in the perception of a landscape (both
urban and natural), <<it is not the single view that is important that is important
so much as the cumulative effect of a sequence of view>>9. In addition, the
American architect defines several significant characteristics within the property
of orientation which make the approach to the space more interesting: apparent
direction toward a goal, marking the distance traversed the clarity of entrances
and exits, the explanation of basic structures and the observers place in it.
Speaking about the visual sequence he tells: <<each event should prepare
for the next one without completely foretelling it so that the observer receives
each as an ever-fresh but coherent development>>10. Therefore, by the quote
emerges the idea that Lynch has about the motion itself: a form with aesthetic
meaning.
Another American architect of the contemporary history who deals with a
parallel topic of serial vision and visual sequence is Steven Holl. At the
beginning of the new century (2000), he introduces the idea of the parallax
to look at the property of moving. The concept of parallax explains that the
change of the surfaces disposition which defines a space is the result of the
movement of the observer position. The movement of the position of the body
through the space provokes an overlapping of perspectives. These create a <<a
multiple vanishing points, opening a condition of spatial parallax>>11. According
to Holl, the dynamic sequence of perspectives (considered through the parallax
of spatial movement) generates <<the fluid space experience from the point
of view of a body moving along an axis of gliding change. [...] Perspectives of
phenomenal flux, overlapping perspective space are pure space of experiential
ground>>12.
Diagram A
Searching for other properties which influence the narrative experience, it is

interesting observe the analysis made by Monice Malnar and Frank Vodvarka in
their book Sensory Design. At the beginning of their book, they present a short
description of the Boschetto made by Henry James. According to the authors,
this description offers an implicit set of spatial principle. Also the Jamess idea
about the specific place is one of these spatial principles that Malnar and
Vodvarka summarize in:
-
-
-
-
-
places are specific;

their elements are general;
we comprehend places through sensory data;
our understanding of place is filtered through memories;
our delight in place is enhanced by a degree of mystery.
These principles become interesting for the definition of narrative properties

when they are correlated to the thought about the patterns of human behaviour
forwarded by Rachel and Stephen Kaplan in their text Humanscape,
Environment for people.
10
11
Steven Holl, Pre-theoretical ground in Artemis Architecture, Steven Holl
12
Steven Holl, Pre-theoretical ground in Artemis Architecture, Steven Holl
The notion of narrative experience lies in the meaning of the Kaplans research
about the preferred environment. To answer the question <<what kinds of
environments do human preferred>>13 they base the observations on the
process of the experience within the environment. Thus, in terms of process,
13
S. & R. Kaplan, Humanscape Environment for people

11
environments that are likely to be preferred are those that permit involvement
and making sense. According to the authors, these are complementary broad
categories, each subsuming a variety of properties that might be present in the
environment.
To be involving, an environment must have some complexity or can present
<<features that are not actually present but are suggested or implied. The road
turning around a bend and disappearing is the classic example of a promise of
more information, of what we call mystery>>14. To make sense, an environment
requires coherence: <<the parts need to hang together and in some sense
belong there>>15. In addition, the Kaplans describe as important component
in making sense also the Lynch idea of legibility: <<the ease with which the part
of the cityscape can be recognized and organized into a coherent pattern. A
legible city would be one whose districts or landmarks or pathways are easily
identifiable and are easily grouped into an over-all pattern>>16.
Summarizing, Rachel and Stephen Kaplan distinguish four distinct patterns in
the discernment of spatial configurations which are:
-
-
-
-
Complexity
Coherence
Legibility
Mystery
The Kaplans examined these factors as distinct phenomena, trying to consider

them equally. Actually, as Monice Malnar and Frank Vodvarka explain, <<the
complexity of individual parts is only understood against the coherence of the
larger paradigm, an approximation of Jamess first two ideas and it is the clarity
of this relations that grants legibility>>17. Following the statement constructed
by Malnar and Vodvarka it is possible to analyze all the relations between the
four concepts of Kaplans and the Jamess spatial view (figure B).
Diagram B
According to Malnar and Vodvarka, complexity refers to the intricacy of the

information present in the specific location (place), while on the other hand,
coherence to our sense of order and our knowledge of the larger milieu. The
relation between these two concepts, define a figure-ground correlation on
which the Legibility (the ability to form a clear mental image) relies.
However, the diagram B shows also other two relations between the spatial
principles of James and the spatial configurations of the Kaplans: the data
of the place that comprise complexity and coherence, are comprehended
through our senses and subjected to the memories.18
Looking at the process of filtering the sensory information through the memory,
this could be considered a basic property within the definition process of a
narrative experience. Therefore, it is interesting to criticize its mechanism.
To investigate this field, it is useful look at the function model of mental
process made by Charles W. Rusch (figure C). He state that through our
immediate experience we absorb information from three sources: perception,
conception and memory. The role of memory is actually to recycle the
information fed into it. Rusch said that <<the memory structure is by no means
static or rigid; it is dynamic and constantly undergoing modification during recall
when it is fed back through the constructive activity of immediate experience
[] thus, just as immediate experience is continuously being reconstituted>>19.
14
15
16
Kevin Lynch, The image of the city
18
Malnar and Vodvarka, Sensory Design
17
19
Charl W. Rusch in Malnar and Vodvarka, Sensory Design
12
immediate experience and these together construct new symbols or modify

old ones (in the diagram this process is shown by the loops). Thus, perceptual
information enters immediate experience, is condensed into a meaning
category, and either is rejected or places into this active memory structure20.
In defining the narration during the experience, another relevant factor to
consider is the inference of culture. Through the formula PS / CM = CP
(perceptual systems / cultural modifiers = contextual percept), Malnar and
Vodvarka combine the theory of the Kaplans (about the role of the memories
and the preferred factors within the environment) with the idea of the cultural
modifiers of the perception, which are shaped by both culture and position in
regard to context codes (figure D). The two authors combine together the latter
scheme with the one of the figure B, which related the spatial configurations of
the Kaplans with the spatial principles of James. Thus (figure E), two aspects
are considerable: there is a interweaving between perception and culture;
sensory modalities are to both domains. Indeed, according to the authors
<<it is through our senses that we interact with the facts of out particular
environment. If in Western culture, the sense we most depend on is the visual,
it is at least in part because we have been habituated by our designed world to
consider it the most crucial>>21.
Diagram C
The diagram of the mental process (figure C) is the instrument with which
Rusch explain his theory. The diagram subdivides the mental process in
three parts (sensory experience, reflection and memory) which act during the
immediate experience. It is interesting to notice that sensory information is
seen as perceptual readiness filters based on anticipation of the future and then
reduced into categories of preferred meaning. Further, the information is passed
through a process of memorization. Finally, also the memory produces inputs
of information from previous memories which are added to the inputs from the
Diagram D
20
21

13
The ideas of Kaplans which are used by Malnar and Vodvarka in the definition
of the last formula (figure D) can be summarized by the term prior experience.
The Kaplans believe that a preferred environment is completely a function of
the physical environmental configuration. The perception is strongly influenced
by prior experience. This means that the making sense and involvement
depend in part on ones knowledge, but at the same time it does not mean
the there is a straightforward relationship between preference and familiar.
<<What is need is not necessarily a familiarity with a particular setting, but a
means of grasping the situation, a way to relate it to something else that is
already well represented>>22. Therefore, the Kaplans thought suggest to focus
the attention on that properties of the environment that enhance some sense of
appropriateness or fit.
not meant to make a catalogue of the physical properties of the environment

that the people prefer. Anyway, starting from the observation about the four
spatial configurations described by the Kaplans, it is possible recognize some
characteristics of a supportive environment which presumably play some role
in developing the sense of appropriateness in every individuals experience.23
In this last part, I am going to provide a selection of characteristics basically
following the observations that emerged from the reading of two literature
sources: Site Planning by Kevin Lynch and Townscape by Gordon Cullen.
They can be distinguished between each other by the degree in which process
or content is the primary issue in preference. The choice of the next examples,
it is mainly based on the meaning which these had in the development of the
parallel applied research. After all, the properties which Gordon Cullen covered
in his text have been used as real tool for the applied research. For this reason
they will be discussed comprehensively in later texts about research methods.
Therefore here, Im going to establish theoretical relations between the two
authors starting from the considerations that Kevin Lynch made about the
perception of the space.
Lynch, more than Gordon Cullen emphasizes process, which is the
informational properties that make any environment involving and sensible.
Anyway, in his book Site Planning he developed a sort of catalogue of
characteristics, speaking about both, informational properties and real
contents, which constitute the environment.
Diagram E
Until this moment, the essay has tried to describe through the thoughts of
several thinkers the general properties which have influence on the narrative
experience through the space. The last observation arisen by the Kaplans gives
me the possibility to start a short reflection about the physical properties of the
environment which influence the perception, the sense of possession of the
space and finally which release the sense of narration. It is important at this
moment, to state that of course, speaking about perception it is not possible
to define in a sure way the elements or properties of the environment which are
preferred and shared by the people in the same way. Thus, also this essay is
22
The first relevant characteristic (for the applied research that I made) is the
change of level. <<Level changes will define spaces; they can open views;
and they can create effects of silhouette, truncation, or dynamic movement>>24.
It interesting to notice that Lynch uses terms like change of level, silhouette
and truncation in the description, that are categories which also Gordon Cullen
describes within the family of Spatial Forms.
Proportion and Scale is the second property described by Kevin
Lynch. Spaces differ in character according to the shape and proportions.
<<Proportion is an internal relation and may be studied in a model, but spaces
are also judged by their scale with respect to objects outside themselves>>25.
23
24

25
14
In Lynchs opinion each space has a scale with respect to the observer appears
measurable by him. In addition, the author defines precisely also several
dimensions, like dimensions of 40 feet appear intimate; up to 80 feet is still an
easy human scale; most of the successful enclosed squares of the past have
not exceeded 450 feet in the smaller dimension. Furthermore, he describes
the change in the perception of the objects according to the distance of the
observer. For example an object whose major dimension equals its distance
from the eye is difficult to see as whole; when it is twice as far away, it appears
clearly as a unit; as the distance increases beyond four times the major
dimension, an object simply becomes one part of the general scene. Actually
this scientific approach, with which Lynch describes the properties, has to
be criticized. In the purpose of the essay, it represents more an interesting
observation than a real scientific data, because as I have already said, this
essay is not meant to make a scientific catalogue of the physical properties of
the environment.
privacy, to increase apparent size or to make the flow of road and paths seem
pleasant and easy>>28. The potentiality of the ground form lies also in the
possible management of slopes and levels, which can be organized to give a
calculated succession of views, allowing sequences, revealing and concealing.
<<Paths and ground can be manipulated so that the movement of a road is
psychologically explained and affords a fine experience of movement in three
dimensions>>29. Also the textures cover an important role according to Lynch.
They impart sensations of touch as well as sight, a consideration which Juhani
Pallasmaa has well described in its texts about hapticity in architecture. The
textural finish of the ground can be a source of delight itself, it can set a general
visual character and scale, it can play a role of guiding or controlling also the
activities. Also for these considerations it is possible to look at the spatial forms
of Gordon Cullen, who cover the meaning of the texture and form of the soil
above all with the idea of Linking and joining (a category which I used in the
applied research).
Enclosure, is another characteristic described by Lynch as well as Cullen in

the definition of the spatial forms. Lynch told about it: <<It is often said that
an external enclosure is most comfortable when its walls are one-half or onethird as high as the width of the space enclosed, while if the ratio falls below
one-fourth, the space ceases to seem enclosed>>26. Furthermore, within the
description of the definers of the enclosure it should be observed that Lynch
uses another Cullen spatial form, the screened vista : <<spaces may be
enclosed by opaque barriers or by walls that are semitransparent or broken
by gaps. The space definers may be visual suggestions rather than visual
stops>>27.
Briefly, the work of Gordon Cullen is based on the research of the physical
properties of the environment which have the ability to provoke the sense of
narration moving through the space. The sense of narration that this essay
tried to criticize is researched by Cullen in the sense of drama, which is the
complex of the sensations come from the emotional reactions that the citizen
experiences moving through the space of the environment. As I have already
said, according to Cullen, the emotional reactions are produces by the Art
of relationship between all the elements that go to create the environment:
buildings, trees, nature, water, traffic, floors, and so on, and to weave them
together 30 in such a way that the drama is released. The established relations
between the elements can be described by the idea of particular spatial forms.
During the experience, more the spatial forms are strong and more they can
generate emotional reactions to the position of the citizen in the environment.
These relations transform the space of the city into a coherent drama of
juxtaposition, turning the facts into an emotional situation and finally making
possible the anchor between citizen and place.
In the development of the research methods for the applied research, I and my
colleague choose a list of spatial in which has been possible to categorize the
results of the analyses made on the research fields.
Other two similarities, between the thoughts of Lynch and Cullen, emerge
by the Lynch descriptions of the two characteristics Viewpoint and Visual
Sequence. This relation has been already covered in the first part of this essay,
speaking about the importance of the moving through the space.
Another characteristic covered by Lynch is Ground form and texture.
According to Lynch the surface underfoot is the only continuous one and for
this reason nit plays a dominant role. <<The surface of the ground has the
possibility to be shaped to add interest, to mask unwanted features, to gain
26
27

28
29
30
15
Through this essay I tried to criticize my statement which is: moving through the
juxtaposed spatial forms of the city, the dweller experiences the narration of the
space. By the quoted literature sources I tried to define the juxtaposed spatial
forms as physical properties of the space and in addition, following the issue
that the topic raised at the beginning, I discussed several observations about
the properties of the narrative experience. This essay represents a brief report
of the theoretical research which revealed as the properties of the experience
can not be stated just as physical characteristic of the space. At the beginning
I introduced the concept that all the other properties that define the experience
are mainly based on the idea that the experience needs to be a dynamic event.
Secondly, through the theories of the Kaplans and Lynch, I showed that beside
the physical properties of the space exist a range of several informational
properties which determine the legibility of a space and make any environment
involving and sensible. Then, through the observation of Monice Malnar and
Frank Vodvarka I discuss the relations between the spatial configurations
of the Kaplans and the spatial principles of James. Furthermore I had the
opportunity to remark also the role that the memory covers in the definition of
the experience through the space. To conclude, all these observations concur
to define a set of general considerations which should be present in the mind
of the designer during the design process. Thus, researching for the physical
properties that define a narrative experience it is important to consideration
the cultural background and the properties of the cognitive process. Just
combining the information that come from different fields involved into the
discussion of the perception will be possible criticize and understand what
the physical properties of an environment mean in the definition of a narrative
experience through the space.
Bibliography
Gordon Cullen, The concise townscape, The Architectural Press, 1968
Pennink Mony Dekking Boom, Gordon Cullen, Huisdrukkerij TH Delft,
1976
Kevin Lynch, Site Planning, The MIT Press, 1984
Kevin Lynch, The image of the city, The MIT Press, 1960
S. & R. Kaplan, Humanscape Environment for people, Duxbury Press, 1978
Monice Malnar and Frank Vodvarka, Sensory Design, University of Minnesota
Press, 2004
Steven Holl, Artemis Architecture - Steven Holl, 1998
Steven Holl, Anchor, Princeton Architectural Press, 1991
Steven Holl, Parallax, Princeton Architectural Press, 2000
Steven Holl, Intertwining, Princeton Architectural Press, 1996
Gaston Bachelard, The poetics of the space, Beacon Press, Boston, 1994
Juhani Pallasma, Encounters, Rakennustieto, 2005
16
PERSONAL STATEMENT AND RESEARCH QUESTION
ARNE LIJBERS
routine and paths. Transitions between the patches give each patch a different
perception. The dwellings and the life in a city are part of this patchwork and
should profit from it as well the patchwork (city) should profit from the dwellings
and the life in a city.
With the world cities becoming global city regions, the city is no more one
single entity in space and time but rather a dispersed mass of enclaves
identities interact to form, urbanism of multiple and contested cultures. Cities
are increasingly working in parts and work together since the intrusion of global
communication networks. That cities are working in parts is happening on world
scale, the fragmented remnants are now acting as building blocks of the city.
The principle of continuity is based no longer on an object, but rather upon the
networks that articulate and flow through on each level and the background that
surrounds them.
Statement: Dwellings and the life in a city should profit from the patchwork
structure and vice versa.
A city must be read as a carpet of spatial programmatic fragments, as a
continuum sequence of changing spatial patterns. The patchwork metropolis
occurs as an ordered-unordered whole of fragments, each with their specific
program and interpretation. Her richness lies in the unprecedented diversity of
patterns and the unprecedented of options that thereby are generated.1
Each patch has a specific physical structure and it is defined by either formal
or informal uses of the space. Because of the vagueness of the perception of
all the different fragments in a city I want to research the patchwork in a city
structure, from public to private. An inhabitant will encounter all the different
patches in the patchwork. Because each patch is different each patch is
differently perceived.
Which architectural features (categories) determine the perception of the
patches and the in-between in a patchwork city?
How do the patches of a contemporary city make a patchwork?
What do we perceive between (transitions) the patches?
How do we perceive the patches and the whole patchwork?
Berlin can be stated as a real laboratory to research this patchwork structure.

This is possible because of the morphology of the urban structure which hosts
the co-presence of multi-experiential places, empty spaces and inner realities
in several scales and purposes. Thus, choosing Berlin as the field of research to
understand how the town can release the surplus of the Emotional Reactions is
interesting because it is not a classical picturesque town.
Indeed, Berlin can be better described as an example of intensive
PATCHWORK.
The patchwork is a metaphor to explain the way in which the city is constituted.
It is not the result of any unitary drawing but it comes from the collage of
fragments, in a progressive definition and re-definition of exposed and enclosed
spaces. Each patch has a specific physical structure and it is defined by either
formal or informal uses of the space. In this carpet of diversified surfaces,
the fragments become a complex order where the inhabitants form their own
1
Willem Jan Neutelings, Patchwork city, Rotterdam, 010 Publishers, 1992

17
ESSAY A PATCHWORK WITHIN A PATCHWORK METROPOLIS
ARNE LIJBERS
The city is now a strange juxtaposition between wealth and poverty, efficiency
and waste, residential life and work, pleasure and pain. Designers and planners
will therefore have to work in an increasingly complex situation and incorporate
the irrational into their work. 2
City is a field determined by accumulations, connections, densities, transformations, and fluctuations. The city is a dynamic system in which architecture,
infrastructure, and landscape are no more than events or occurrences within an
uninterrupted spatial field. 1
With the world cities becoming global city regions, the city is no more one single entity in space and time but rather a dispersed mass of enclaves identities
interact to form, urbanism of multiple and contested cultures. The cities are increasingly working in parts and they work together since the intrusion of global
communication networks. That the cities are working in parts is happening on
world scale, the fragmented remnants are now acting as building blocks of the
city. The principle of continuity is based no longer on an object, but rather upon
the networks that articulate and flow through on each level and the background
that surrounds them.
Urbanization and architecture is posing great challenges to the world. The migration of population what is happening in large numbers, emergence of transnational people, an super-connected world, are some of the 21st century phenomenons which affect our understanding of the contemporary world and the
contemporary city. This given, urban areas are going through rapid transformations, and are in need of solutions. These changes are inevitable and bound to
generate both peace and conflict. It can create a new interesting world of cultures and diversity, but it can also lead to chaos and the loss of the unanimous
contemporary city.
Rem Koolhaas questions whether professional disciplines such as architecture
or urban planning still have role to play.1 He criticizes these disciplines for focusing their deliberations on what he now sees as a classical model of the city
and for failing to come up with a new approach to understand and deal with the
contemporary process of urbanization.
Urban planning is seen as a radical process. Formal combinations of land uses
are at the core of a plan. Sometimes too much of rationality kills the spirit of
creativity. Urban planning haves to be based on the new circumstances in the
contemporary city. It has to reckon with the interaction between different cultures, demands, inhabitants, welfare, neighborhoods, private, public, collective
and so on.
Rem Koolhaas and Bruce Mau, S,M,L,XL What Ever Happened to Urbanism, 1995
The idea that the city is working in parts, and that it is a fragmented whole is
interesting for the future urban planning. Because every part is different and has
its own characteristics and identity, it can also been seen as a patch, a part of a
patchwork. How does the city work in parts, how does these parts work relative
to each other and what is the interaction between them?
The Patchwork city is the term coined by Willem Jan Neutelings.3 Though also
identified by some similar concepts like Cities within the city, splintering urbanism, recombinant urbanism and collage city. The central idea is that the city is
now breaking into patches and it is in the organization and interplay of patches- the real challenge for a contemporary city.
The patchwork is a metaphor to explain the way in which the city is constituted.
It is not the result of any unitary drawing but it comes from the collage of fragments, in a progressive definition and re-definition of exposed and enclosed
spaces. Each patch has a specific physical structure and it is defined by either formal or informal uses of the space. In this carpet of diversified surfaces,
the fragments become a complex order where the inhabitants form their own
routine and paths. Transitions between the patches give each patch a different
perception. The dwellings and the life in a city are part of this patchwork and
should profit from it as well the patchwork (city) should profit from the dwellings
and the life in a city.
The city is layered structure, a mixture of analogical patches: The city as a layered structure is a concept explored by Aldo Rossi in his book: Architecture of
the city. It exemplifies the process of urban where elements over time acquire
power to bring change or they change themselves. The critical viewpoint is not
only to view the city as an historical landscape but as well as a field where
many layers and patches interact with each other and generating an analogical
landscape.4
David Grahame Shane, Recombinant Urbanism, Wiley Academy Londen, 2005
Aldo Rossi, Casa Aurora & Other recent projects, in Architectural Design, 1988
18
It is interesting to see that many architects have dealt with the contemporary
city as a fragmented whole (Patchwork city).
The new city will be composed of more and more diverse and significant parts,
but these diverse fragments of a broken-up system will be recomposed in the
unity that we search. It struck me that... fragments, their personal natures aside,
could be seen to express the state of the modern city, of architecture, and of
society. Fragment is the literary and artistic term used to describe the remains of
a larger work. 4
A city must be read as a carpet of spatial programmatic fragments, as a continuum sequence of changing spatial patterns. The patchwork metropolis occurs as an ordered-unordered whole of fragments, each with their specific
program and interpretation. Her richness lies in the unprecedented diversity of
patterns and the unprecedented of options that thereby are generated. 3
The idea of the city in the city is the basic concept for a future urban re-planning of Berlin. It is substantiated in the image of Berlin as a city-archipelago. The
urban islands will have an identity in keeping with their history, social structure
and their environmental characteristics. The city as a whole will be a federation
of all these single towns with different structures, developed in a deliberately
antithetic manner. 5
So we can speak of patches that constitute a patchwork city. A patchwork city
consisting of all different patches with their different characteristics and different identities. And still the patchwork city is a whole, so these patches work
together and create together a bigger whole, the contemporary city. What constitutes the patches? Can each patch be different? What is the organization and
relation between them?
Graham and Marvin propose to reinvent urbanism based on the contrasting
spatial identities of patches. The success of city depends on how it promotes
the urbanism of plurality; both in cultural and spatial terms.6
Cities that cannot accommodate the diversity, the migratory movements, the
new lifestyles and the new economic, political, religious and value heterogeneity, will die either through ossification and stagnation of because they fall apart
in violent conflict. 6
Plurality in a patchwork city, all patches have to be different so there is an interaction between them and that each patch can distinguish him from the rest. By
creating this plural city there is a patch for every individual and the inhabitant
will have the possibility to feel connected with a relevant patch.
The old philosopher Arendt stresses that plurality is very important for the public realm: The presence of others who see what we see and hear what we hear
assures us of the reality of the world and ourselves. When plurality is confined,
there is no public realm; the loss of the public realm is dangerous for plurality
people are stripped of the freedom to develop their own unique biography in
relation to others and with it to take part in the organised world.7
Each patch is different and has its own characteristics, each patch is a kind of
city or village of his own. So each patch has its own inhabitants. Also here you
can see the relation between the patchwork city and the theory of Arendt. She
states that you only can be someone in public if you can go back to the private.
So its only possible to be an inhabitant of a contemporary city and tribute if
you can go back to a private patch. That theory of Arendt can also been seen
within a patch, so you can only tribute to the public realm of a patch if you can
go back to a save private place within a patch. Because there is so much plurality in the society there is a need of plurality in the patches of a patchwork
city. Architecture can be a tool to create the plurality between the patches, but
could also serve the contrast between public and private.7
As the glove and the shoe are the accomplished forms used to cover hands
and feet, similarly the house and the street, the palace and the square are the
just types and forms to shelter and protect the social life of a people. 8
The pluralistic project for a city within a city is in contrast to the current planning theory which stems from a definition of the city as a single whole. This
corresponds to the contemporary structure of society which is developed more
as a society of individuality with different demands, desires and conceptions.
The project also involves an individualization of the city and therefore a moving
away from typologies and standardization.9
Hand Teerds, Public realm, public space, Oase#77, NAI Publishers, 2008
The City Within the City by Leon Krier, A+U, Tokyo, November 1977
Ungers Koohlaas - Kollhoff, Cities within the city, in Lotus n 11, 1976
19
patchwork cities make clear that architecture is not a mass or series production
of buildings.
Intricate minglings of different uses in cities are not a form of chaos. On the
contrary, they represent a complex and highly developed form of order. 11
What makes all these patches come together and makes it one whole city?
How does the patchwork city adept new patches? Design each patch individually and take into account that the patchwork is a fragmented whole. The connection between the patches is essential for the consistence of a patchwork
city.
Cities within the city, Lotus n. 11, 1976
The first step to be taken has to be to pick out and select those districts of the
city that possess clearly identifiable features likely to justify their preservation
and accentuation. The second step towards a redevelopment is the completion of the patches to be preserved which in the course of this process must
receive their architectural and definitive urban planned form. The phase of the
establishment of the area of so called islands-in-the-city is both the result of a
programme and a formal and urban design job. A number of patches in the city
leap to the eye; they stand out from the others by their characteristics an importance. To establish the characteristics of the city a number of typical cases
might be taken into consideration, which were designed at other times for other
occasions and may have comparable typological features.10
The urban patch is a true city within the city. As a part, it contains the features
and the qualities of the whole. It is a full and mature member of the family of
patches which form the patchwork city. Each patch provides for all periodic
local (daily and weekly) urban functions (residential, educational, productive,
administrative, commercial, recreational, etc.) within a limited piece of land dimensioned on the needs of an inhabitant. Each patch has its own qualities and
can house different inhabitants. If every patch and so the whole patch work
haves this plurality and all this different uses and functions, the city is getting
more complicated. Architecture can be a tool between all the differences and
contrasts within and between all the patches. The plurality and complicated
10
Simply expanding the city is therefore out of the question. The desired path
is, on the contrary, the globalizing restructuring of its fragments: the patchwork
rug isnt a model; it is, rather, a setting for transformations, a field in permanent
evolving and readjustment in which what matters ultimately are the lines of connection and the landscapes of relation. 12
It is in the characteristics of the patches, were the success of future city lies.
Also, the transformation and relation between patches is equally important to
keep a wide range of urban varieties to participate in the process. The space
or place between the patches is interesting, is it something tangible or can the
patches connect and interact without tangible features?
These patches may not sustain on themselves but require a set of system to
perform in the patchwork. A patch is not a zone of the city, the difference between a patch and a zone is that of set of functions it performs. Patch contain multiuse spaces and multiple activities where as the conventionally zone
contains one single function and other functions act as supportive to the main
dominant function. A kind of artery is needed to create a set of systems so that
the patches can perform with each other and as a whole patchwork. Artery can
also been seen as a construction for a bigger cause. An artery has two main
functions, namely; the flow of physical (vehicles, things) and non-physical (information, technology) elements. Flow of people also means flow of cultures within
the city, considering the fact that the patches have different characters, these
arteries connect various constructed patches, making the city more vibrant.13
11
Jane Jacobs, The Death and Life of Great American Cities (1961)
12
13

20
The flow of information plays an important role in the collage city of Rowe and
Koetter. Information channels are the new connectors between patches in the
patchwork city. By this artery the patchwork city can be defined as a network
city, this contemporary city may be relatively inconspicuous, dissolving into the
landscape; because of (high-speed) transportation/connection and the new and
existing communication network.
The creation of a place which gives the sense of coherence between the extreme individualized inhabitants who share the space of the contemporary city
is important for the life in the city. Ungers and Koolhaas state that architecture
is central in the creation of the collective, but demands that only the methods
within its own discipline are allowed to being applied, no architecture as social
engineering but architecture as architecture.15
The other important factor is amorphous intermediate spaces, which accommodates ambivalent uses and are very critical for the future city to adapt any
kind of changes in buildings and the use land. It is important to understand
these amorphous spaces which can act as characteristic ambivalent space.
These amorphous spaces in cities and also in buildings can act as a connector between the patches. Collage city explains interstitial debris as critical in
understanding the post-modern city. Within many collusive fields of patches
what remains behind is the amorphous spaces with ambivalent uses.14
The fight between the configuration of the collective, public space and the
freedom of the individual. The idea of a patchwork with total freedom within a
patch, islands in the city, freedom for the individual development on each islands maybe this is the most relevant answer of the state of the temporary city.
The role of ambiguous building is almost similar to mix use building which accommodates mixture of uses producing culture of congestion. Future cities
will need these kinds of amorphous spaces, buildings in the city to keep it flow
of information through and between people who use it. Many of the patches
need amorphous spaces which act as mediator between various uses. 14
By creating these spaces, the patches will have the possibility to connect with
each other and make a patchwork city. It also can create a connecting within
the patch. If each patch is a city on his own its important that is act like one
and create amorphous and ambiguous places. Within these places there is a
conflict and interaction between private and public and maybe also with the
place in between, the collective. This brings a specific fascination for the collective sphere, not only as the setting of continual social transformation but in
particular as an essential architectural element of urban formation. This brings a
tension in the contemporary city in its inability to combine a traditional form of
public space, offering cohesion and a sense of community, with the extensive
desire for individualities that is also a part of the contemporary society. So we
need to search for a place between the traditional idea of the public and the private, acknowledging the pluralism of an individualised society without giving up
the idea that a larger cohesive framework is possible. The question if it is possible to create a meaning full space that is somewhere in the middle between
pluralistic fragmented public space and the pure private space?
14
Colin Rowe and Fred Koetter, Collage City, MIT Press, reprint 1984
Rem Koolhaas says that a kind of coherence that the metropolis can achieve
is not that of a similar, planned composition. At the most, it can be a system of
fragments. In theoretical Berlin, the green interspaces form a system of modified, sometimes artificial nature: suburban zones, parks, woods, hunting preserves, family lots, agriculture. This natural grid would welcome the full panoply of the technological age: highways, supermarkets, drive-in theatres, landing
strips, the ever-expanding video universe, nothingness.16
Where there is nothing, everything is possible.
Where there is architecture, nothing (else) is possible.16
The space between the patches, the amorphous, ambiguous, nothingness, and
intangible or tangible space can create a whole patchwork city. The places are
not only between the patches but can connect the patches by going trough. A
place that offers an intermediate condition between the patches, between the
public and the private, between the old city and the new patches, and so on.
Cities within the city is a research done in Berlin by Koolhaas, Ungers, Kolhoff
and others, it is a research done with the case study Berlin in 1977. The city
within the city, formed by a group of different units, is completed antithetically,
by the surfaces in between the islands in the city. These islands in the city
would, in other words, be divided from each other by strips of green, thus defining the framework of the city within the city and thereby explaining the metaphor of the city as a green archipelago. The green interspaces from a system
of modified nature and preserve a series of characteristics that range from suburban zones to parks and to wooded areas up to the urban developed zones
15
Laura Schrijver, The Architpelago city, in OASE 71, Nai Publisher, 2006
16
S,M,L,XL, O.M.A., Rem Koolhaas and Bruce Mau, 010 Publishers, 1995
21
or those for agricultural use. The natural grid ought also to welcome the infrastructure of this technologicalized age in which we live, that is to say, it should
embrace a motorway extended network to link up the islands within the city to
one another; it ought also to include supermarkets, drive-in cinemas, drive-in
banks and similar services connected with the car just as any other typology of
the twentieth century which depends not only on space but on mobility.17
The establishment of the area of the patches is both the result of a programme
and a formal and urban design job. In the residential building the construction of town houses as rent-villas has to be encouraged more than before. The
transformation of historic villas for the reduced requirements of today have
demonstrated that this type of home is not suited only for residential purposes
but also lends itself to other functions. It satisfies both the desire of those who
use it for stronger individualization of the environment in an ideal way, as well as
the interest of the collectively in the measure in which this concerns the social
infrastructures and concentration.17
pluralistic system of reciprocally unresolved contradictions by comparison to a

unitary and centralized system.
The creation of an archipelago in the city is the answer to a series of fundamental planning necessities. The reconstruction of an identity for the urban environment. The necessity for smaller units for the creation of living spaces and for
more delimited activities, in a scale with the city and its individual buildings.18
The layered representation is important for imagination of the contemporary
city. We need to develop an approach to deal with patchwork city, first, such
practices must emphasise relations and processes rather than objects and
forms. This is not to deny that changing urban form is a crucial product of
processes of disunited space. It is certainly true that the landscapes of the
fragmented metropolis throw down challenges to urban practice to assemble
a landscape from the fragments of design. These patches are future building
pieces of cities. Architecture is important for forming the future buildings and
urban environment within the patches.
Its important to find the new definition for urbanism, which based on flexibility
than order, an openness rather than closure, on process than form, what we
get, is structured metropolis which is rigid and resistant to continuous and dynamic growth of city.19 Variety and possibility are the two keywords; patches,
which are static and rigid, will lose their survival fitness if they do not offer variety and possibilities of connection to the outside world context through arteries. Assimilation and distortion will let us see the negotiation between the
different patches. The patches within the patchwork ought to be working individual but also as a whole if you look at the city. That states the importance of
the architecture created on each patch and the space between them. The complexity to house all the varieties, possibilities, identities and so on is a task for
the architect. A patch within the patchwork could become a patchwork itself.
Cities within the city, Lotus n. 11, 1976
The problem is no longer posed as the designing of a completely new environment, but rather as the rebuilding of what already exists. Not the discovery of
a new order for the city but the improvement of what already is there; not the
discovery of new conceptions, but the rediscovery of proven principles, not
the construction of new cities but the re-organisation of the old ones. There is
no need for a new Utopia but rather to create a better reality. The creation of a
17
18
19
Rem Koolhaas and Bruce Mau, S,M,L,XL What Ever Happened to Urbanism, 1995
22
Source list:
1. Rem Koolhaas and Bruce Mau, S,M,L,XL, 010 Publishers, 1995
2. David Grahame Shane, Recombinant Urbanism, Wiley Academy
Londen, 2005
3. Willem Jan Neutelings, Patchwork city, Rotterdam, 010 Publishers, 1992
4. Stephan Graham and Simon Marvin, Splintering Urbanism, Routledge,
London, 2001
5. Hand Teerds, Public realm, public space, Oase#77, NAI Publishers, 2008
6. Colin Rowe and Fred Koetter, Collage City, MIT Press, reprint 1984
7. Ungers Koohlaas - Kollhoff, Cities within the city, in Lotus n 11, 1976
8. Aldo Rossi, Casa Aurora & Other recent projects, in Architectural Design,
1988
9. Laura Schrijver, The Architpelago city, in Oase#71, Nai Publisher, 2006
10. The City Within the City by Leon Krier, A+U, Tokyo, November 1977
11. Jane Jacobs, The Death and Life of Great American Cities (1961)
23
1.0 CRITERIA OF RESEARCH FIELDS
24
1.0 CRITERIA OF THE RESEARCH FIELDS

The first step of the research has been to define the criteria and the boundaries of
the research fields, so that to structure the choice of interesting case studies for the
purpose of the research.
Thus, we defined two criteria as the base of the methodology of the research: the
moving through and the revealed contrasts in the sequence from enclosed to exposed spaces.
1 - Moving through
It is possible to experience the sense of narration within the city, just if this is read
from the point of view of the moving person. Moving is the only way to experience
through the urban landscape the contrasts, the differences between things and finally the juxtaposition of the spatial forms which are showed by the sequence of existing and emerging view5. Spaces vary in effect by the way in which they are entered,
passed through, occupied and left behind, as well as by the related spaces that
precede and follow them6. The progress of travel through the space is illuminated by
a series of sudden contrasts so that the main characteristic of moving through is the
sense of discovery and narration that the dweller experiences.
Starting from this assumption about the moving through, we define the necessity
to indicate a path as essential tool for the research.
Since the landscape is usually experienced by a moving observer, it is not the single
view that is important so much as the cumulative effect of a sequence of views7.
Consequently, the first criterion for the choice of the case studies was to find the
possibility to draw an interesting path with which to move through the space of the
patchwork fragment. This has meant since the beginning that we were interested in
neither a single building nor a static space, but we were interested in the scenario of
a dynamic sequence of spatial forms.
2 - Sequence from enclosed to exposed spaces
The second criterion was to define the boundaries of this dynamic research and
choose a distinguishing and common characteristic of the case studies to analyze.
The purpose of the research is to analyze the visual consequences of the juxtaposition of spatial forms in the narrative experience of the space. Therefore, we want to
choose cases in which the juxtaposition could be enhanced by strong contrasts, giving support to the sense of narration of the experience. For this reason, the choices
will focus on cases in which the urban structure can allow the sudden change of
scenario in the temporal dimension of a walk (the drawn path): a sequence from
enclosed to exposed spaces. The sequence of these contrasting spaces within the
patchwork determines a strong episode of juxtaposition and so also an interesting
case of narrative experience.
moving through
from exposure to
enclosure
5 Gordon Cullen, The concise townscape

25
1.1 LIST OF CASE STUDIES
26
LIST OF CASE STUDIES

A PENTAGON, Amsterdam
B
SCHUTTERSVELD, Delft
JAVA ISLAND, Amsterdam
27
2.0 METHODS OF RESEARCH
28
2.0 METHODS OF THE RESEARCH
2.1 METHODS OF ANALYSIS
Once decided the criteria for the research field, we developed two kinds of methods
within the research itself: one to structure the criteria of the analysis and one to define the category in which to read the outcome results of the analyses.
The development of these methods of analysis is the most important step of all the
research. Since the beginning the aim was to think to a method of analysis which
was supposed to investigate in a wide way the several elements that define juxtaposition and so, the narrative experience within the fragments and in the sequence
of them.
This assumption led us to not focus just on a specific kind of analysis, but it guided
us to research several instruments and diverse ways of representation which could
be useful to investigate the spatial forms in an analytical way.
This process produced a large number of analyses which have different focuses and
so also a different way of representation. Working with three main drawings (which
are plans, sections and axonometric vistas) we define for each kind of analysis a
catalogue of indicators which basically represent the tools of the analysis. These
basic rules are visible also in the layout, which is organized always in the same way
to make easier the comparison and the overlap between the information that are
produced by the analyses.
The result of the discussion about the tools to use in the research produced 15 types
of analyses, which have the purpose to investigate as much spatial forms as possible. The instruments that we choose, analyze directly the visual perception and in
an indirect way the possible influences that single characteristics of the space can
have on the perception of the dweller.
The methodology was developed mainly from the theories on the perception of urban space by the urban designers Kevin Lynch and Gordon Cullen and the researcher Harry Mallgrave. This specific literature was integrated by the more philosophical
literature about perception mainly about some writings by Juhani Pallasmaa and
Steven Holl.
29
The specific literature from which we developed the criteria of the analysis is:

Harry Mallgrave, The architects brain, Wiley Blackwell, 2010
Jan Gehl, Life between buildings, The Danish Architectural Press, 2010
The methods of analysis are developed in two main families: the study of the path
and the study of each single fragment of the sequence.
DIRECT ANALYSIS ON THE

VISUAL PERCEPTION
INDIRECT ANALYSIS ON
THE VISUAL PERCEPTION
OF THE SPATIAL FORMS
STUDYING THE
PATH
STUDYING THE
FRAGMENTS
general frame of
the elements that
characterize
space around the
path.
zoom in the
sequence of the
fragments and
search for each
spatial forms
1 Study the path
This first group of analysis will regard the designed path within the patchwork. The
purpose is to make a general frame of the elements that characterize space around
the path. Thus, it will be analyzed the morphology of the urban fabric, the functional
typologies, the urban landscape and the thresholds along the path, the possible circulation through the sequence of fragments, the ground floor relations of the buildings and the materials that the dweller encounters along the path.
The instruments we use in this first analysis are:
30
1.
Floor Plan of the ground floor space within the sequence of fragments.
In the plan we will show the subdivision in fragments of the space. We will use it as a
legend to explain relevant element for the next analysis as linked spaces, fragments
and zones along the path, intersection, the points of view for the serial visions and
for the panorama pictures.
7.
Oil spot Plan
The Oil spot is an instrument to visualize the dynamic change of the space moving
from enclosed to exposed spaces through the sequence of fragments.
2 Study the fragments

2.
Section along the path.
The section will be used to show the continuity of the space of the drawn path. It
will be enhances the urban landscape in which the path moves through and the
thresholds along it.
3.
Series of textures along the path.
This instrument consists in a catalogue of the sequence of materials and textures
that the dweller encounters moving through the path. The sequence will be related
to the section and the plan of the ground floor to understand the link between landscape and textures.
4.
Plan of the buildings typology within the sequence of fragments and circulation.
In this plan will be studied the several typologies that contributes in defining the
functional aspect of the chosen patchwork. Beside, will be analyzed the possibility
of circulations through the fragments as sequence.
5.
Axonometric vista of the buildings morphology within the sequence of fragments.
The axonometric vista will be used to show the morphological composition of the
sequence using a catalogue of 5 typical morphologies: urban villa, block, row, mat,
free standing building.
6.
Axonometric vista of important dwelling buildings along the path.
This instrument is used to indicate the presence of relevant housing buildings along
the path in the sequence of fragments. The interest of each single building is defined
by its spatial relations with the path.
This second group of analysis will regard the single fragments within the patchwork.
The purpose is to zoom in the sequence of the fragments and search for each one
the spatial forms that constitute it and the relation with the formal and informal use
of the space. Following this principle we will analyze the proportions between the
elements, the formal and informal use of the space, the composition of the ground
floors of the buildings, the textures and materials of the floor and the cone visions
from different points of view within the fragment.
The instruments we use in this analysis are:
1.
Plans of the formal and informal uses of the space within the fragments.
This instrument will analyze the formal and informal possibility in the use of the space.
It is interesting to relate this analysis to the way in which the space is shaped.
2.
Plans of the possible visual cone that the space within the fragments allows.
This plan will be used to study the proportion between the normal human visual cone
of 160* and the visual cone moving through the fragment. Several elements which
characterize this proportion will be researched through this analysis, like the essential sight lines, the presence of screened vistas and the difference in level which can
provide the effect of inner ambiences.
3.
Plans of the typologies of accessibility of the buildings within the fragments.
The analysis of the accessibility will on 4 typical types of accesses: corridor, lift,
street, porch and gallery. This instrument will be used above all in relation to the
analysis of the ground floor of the buildings along the path. The aim is to understand
the relation between each kind of access and the level of interaction of the ground
floor with the dweller.
31
4.
Ground floor catalogue of the building within the fragments.
Using a sequence of cross section along the path we will analyze in each fragment
which kind of relation is establish between the citizen and the ground floor of the
buildings. This instrument will show in a sequence the vary of dimensions of the
public space moving through the fragments.
5.
Plans of the textures within the fragments.
These plans are interesting to enhance the value on the material and the texture in
defining the feeling of space.
6.
Axonometric vista of proportions and relations between the elements within
the fragments.
Using the axonometric vista of the volumes that constitute the fragments we will
analyze dimensions, proportion between the elements and the thresholds. It will be
enhanced the main character made by the juxtaposition of the spatial forms within
each fragments.
7.
Serial visions.
The progress of travel through the space is illuminated by a series of different visions
so that the main characteristic of moving through is the sense of discovery and narration that the dweller experiences. Therefore we define a sequence of sketched
vision to show in which way the serial juxtaposition of spatial forms is revealed to the
citizen.
8.
Abstract form Panoramas.
In each fragment we made a 360* picture of the environment to show the entire perception of the inhabitant. Then, we abstract them to enhance the role of the shape
itself in the first perceptual approach to the environment.
32
33

We established a method to be able to define a set of results from the analysis. This
has been developed starting by the theory of Gordon Cullen about the townscape.
In his book The concise townscape, Cullen describes the juxtaposition as Art of
Relationship between the several elements of the environment. To describe and to
make a clear way in which investigate the juxtaposition within the city, he developed
a series of categories of relations or spatial forms. We selected some of them which
can be considered the most important to describe a concise catalogue of the spatial
forms. Therefore, this catalogue of spatial form will allow us to read the analysis and
make hypothetical results according to the purpose of the research, which is:
uncover which juxtaposition of spatial forms define the narrative experience
moving through the sequence of fragments of the patchwork.
Category of the spatial forms moving through sequence of the fragments:
1.
Occupied territory. It is possible to find in the townscape the presence of
permanent indications that serve to create an image of occupation in the town.
Thus, the out-door space between buildings instead to be streamlined and fluid,
it becomes more static and occupied environment. The elements that develop the
feeling of possession are present as furniture. The furniture of possession includes
floorscape, posts, canopies, enclaves, focal points and enclosures. The amount of
possession gives to the town humanity and intricacy to the town in the same way
that windows give texture and scale.
2.
Enclaves. Accessible place or room out of the main directional stream, where
footsteps echo and light is lessened in intensity. It is settled apart from the traffic and
it has the advantage of observing the scene from a position of safety and strength.
3.
Enclosure. It is the negative of the traffic. It is the place where quietness
and human scale if founded by the human being. It is the place where to release
the tension of the daily life. It define a strong division between the idea of OUTSIDE
(impersonal space) and INSIDE (human scale place).
4.
Closure. It is not an enclosure where the eyes react to the fact to be surrounded by a static situation. The closure is a sense of be surrounded by a not static
scene. A new scene is suddenly revealed. Closure is the creation of a break in the
street which does not block out the sense of progression.
5.
Exposure. Empitness, a great expanse of sky, geometry. These are some of
the elements that create the feeling of exposure.
6.
Looking into. There are several elements as terraces, balconies, porticos,
which are the ability to communicate the sense of a enclosure and these lead the
dweller to look into, arising the sense of discovery.
7.
Looking out of. Having established the fact of hereness, it is clear that this
34
cannot exist of itself but must automatically create a sense of thereness, and it is in
the manipulation of this two qualities that the spatial drama of relations is set up.
8.
Multiple use. The true living accepts the joys of togetherness along the same
space. Multiple use is a figure of the form occupied territories.
16.
Linking and joining. If the floor is a smooth and flat expanse of greyish tarmac
then the buildings will remain separate because the floor fails to intrigue the eye in
the same way that the buildings do. One of the most powerful agents for unifying
and joining the town is the floor.
9.
Focal Point. It is an artefact of possession, vertical symbol of congregation.
It is coupled with enclosure, and it gives the meaning of IT IS HERE to the citizen.
10.
Narrow. The use of narrows it is possible to maintain the sense of enclosure
without forbidding the passage. In this way the articulation of the city into clear and
well-defined parts is made possible.
11.
Screened vista. This form enhances the feeling of hereness and makes remote the world over the screening element.
12.
Change of level. Emotional Reaction to the position must include the subject
of levels. Below level produces INTIMACY, inferiority, enclosure. Above level gives
exhilaration, superiority, vertigo. The act of descending implies going down into the
known and the act of ascending implies going up into the unknown.
13.
Closed vista. This form puts a building down and then invites you to step
back to perceive it completely. The closed vista is capable of infinite adaptations.
The scene is given life by the elements that screened and closed the complete
appreciation of the building which should represent the ultimate focal point of the
scene.
14.
Deflection. The object building is deflected away from the right angle, thus
arousing the feeling of expectation and interesting.
15.
Incident. The value of the incident is to entrap the eye so that it does not slide
out into the beyond with resulting boredom. It is the lack of incidents that makes fail
also the more meticulous plans. The incident as the deconstruction gives life in three
dimensions, coughing the eyes into the moment.
35
SPATIAL FORMS CATALOGUE
occupied territory
enclave
enclosure
closure
exposure
looking in
looking out
multiple use
focal point
narrow
screened vista
change level
closed vista
deflection
incident
linking & joining
36
2.3 COMBINE THE ANALYSIS AND ORGANIZE THE CONCLUSIONS
37
2.3 COMBINE THE ANALYSES AND ORGANIZE THE CONCLUSIONS

The outcomes of the analysis are present within the booklet at the end of each case
study. These are organized following the same organization of the analysis. Indeed
the reader will find the outcomes arranged in conclusions for the path and conclusions for the fragments.
The conclusions for the path have the aim to indicate the spatial forms which arrange the public image of the analyzed case and will be used as support of the
fragments results.
The conclusions for the fragments will mainly focus on the particular juxtaposition of
the spatial forms which is possible encounter moving through the thresholds and the
space of each fragment.
Basically, each analysis provides us one or several observations that we will read
with the meaning of spatial forms. Actually, the most of the times, it is the combination of two or more analyses that provided us clearer and stronger observations.
Thus, at the end of each case study, a final report shows and describes all the outcomes, making clear their relations with the analyses through which we determined
them.
We suggest to use of the final reports, linking the outcomes writings to the analysis
within the booklet. To make easier this process, we provide four panels linked to the
booklet, which play the role of summaries of the analysis and related results about
the three case studies analyzed. The use of panels is not secondary to the booklet
but rather, it completes the meaning. The panels provide the ability to read and to
combine together in a fast way the several analyses that we made on each case
study. In this way, the reader can understand in a direct way the significance of the
outcomes writings with the meaning of the analysis.
38
RELATIONS ANALYSIS - SPATIAL FORM CATEGORIES
1.1
site
plan
1.2
section
1.3
texture
1.4
typology
1.5
morpho
1.6
relevance
1.7
oil
spot
2.1
uses
2.2
visual
cone
2.3
typology of
accesses
2.4
ground floor
evaluation
2.5
texture
2.6
proportions
2.7
serial
vision
2.8
abstract
forms
39
RELATIONS ANALYSIS - SPATIAL FORM CATEGORIES
1.1
site
plan
1.2
section
1.3
texture
1.4
typology
2.1
uses
2.2
visual
cone
2.3
typology of
accesses
2.4
ground floor
evaluation
1.5
morpho
2.5
texture
1.6
relevance
1.7
oil
spot
2.6
proportions
2.7
serial
vision
2.8
abstract
forms
40
Pentagon, Amsterdam,
Netherlands
EXPLANATION PANELS
Category
Fragments 1-6
fragment 1
INDICATORS SITE USES
fragment 3
fragment 2
fragment 5
fragment 4
fragment 6
path
fragment
alternative movements
formal possible stop
informal possible stop
formal playground
2.1
formal gathering space

informal gathering space
fragment 2
fragment 1
fragment 3
fragment 6
fragment 5
fragment 4
INDICATORS CONES VISION

path
fragment
18
17
9m
essential sight line
53 m
9m
m
m
m
32
38
step of level
proportion human visual cone 160 /
visual cone of the fragment
7m
34
28 m
INDICATORS ACCESSIBILITY
fragment 1
fragment 3
fragment 2
fragment 4
fragment 5
fragment 6
path
fragment
corridor
lift
2.3
street
porch
gallery
fragment 1
fragment 2
fragment 5
fragment 4
fragment 3
fragment 6
GROUND FLOOR EVALUATION
A1
D2
B/C
ATTRACTIVE FACADE
L
F3
visual attraction, it gives interest and stop in front

of it
2.4
INTERACTIVE FACADE
inside space extended outside, multiple interactions
and possibility to stop and to occupy the space
Fragments:
30
57
1,7
38
38
31
screened vista
2.2
15
9m
m
40
17
38
9.5
52 m
inner ambience
13
To make linking the final reports to the analysis easier, we provide four panels
linked to the booklet, which play the role of summaries of the analysis and
related results about the three case studies analyzed. There are two kinds of
panels. One kind is for the analyses of the fragment and another in which we
show a comparison among the three case studies.
PASSIVE FACADE
OPEN INTERACTIVE SPACE
OPEN PASSIVE SPACE
B1
fast movements, fast movements in front of it and

low interactions
N6
H4
B C
E2
G3
M5
O6
C1
fragment 1
fragment 2
fragment 3
fragment 4
fragment 5
fragment 6
fragment 1
fragment 2
fragment 4
fragment 3
fragment 5
fragment 6
TEXTURES PLANS
On the right above you see a small sized example of a fragments panel.
If you read the panel from top to bottom, you will read fragment by fragment.
At the bottom you will see the characterized categories for each fragment, thus
a kind of summary of the analyses of each fragment. The interesting thing is
that you can see how all the analyses work together for each fragment.
2.5
INDICATOR SITE PROPORTIONS

relevant proportions between the elements
2.6
fragment 5
fragment 1
fragment 2
fragment 1
fragment 2
fragment 3
fragment 4
fragment 3
fragment 66
fragment
fragment 4
Path:
fragment 6
fragment 5
2.7
fragment 1
ABSTRACT FORMS PANORAMA
fragment 5
fragment 3
fragment 2
fragment 6
fragment 4
fragment 6
fragment 1
Reading the panel from left to right, shows the analyses regard the path of
that case study. At the end on the right you will see a summary of the categories.
fragment 5
SERIAL VISIONS
fragment 5
2.8
Category
Comparison
path
On the right below you see a small sized example of the path panel.
1.1
INDICATORS SITE PLAN
INDICATORS PATH SECTION

0 5 10
path
25
50
100 m
25
10
50
100 m
path
fragment
pic
panorama 360
inner ambience
10
25
50
100 m
dwelling
fragment
work
texture
restaurant, bar
INDICATORS MORPHOLOGIES
IES
0 5 10
25
50
INDICATOR RELEVANT BUILDINGS
100 m
terrace
serial vision sequence
relevant dwelling buildings

block
free standing
row
mat
1.7
Conclusion
INDICATOR OIL SPOT

oil spot
park
linked space
urban villa
playground
proportion / cross section
cinema
panorama 360
x
1.6
1.5
INDICATORS TYPOLOGIES
INDICATORS TEXTURES
0
path
access to the fragment

fragment
1.4
1.3
1.2
8
I
H
9
Schuttersveld
infill
circulation
water
I
4
2
C
2
B
If you reed the panel from the top to the bottom, it is possible to compare the
case studies about the several general analyses.
1
1
A

0 5 10
path
25
50
100 m
50
25
0 5 10
path
25
50
100 m

INDICATOR OIL SPOT

oil spot
restaurant, bar
panorama 360
dwelling
work
fragment
panorama 360
x
100 m
fragment
inner ambience
If you read it from left to right, you can compare the different kind of analyses.
At the end on the right you will see the characterized category for the each
case study on the analyses of the path.
0 5 10
path

fragment
mixed use
linked space
park
playground
panorama 360
x
school
8
circulation
water
6
F
D
4
10
Java-Island
G
G
H
11
1
A
9
4
10
11
1
6
9
4
10
11
6
H
2
B
1

0 5 10
path
25
50
100 m

0 5 10
path
25
50
100 m
25
50
100 m
fragment
panorama 360
INDICATOR OIL SPOT

OT
0 5 10
path
fragment
fragment
dwelling
0 5 10
25
50
100 m
oil spot
work
panorama 360
restaurant, bar
terrace
inner ambience
garden
linked space
playground

panorama 360
x
church
circulation

2
water
C
D
Pentagon
E
M
10
L
L
C
3
10
11
12
13
10
11
12
13
I
I
8
11
M
H
G
7
11
12
41
3.0 CASE STUDIES
42
PENTAGON, AMSTERDAM
Location: Amsterdam, NL
Neighbourhood: Downtown
Size:
46000 m2
Pentagon is a fragment in the

patchwork of Amsterdam. The fragment is in the center of Amsterdam
close to the Nieuwmarkt. It is in the
middle of the canal-structure of
Amsterdam and there are allot of
historical buildings in the neighbourhood. Within the fragment you will
encounter the Zuiderkerk, a historical
church from 1603.
43
1.1
0 5 10
path
25
50
100 m

fragment
inner ambience
linked space
panorama 360
x

2
water
C
D
E
M
10
L
L
I
I
8
11
M
H
G
O
11
12
44
1.2
0 5 10
path
25
50
100 m
fragment
panorama 360
x
10
11
12
13
45
1.3
0 5 10
path
25
50
100 m
fragment
panorama 360
x
10
11
12
13
46
1.4
dwelling
0 5 10
25
50
100 m
work
restaurant, bar
terrace
garden
playground
church
circulation
47
1.5
48
1.6
49
INDICATOR OIL SPOT

OT
1.7
oil spot
50
2.1
path
fragment
formal playground
fragment 1
fragment 2
51
2.1
path
fragment
formal playground
fragment 3
fragment 4
52
2.1
path
fragment
formal playground
fragment 5
fragment 6
53
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 1
fragment 2
9.
52 m
40
m
57
38
31
m
9m
17
28 m
34
7m
54
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 3
fragment 4
m
9m
38
18
17
13
m
1,
m
m
8
32
55
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 5
fragment 6
53 m
15
38
38
9m
30
56
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 1
fragment 2
57
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 3
fragment 4
58
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 5
fragment 6
59
2.4
INTERACTIVE FACADE
inside space extended outside

multiple interactions
possibility to stop and to occupy the space
OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
fast movements in front of it
A1
D2
B/C
E2
B1
C
C1
60
2.4
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
F3
B C
G3
H4
61
2.4
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
N6
M5
O6
62
TEXTURES PLANS
2.5
fragment 3
fragment 4
64
TEXTURES PLANS
2.5
fragment 5
fragment 6
65
INDICATOR SITE PROPORTIONS 2.6

fragment 1
fragment 2
66

fragment 3
fragment 4
67

fragment 5
fragment 6
68
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 1
fragment 1
69
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 2
fragment 2
70
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 3
fragment 3
71
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 4
fragment 4
72
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 5
fragment 5
73
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
12
fragment 5
fragment 6
74
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
13
fragment 6
75
ABSTRACT FORMS PANORAMA 2.8
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 1
76
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 1
77
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 2
78
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 3
79
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 4
80
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 5
81
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 5
82
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 6
83
0 5 10
25
50
100 m
4
3
10
11
8
6
7
11
12
fragment 6
84
RELATIONS
3.1.1
PENTAGON
ANALYSIS
FINAL- REPORT
SPATIAL FORM CATEGORIES
1.0 STUDY THE PATH
2.0 STUDY THE FRAGMENTS
Change of level. During the moving through the space of the path that we drew,
the landscape is characterized by the presence of several change of levels. This
property produces the feeling of Intimacy and shapes enclaves to experience during
the moving through the city.
1 FRAGMENT
Linking and join. The analysis 1.7 (oil spot) and 1.5 (texture) enhance one main
characteristic of the case study of Pentagon: the presence of long linking spaces
between the enclosures of the path. The analysis 1.5 make clear also the use of
similar materials in shaping the enclosed spaces and the presence of strong contrast
between the materials when it is necessary to define the use of a specific space.
Occupied territory. By the analysis 1.4 (typologies) it is readable the relation between the enclosed spaces along the path and the functions of the buildings and the
spaces around them, It is interesting to notice how this relation influences the use of
the space (analysis 2.1) and the narrative experience of the space. Indeed, we found
out that for each enclosed place of the path there is the presence of a special typology of space (or building) which is different from dwelling.
Enclosed spaces. By the analysis 1.7 (oil spot) we visualized the shape of the enclosed spaces along the path. It is interesting to notice the presence of long transitions interweave all the enclosure, making stronger the idea that these spaces are
not closed. Thus, this makes clearer the choose of the Cullens definition of enclosure.
Enclosure. The first fragment is based on an important enclosure that is defined

by the presence of a screened vista at the beginning of the path. The analysis of
proportions (2.6) show how the volumes of the buildings shape the square giving it
the image of a not-static space but a space that is interesting to experience moving through. This is clear looking also to the serial visions and to the abstract form
panorama. In addition, the evaluation of the ground floor (2.4) and the analysis of the
activities (2.1) show that the space is mainly interactive with the citizen.
Enclaves. The first fragment is characterized by the presence of two forms of enclave, one shaped by the trees at the beginning of the path and the other one
shaped by a basketball field. Both the enclaves are made by the screened vista
and allow a particular informal and formal use of the space which is shown by the
analysis of activities (2.1). By the analysis of the textures (2.5) is interesting to notice
the role of the change in texture that make stronger the idea of the enclave.
Screened vista. The presence of elements that influence the wideness of the cone
vision (2.2) are important in this first fragments to produce the forms of enclave and
enclosure that we just explained. The serial visions (2.7) and the abstract form (2.8)
clarify how the screen vistas that produce the two forms of the enclave are different: one is made by trees and the other by the boundaries of the basketball field.
Occupied territory. Looking together to the uses of the space (2.1) and the evaluation of the ground floor (2.4), the fragment shows the presence of a formal and informal multiple use form within the space which enhances the form of the occupied
territory. The presence of the two enclaves and their related uses makes stronger
this form.
85
2 FRAGMENT
3 FRAGMENT
Enclosure. This second enclosure is shaped by the relation between one closed
side and another one more fragmentized, which is visualized by the analysis of the
proportions (2.6). By the serial visions (2.7) and the abstract form analysis (2.8) is
shown the important role of the screened vistas in making perceptible this kind of
form. The analysis of the cone vision (2.2) was relevant to find out this form because
it enhances the role of the screened vista in leading the visual perception of the area
and the definition of enclaves areas.
Change of level. The third fragment is characterized by the presence of a change

of level. By the evaluation of the ground floor (2.4) is shown how this form allows the
definition of separate a space or enclave. The serial visions (2.7) and the abstract
form analysis (2.8) denounce the formation of another form that come from the presence of the change of level: looking out.
Enclaves. Looking to the analysis of uses (2.1) and ground floor (2.4), the forms of
enclave is readable in the fragments by the presence of a mix of furniture and trees
that define a sequence of niches along the enclosure.
Screened vista. The analysis of the cone vision (2.2) was relevant to find out this
form because it enhances the role of the screened vista in leading the visual perception of the area and the definition of enclaves areas. Also by the serial visions
(2.7) and the abstract form analysis (2.8) is shown again the important role of the
vegetation in making perceptible this kind of form.
Occupied territory. Looking together to the uses of the space (2.1) and the evaluation of the ground floor (2.4), also this second fragment shows the mainly presence
of a formal multiple use form within the space. It is interesting to relate this observation to the rigidity of the cross sections (2.4) within the fragment and also to the
analysis of the texture (2.5). The space looks designed as a single accessible entity
where the organization is static.
Enclave. By the change of level it is possible create in this fragment an intimate

space which allow an important sight line to the outside which is shown by the analysis of the serial vision (2.7). and by he analysis of the cone vision (2.2). The enclave
of the third fragment is characterized also by the relation with the porch building
which produce two other forms: looking in and closed vista which make stronger
the idea of the enclave. By the analysis of the textures (2.5), the shaped space of the
enclave is enhanced by the comparison with the continuous texture beside.
Narrow. A long transition characterizes the third fragment. This is shaped as a long
narrow porch which produces a strong narrative experience within the path. The
transition space is narrow but open toward the water by a continuous screened vista
which makes the experience of the space more complex compared to the formal
function of transition.
Looking out. It is the form that characterizes the point of view from the enclave
which is visible by the analysis of the cone vision (2.2)
86
4 FRAGMENT
5 FRAGMENT
Narrow. The first part of the fragment is characterized by the form narrow, visible by
all the analysis. By the serial vision (2.7) is interesting to see that the narrow form
produce also a form of focal point. The combination of the ground floor analysis
(2.4) and the cone vision analysis (2.2) show how the narrow form is related to an attractive facade characterized by a screened vista which make the experience more
dynamic.
Enclosure. By the combination of the analysis of textures (2.5) and proportions (2.6)
It is shown how this fragment works as a big enclosed space. The drawn floor gives
the impression to be in one area which is not closed, as well for the disposition of
the building that shapes this space. These produce the image of a brake wall which
is crossable by a series of deflections.
Exposure. This is the main spatial form of the fragment. The exposed space joins
the sequence of enclosed spaces within the path. The analysis of proportions (2.6)
and the analysis of the cone visions (2.2) show the role of this form as pivot of the
entire path. By the analysis of the textures (2.5), the continuity of the pattern denounces the role of transition of this fragment.
Screened vista. The screened vista, visible by the analysis of the cone vision (2.2),
produces the possibility to read the space within the enclosed space composed by
two parts. This makes easier the take possession of the space and the use of this
(2.1) which could be too big without this subdivision.
Occupied territory. Looking together to the uses of the space (2.1) and the evaluation of the ground floor (2.4), it is more clear the observation about the take possession of this enclosed space. The presence of the screened vista in the middle of
a static section makes easier the definition of the space itself. The presence of the
screened vista and a soft change of level make possible mainly the multiple informal
use of the space (2.1).
6 FRAGMENT
Closure. The ending of the path is made by the courtyard of the pentagon building.
The proportion between the building and the open space (2.6) produce the form of
closure. Also by other analysis like serial visions (2.7) and abstract forms (2.8) it is
given the same impression. This is not totally true. Looking to the sections (2.4) and
to the analysis of the uses (2.1) we see that the Pentagon is a place of transition.
Occupied territory. In this fragment this form is made by the alternative motions
that it allows (1.4)
87
RELATIONSGRID
SUMMARY
ANALYSIS
CONCLUSION
- SPATIAL FORM CATEGORIES
RESULTS
SPATIAL FORMS /
ANALYSES
PENTAGON
ANALYSIS OF THE
PATH
FRAGMENT 1
FRAGMENT 2
FRAGMENT 3
FRAGMENT 4
FRAGMENT 5
FRAGMENT 6
88
SCHUTTERSVELD, DELFT
Location: Delft, Netherlands
Neighbourhood: Downtown
Size:
41000 m2
Schuttersveld is a fragment in the

patchwork of Delft. The fragment is in
the historical center of Delft, with
typical Dutch characteristics. You will
encounter allot of canals and here and
there you will see a church.
89
1.1
0 5 10
path
25
50
100 m

fragment
inner ambience
linked space
panorama 360
x
water
F
8
I
H
E
6
I
4
D
4
3
B
3
2
C
2
B
1
A
90
1.2
0
path
10
25
50
100 m
fragment
panorama 360
x
8
5
91
INDICATORS TEXTURES
1.3
path
10
25
50
100 m
fragment
pic
texture
92
1.4
dwelling
0 5 10
25
50
100 m
work
restaurant, bar
terrace
park
playground
cinema
circulation
93
INDICATORS MORPHOLOGIES
IES
1.5
block
free standing
row
mat
urban villa
infill
94

1.6
95
INDICATOR OIL SPOT
1.7
oil spot
96
2.1
0 5 10
path
25
50
100 m
fragment
formal playground
fragment 1
fragment 2
97
2.1
0 5 10
path
25
50
100 m
fragment
formal playground
fragment 3
fragment 4
98
2.1
0 5 10
path
25
50
100 m
fragment
formal playground
fragment 5
fragment 6
99
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 1
fragment 2
12
m
40
6.9
8m
17
4.1
m
.2
14
m
6.7
m
100
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 3
12
fragment 4
10
m
33
m
55
m
10
m
m
6.8
7.5
101
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 5
fragment 6
5.3
m
12
m
34
m
45
m
10
m
22
7m
6m
10
m
102
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 1
fragment 2
103
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 3
fragment 4
104
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 5
fragment 6
105
GROUND FLOOR EVALUATION 2.4
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
A
D
A1
B2
106
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
C3
D4
107
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
H6
E5
C
F5
I
D
C
D
G5
108
TEXTURES PLANS
2.5
fragment 1
fragment 2
109
TEXTURES PLANS
2.5
fragment 3
fragment 4
110
TEXTURES PLANS
2.5
fragment
ent 5
fragment 6
111

fragment 1
fragment 2
112

fragment 3
fragment 4
113

fragment 5
fragment 6
114
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 1
fragment 2
115
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 3
fragment 3
116
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 4
fragment 4
117
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 5
fragment 5
118
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 6
119
0 5 10
25
50
100 m
fragment 1
120
0 5 10
25
50
100 m
fragment 2
121
0 5 10
25
50
100 m
fragment 3
122
0 5 10
25
50
100 m
fragment 4
123
0 5 10
25
50
100 m
fragment 5
124
0 5 10
25
50
100 m
fragment 5
125
0 5 10
25
50
100 m
fragment 6
126
RELATIONS
3.2.1
SHUTTERSVELD
ANALYSIS FINAL
- SPATIAL
REPORT
FORM CATEGORIES
1.0 STUDY THE PATH
Enclaves. This is the first characteristic spatial form of the case of Schuttersveld.
Analyzing the fragments which are crossed by the path, this spatial form is present
several times. If we look at the analysis of the typologies (1.4), this indicates the presence of terraces which are protected by the use of trees, above all in the second
fragment. This character, which is based on the use of screened vistas, will be more
visible looking at the analysis of the single fragments (2.1, 2.2, 2.4, 2.5). The same
analysis (1.4), indicate also the presence of the park and in we combine it with the
site plan (1.1), we can read the drawing of this space as a cluster of natural enclaves.
Enclosure. The analysis of the oil spot (1.7) clearly shows how the space of the path
is characterized by the sequence of three main enclosures. This is confirmed by the
analysis of the typology (1.4) if we look at the circulation and will be strengthened by
the next analysis of the single fragments about cone visions, textures and proportions (2.2, 2.5, 2.6).
Closure. Looking at the analysis of the oil spot (1.7) it is indicate that the sequence
of the enclosures ends with a closed space. This has the characteristic of a closure
where the public path can not continue. By the use of the section (1.2) and of the
next analysis of the last fragment it is clarify the structure of this urban room. Also
the typology analysis (1.4) can clarify some connotation of this closure. Looking at
the functions we notice that the sequence of three enclosures is characterized by
the presence of diverse activities as cinema, restaurants, bars and a playground.
Instead, the closure does not host other activities apart from the dwellings. This produces an image of the space more private and intimate which is strengthen by the
not continuity of the circulation beyond that urban room.
Linking and join. Combining the analysis of the linked spaces within the site plan
(1.1), of the oil spot (1.7) it is enhanced one characteristic of the case study of Schuttersveld: the presence of a continuous system of spaces that go from the exposure
of Verwersdijk to the closure of the last fragment. To analyze more specific the continuity, looking at the analysis of the texture and materials (1.3 and 2.5) it is shown
how the sequence of space presents the use of similar materials and textures which
are not contrasting each other but strengthen the continuity. The only exception is
about the fragment 4, which presents a different material even because it wants to
represent itself as something different. Indeed, looking at the section (1.2) the fragment is setted on a podium. Actually this does not make discontinuous the path but
it enhances the different typologies (1.4) and the threshold, making the narration of
the space more live.
1 FRAGMENT
Exposure. Looking at the proportion analysis (2.6) is visible that the first fragment is
characterized by a continuity of facades which lead the sight, how it is also indicate
by the analysis of the cone vision (2.2). Thus, the space releases a feeling of openness to the continuity of the street which looks endless. Also the analysis of the textures (2.5) enhances the sense of continuity which strengthens this form of exposed
and fluid space. Finally, by the use of the analysis of serial visions and abstract forms
we confirm this idea of openness and continuity toward a horizon perspective point.
Linking and join. The combination of the analysis of the textures (2.5) and proportions (2.6) indicates continuity of the space. The reason lies in the use of the same
material and texture for the floor and the compactness that the faades of the buildings produce.
Incident. The value of the incident is to entrap the eye so that it does not slide out
into the beyond with resulting boredom . This happens in the first fragment how it is
visible by several of the analysis we have done. Looking at the analysis of cone visions (2.1) and proportions (2.6) it is shown how the continuous faade is interrupted
by a sudden emptiness. This is characterized by the screened vista (visible also by
the serial vision 2.7), that introduces a diverse texture between the continuity of the
sequential facades. Combining the analysis of the cone visions (2.2) with analysis of
the textures (2.5) it is shown that the Incident is strengthen also by the use of a different floor texture.
127
2 FRAGMENT
3 FRAGMENT
Screened vista. The second fragment start with the presence of the screened vista.
Actually the screened vista which is present several occasions in this second fragment gives form to all the other spatial forms of the fragment. Combining the analysis
of cone visions (2.2) with the serial visions analysis and the abstract forms (2.7 and
2.8), it is made clear the meaningful of this form in shaping the fragment in three
micro ambiences which are lived in different ways.
Change of level. The main characteristic of this fragment lies in the presence of a
threshold on a podium which creates the other two forms of looking into and focal
point. The change of level enhances the importance of the threshold as episode
of moving through. The analysis of proportions (2.6) it shows how the threshold is
characterized also by the step back of upper volume. As said before, also the texture
(2.5) strengthens the change of level. Finally, the change of level is make clear looking to the landscape of the path by the long section (1.2).
Enclosure. The fragment two represents the first par of an enclosure which is basically made up by the use of the screened vista at the beginning of Doelenplein.
Looking at the analysis of the cone vision (2.2) it is shown that the space releases an
effect of enclosure because is protected from the exposure of Verwersdijk. Analyzing
the sections (2.4) and the abstract forms (2.8) it is visible that the elements of the
environment seem enclose the observer providing him a good grade of interaction
with the space around him.
Enclaves. As already said, the enclosed space of the second fragment is characterized by the screened vista. Reading the analysis of cone visions, textures and
sections together (2.2, 2.4, 2.5), makes visible the presence of different micro ambiences. These are the enclaves of the fragment. Also the combination of the analysis
of the uses (2.1) and the typologies (1.4) should be considered regarding this reading. In this way is possible to understand how the role of these enclaves is related to
the function of terraces of bars and restaurants.
Looking into. The change of level produces the lift of the threshold and makes it
more important. Thus it is seen as a focal point and as a main sight line (2.1). The
change of material (2.5) and the volumes disposition (2.6) contributes in this effect,
creating a strong frame around the passage itself. It enhances the vision of what
there is beyond. Looking at the serial vision (2.7) is clear how this episode release
interest and entrap the eyes of the observer.
Narrow. This form is strictly related to the threshold. By looking at the analysis of serial visions (2.7), abstract form (2.8) but also at the proportions (2.6), it is shown how
the dark passage is not balanced with the volumes around its.
Occupied territory. By the analysis of typologies (1.4) is readable the relation between the enclosed space and its formal functions. It is interesting to notice how this
relation influences the use of the space (analysis 2.1) and the narrative experience
of the space. Indeed, the presence of diverse typologies of functions related to the
enclosure produce a variety of uses releasing the form of an occupied territory.
128
4 FRAGMENT
6 FRAGMENT
Narrow. This is the first form of the fourth fragment. We found it in the threshold and
the best analysis to read this form is the serial vision 4 (2.7). Its importance lies in the
fact that it produces a strong contrast, interacting with the next space. Also analyzing the sight lines and the sequence of cone visions of the fragment (2.2) it is clear
how this form has an important narrative role.
Screened vista. The screened vista, visible by the analysis of the cone vision (2.2),
produces the effect of a closed space. This makes easier the take possession of the
space (2.1) above all for the dwellers that have a direct access to their house from
this small square (2.3).
Exposure. The proportion analysis (2.6) indicates the spatial explosion which follows
the narrowness of the threshold. Even if we catalogue the space of the park as an
enclosed space, the strong effect which release after the threshold defines it as an
exposure. The analysis of the cone vision (2.2) shows the proportional relation between the visual cone of the threshold and the arriving into the park.
Closure. The screened vista, visible by the analysis of the cone vision (2.2), produces the effect of a closed space. The material of the floor (2.5) strengthens the idea
of a clearly defined space. Also by the proportion analysis it is possible to perceive
the idea of a really closed space even if a small private street have a direct access
to the small square (2.6).
5 FRAGMENT
Screened vista. This form as it is shown by the analysis of cone visions (2.2) characterizes most of the spaces of this fragment. By the sections (2.4) we read the
screened vista as a separation between the public and the private.
Enclave. The presence of trees is important to design and measure the space in a
human way. This is visible by the texture analysis (2.5), the rhythm that the trees give
to the continuous texture make it stronger and more intimate.
Enclosure. The enclosure in this case is make up by the use of the screened vista.
Analyzing the sections (2.4) and the abstract forms (2.8) it is visible that the elements
of the environment seem enclose the observer into a space characterized by cubic
buildings. These make the image of the place to the space, measuring the dimensions and the boundaries as it is shown in the proportions analysis and the serial
vision (2.7).
Occupied territory. The use of this space takes its benefit by the presence of a
playground. This is the central point of the fragment, and become a space of gathering (2.2). The form of occupied territory is released also by the disposition of the
buildings along the street of Shuttersveld and the type of accesses, which provide
the image of a village street.
129
RELATIONSGRID
SUMMARY
ANALYSIS
CONCLUSION
RESULTS
SPATIAL FORMS /
ANALYSES
SCHUTTERSVELD
ANALYSIS OF THE
PATH
FRAGMENT 1
FRAGMENT 2
FRAGMENT 3
FRAGMENT 4
FRAGMENT 5
FRAGMENT 6
130
JAVA ISLAND, AMSTERDAM

Location: Amsterdam, NL
Neighbourhood: East-harbour
Size:
54000 m2
Java Island is a island in the east

harbor district of Amsterdam.
Java Island is a peninsula that was
built in 1900 for the arrival of large
ocean-going ships. This industrial
area was transformed into a residential neighbourhood for 1,300 households. The addition of four transverse
canals introduced an other form of
water on a smaller scale. Each
building has its own programme of
functions, access and design. In order
to realise a large degree of unity and a
great deal of variation and alternation
within the continuity of the quay
buildings, different types of plans
were required, as well as a number of
architectural rules, in order to prevent
design war.
131
1.1
0 5 10
path
25
50
100 m

fragment
inner ambience
linked space
panorama 360
x
water
6
F
9
D
10
G
G
E
11
H
2
C
B
132
1.2
0 5 10
path
25
50
100 m
fragment
panorama 360
x
9
4
10
5
11
6
133
1.3
0 5 10
path
25
50
100 m
fragment
panorama 360
x
9
4
10
5
11
6
134
1.4
dwelling
0 5 10
25
50
100 m
work
restaurant, bar
mixed use
park
playground
school
circulation
135
1.5
136

1.6
137
INDICATOR OIL SPOT
1.7
oil spot
138
2.1
0 5 10
path
25
50
100 m
fragment
formal playground
fragment 1
fragment 2
139
2.1
0 5 10
path
25
50
100 m
fragment
formal playground
fragment 3
fragment 4
140
2.1
path
0 5 10
25
50
100 m
fragment
formal playground
fragment 5
141
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 1
fragment 2
5,7
13
44 m
45
m
78
8m
142
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 3
fragment 4
14 m
m
11 m
122
22 m
m
7,3
5,7
84 m
9,8
143
2.2
0 5 10
path
25
50
100 m
fragment
inner ambience
screened vista
step of level
fragment 5
5m
17 m
4m
144
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 1
fragment 2
145
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 3
fragment 4
146
2.3
0 5 10
path
25
50
100 m
porch
fragment
corridor
gallery
lift
street
fragment 5
147
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
B2
B
C
A1
c2
C
D2
148
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
F4
C
E3
G4
149
INTERACTIVE FACADE

OPEN PASSIVE SPACE
10
25
50 m
ATTRACTIVE FACADE
visual attraction
it gives interest
stop in front of it
PASSIVE FACADE
fast movements
low interactions
D
C
H5
150
TEXTURES PLANS
2.5
fragment 1
fragment 2
151
TEXTURES PLANS
2.5
fragment 3
fragment 4
152
TEXTURES PLANS
2.5
fragment 5
153
2.6
154
2.6
155
2.6
156
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 1
fragment 2
157
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
fragment 2
fragment 2
158
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
6
5
fragment 2
fragment 3
159
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
8
7
fragment 4
fragment 4
160
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
10
fragment 4
fragment 5
161
SERIAL VISIONS
2.7
0 5 10
25
50
100 m
11
fragment 5
162
0 5 10
25
50
100 m
fragment 1
163
0 5 10
25
50
100 m
fragment 2
164
0 5 10
25
50
100 m
fragment 3
165
0 5 10
25
50
100 m
fragment 4
166
0 5 10
25
50
100 m
fragment 4
167
0 5 10
25
50
100 m
fragment 5
168
RELATIONS
3.3.1
JAVA ISLAND
ANALYSIS
FINAL
- SPATIAL
REPORT
FORM CATEGORIES
1.0 STUDY THE PATH
Enclosures. By the analysis of the oil spot (1.7), we visualized the shape of the enclosed spaces along the path. It is interesting to notice the alternation of enclosures
and exposures along the path. This makes stronger the contrast, releasing a stronger narration. The analysis of the circulation (1.4), show a main line for the movements which is interweaves to other secondary routes, making clearer the definition
of enclosure.
1 FRAGMENT
Exposures. The analysis of the oil spot (1.7) combined with the section (1.2) show
the other main character of the case study of Java Island: the exposure. In this case,
the contrast between enclosures and exposures is carried to the extremes. Indeed,
the morphological structure of the island (1.4) shows the strong relation between the
diverse fragments.
Occupied territory. By comparing the analysis of typologies (1.4) with the analysis
of the uses (2.1) it is readable that in the case of Java, the relation between the
enclosed spaces along the path and the functions of the buildings does not really
influence the use of the space (2.1). This is not true if the reading focuses on the
typology of the open spaces (playground) which produce a multiple use of the enclosure. In addition, reading the uses of the space (2.1) in combination with the analysis
of morphology (1.5) and accesses (2.3) establishes a clear relation between these
characteristics.
Exposures. Already through the analysis of the oil spot (1.7) combined with the section (1.2) have shown the character of the exposures in the case of Java Island. In
the case of the first fragment by the analysis of proportions (2.6) and the abstract
forms (2.8) it is visible the strong relation between the narrow entrance of the dwelling block and the emptiness of the surrounding.
Closed vista. This spatial form characterizes in particular the relation between the
observer citizen and the dwelling block. Looking at the sections (2.4) and at the serial
visions (2.7) it is visible the unbalanced relation between the human scale and the
building that will be crossed by the citizen.
Looking into. The analysis of proportions (2.6) shows the relation between the tall
faade of the dwelling block and the narrow passage towards the inside of the
court.
This relation provokes the spatial form of Looking into. By the serial vision analysis
(2.7) we can see that the deflection inside the court enhance the interest to look
inside, creating an important sight line (2.2).
Change of level. Looking at the general section (1.2) is visible that the change of
level characterize is present along the entire path even if in a soft way.
169
2 FRAGMENT
3 FRAGMENT
Enclosure. The entrance into the courtyard provokes the dimension of the enclosure. Already comparing the abstract forms of the first fragment with the second
fragment (2.8) it is clear the change of visual relation with the surrounding. By the
use of the proportion analysis (2.6) we can confirm the creation of this spatial form
looking at the way in which the buildings are disposed of the site. They enclose the
space releasing anyway the idea of a free circulation space.
Change of level. Entering in the third fragment, the change of level, that characterizes the entire path, is more visible. This strengthens the sequence of diverse scenarios from an enclosed space to an exposed one (2.7).
Screened vista. The form of screened vista also in the case of Java Island is important to strengthen also the other spatial forms. By the combination of the analysis of
serial visions (2.7) and the sections (2.4) is visible the role of the small wall on which
the vegetation has grown. It divides the main space of the enclosure in two smaller,
one for the circulation and one which becomes an enclave. The wall screens the
vista from both the sides. In addition, we found this form along the space for the
main circulation where also on the other side of it the vista is screened by the bushes
which divide the private form the public (2.2).
Enclave. By the serial vision (2.7) is visible the creation of a lower space compare to
the space of the circulation. Looking at the sections (2.4) and at the texture analysis
(2.5) is shown how the lower space become a real enclave, which is protect from
the circulation space by the screen vista of the wall, the lower level of the floor and
the presence of trees.
Exposure. Entering in the third fragment, the change of level, that characterizes the
entire path, is more visible. This strengthens the sequence of diverse scenarios from
an enclosed space to an exposed one (2.7).
Looking into. The analysis of proportions (2.6) shows the relation between the long
faade of the dwelling block and the tiny passage towards the inside of the court.
This relation provokes the spatial form of Narrow. By the abstract forms analysis
(2.8) we can relate the long faade also to the exposure. Reading these two relations we can state that the result is the creation of the form of looking into: into the
next enclosure and into the exposure. The creation of this form is shown also by the
analysis of important sight line (2.2). If the attention is focused on the texture (2.5) is
possible to see how also the continuity of the textures and material in the direction
of the sight lines (2.2) strengthens the effect.
Occupied territory. The presence of the enclave provokes the strong use of the
space. By the analysis of the uses (2.1) is visible the presence of a small playground
but also the formation of several informal uses like the staircases which become
public benches. The enclave is used as public playground but also as intimate garden where the residents gather together.
Change of level. Looking at the sections (2.4) is visible the change of level between
the space of the circulation and the enclave. As said, this is enhances by the use
of screened vista (2.7) and also by the use of a different texture and material of the
floor (2.5)
170
4 FRAGMENT
5 FRAGMENT
Enclosure. The entrance into the courtyard provokes the dimension of the enclosure. Comparing the abstract forms of the third fragment with the fourth fragment
(2.8) is shown how the composition in forms of the space is really different. In the
case of the fourth fragment the there is the absence of strong perspective flight. By
the use of the proportion analysis (2.6) we can confirm the creation of this spatial
form looking at the way in which the buildings are disposed of the site. They enclose
the space releasing anyway the idea of a free circulation space. By the cone vision
analysis (2.2) is also possible state that there is the creation of an inner enclosure
within the enclosure which is defined by the sudden enlargement of the circulation
space.
Narrow. The serial vision (2.7) shows in a clear way the importance for the narrative
experience of the passage between the narrowness of the threshold and the next
space. The sequence of sections (2.4) and the analysis of cone vision (2.2) show that
the tiny passage is enhanced by the strong contrast.
Screened vista. This spatial form characterizes the space of the enclosure provoking the formation of an inner ambience within it: the enclave. By the analysis of the
cone vision (2.2) is visible the way in which the screened vista leads the observer. In
addition, we found this form along the space for the main circulation where also on
the other side of it the vista is screened by the bushes which divide the private form
the public (2.2).
Exposure. Combining the analysis of the cone visions (2.2) with the analysis of the
proportions (2.6) is visible the strong relation which is created by the arrival to the last
point of the path. The exposure is made stronger by the narrow threshold through
the citizen passes. The abstract forms analysis (2.8) and serial vision (2.7) investigate
this strong relation which releases an important sense of narration.
Enclave. By the serial vision (2.7) is visible the creation of a small central garden.
Looking at the sections (2.4) and at the texture analysis (2.5) is shown how the space
become a real enclave, which is protect from the circulation space by the screen
vista of the trees and allows informal uses of the space (2.1).
Screened vista. In the last step, the screened vista is used to modulate the passage
between the narrow threshold and the exposure. By the use of the serial vision (2.7)
and the section (2.4) it is shown how the use of the trees creates a soft buffer. The
analysis of cone vision (2.2) explains the role of the trees in creating the human scale
environment from which look toward the exposure.
Change of level. The passage between narrow passage and exposure is modelled
by the slop which provoke a change of level how is possible to see by the general
section (1.2). This event enhances the contrast and leads the observer to the arrival
point of the path (2.7).
Occupied territory. The presence of the enclave provokes the strong use of the
space. By the analysis of the uses (2.1) is visible the presence of several informal
uses like the space between the trees which become a playground for the children.
The enclave is used as public playground but also as intimate garden where the
residents gather together. In addition, combining the uses to the analysis of the accesses (2.3) it is visible that the street access provokes the form of possession of the
space also by the dweller.
171
RELATIONSGRID
SUMMARY
ANALYSIS
CONCLUSION
RESULTS
SPATIAL FORMS /
ANALYSES
JAVA ISLAND
ANALYSIS OF THE
PATH
FRAGMENT 1
FRAGMENT 2
FRAGMENT 3
FRAGMENT 4
FRAGMENT 5
FRAGMENT 6
172
4.0 GRID OF CONCLUSIONS
173
RELATIONS
4.0
GRID OFANALYSIS
CONCLUSIONS
RESULTS
SPATIAL FORMS /
ANALYSES
PENTAGON
SCHUTTERSVELD
JAVA ISLAND
ANALYSIS OF THE
PATH
FRAGMENT 1
FRAGMENT 2
FRAGMENT 3
FRAGMENT 4
FRAGMENT 5
FRAGMENT 6
174
4.1 REFELCTIONS ABOUT THE CASE STUDIES CONCLUSIONS
175
RELATIONS
4.1
REFLECTIONS
ANALYSIS
ABOUT
- SPATIAL
THE CASE
FORM
STUDIES
CATEGORIES
CONCLUSIONS
The origin question which had led the research until now was:
The role of the screened vista.
Which juxtaposition of spatial forms defines the narrative experience, moving

through the fragment sequence of the patchwork?
Several analyzed fragments of the case studies show how the role of the spatial
form Screened Vista is not just related to the purpose to separate two or more different spaces. This spatial form provokes most of the times the spatial form of the
enclave within the enclosure and consequently strengthen the feeling of possession
of a space, making active the formal and the informal use of it (occupied territory).
This spatial form is one of the most present within the different case studies and it is
often present in a diverse typological look, using several textures and material. The
important aspect to notice is that the topological significance has always the same
meanings.
The answer to this question lies in the conclusions of each case study. The short report at the end of each case, has the purpose to clarify with an analytical explanation
how and which juxtaposition of the spatial forms defines the narrative experience.
Each case study taught us to think it as the representation of a patchwork within
the general patchwork of the city. This was expectable since the starting decision to
analyze each case study not just as one but as a sequence of different fragments.
Each one became a single case study to analyze. Thus, at the end we had to deal
not just with 3 case studies but rather with 17 small case studies to investigate with
the same intensity.
The large number of analyzed fragments gives us the further possibility to reflect
about the juxtaposition of the spatial forms and their general role in the definition of
the narrative experience. With this short synthesis we are going to summarize some
reflections which are raised by the conclusions.
Frequent juxtaposition (I).

The reflection about the Screened Vista can be extended focusing the attention on
the spatial forms which are related to it. Reading the results of the analysis we can
define a frequent juxtaposition of forms which characterize in different typological
ways the three case studies of Pentagon, Schuttersveld and Java Islad. This juxtaposition is made by the combination of screened vista + enclosure + occupied
territory. We found it three times in the case of Pentagon and two times in both,
the cases of Schuttersveld and Java Island. In addition, all the cases present the
juxtaposition of a further spatial form: enclave. This happens two times both in the
Pentagon and in the Java Island cases and one in the Schuttersveld case. Thus, the
role of the form screen vista can be demonstrated also by this reflection.
Frequent juxtaposition (II).
Another interesting reflection about the conclusions of the case studies can be made
about the juxtaposition of the spatial forms narrow + exposure. Also this juxtaposition is present in the three case studies at least one time with the exception of
Java Island in which we found the juxtaposition three times. This relation between
the narrowness and the openness enhance in all the cases the meaning of moving
through the space to experience the sudden change of scenario. Comparing the first
fragment of Schuttersveld with the other cases in which this juxtaposition appears,
176
makes clear the importance of this sequence from a narrow space to the a complete
open space. In the first fragment of Schuttersveld indeed, the exposure neither follow nor is followed by the form narrow so that the released effect of narration is
different compare to the other cases.
Frequent juxtaposition (III).
The third frequent juxtaposition is made by the forms narrow + looking into. Basically these two forms are always intertwined by a relation of cause and effect. Even
if this relation has already been observed by Gordon Cullen in his book The concise
Townscape, we noticed a peculiarity which makes the observation more interesting.
In all the three cases, this couple of forms is enhanced by the presence of the other
form change of level. This third spatial forms has always the role to strengthen the
relation of cause and effect, leading the citizen observer to take interest to explore
the space beyond the narrow passage.
177
4.2 DISCUSSION
178
RELATIONS
4.2
DISCUSSION
ANALYSIS - SPATIAL FORM CATEGORIES
Arne Lijbers. In our research we tried to make the intangible, tangible. We did
research on the fragments within the patchwork of an urban structure. We made
a catalogue of categories which we can use for our further design. It is interesting
to see which effect the categories have on the perception of a place. Because the
perception of a place is hard to define in architectural features we tried to find a
way to categories the perception. By using a width range of theory and research
instruments we can say that the conclusion gives a clear view of how the relevant
fragment is perceived. Thus, how and which architectural features influence the perception. The catalogue of categories will be helpful for the further design in Berlin. It
will help us to understand the influence of the categories on a place. We started the
research on the case studies to establish a path through the fragments and the transitions between them. By this kind of research we can see the differences between
the fragments and transitions and which categories influence the perceptions. Each
fragment and context is different, the research state that categories can also work
together and have different influences on a place. By using this final report with the
catalogue of categories you can see that allot of categories strengthen each other.
Thus this overlapping information between the final report and the catalogue makes
it possible to give a good inside in how these categories can be used.
Francesco Visco. I think that one of the values of the research that I developed
with Arne is that it is a unfinished research. Just the day of the last presentation we
realized that could not be possible to study the last case study of Kasbah because
of the short time. This problem gave us the possibility to stop for a moment the
production of the analyses and to reflect about the purpose of the research and the
meaning of the case studies. In that moment we understood that actually, the huge
amount of analyses that we made were not just about 3 case studies. We reflect
about the case studies and we realized that from each one of them we produced
several conclusions which were different according to the inner.
This reflection gave me credits for believing that the most interesting part of the
research has been the development of a approach methodology to the question of
the perception. In my opinion, the method has could be integral part of the standard
analyses which normally the designer use to do in the first approach to the site planning. Several of the developed analyses can be used to understand the relation human visual perception architecture in each step of the design process.
Thus, Im really looking forward to the next step that this research request: apply the
developed method like a design methodology.
179
5.0 BIBLIOGRAPHY
180
RELATIONS
5.0
BIBLIOGRAPHY
ANALYSIS - SPATIAL FORM CATEGORIES
Colin Rowe and Fred Koetter, Collage City, MIT Press, reprint 1984
Pennink Mony Dekking Boom, Gordon Cullen, Huisdrukkerij TH Delft,
1976
Leon Krier, The City Within the City, A+U, Tokyo, November 1977
Jane Jacobs, The Death and Life of Great American Cities (1961)
Jan Neutelings, Urbanism research commissioned by the city Den Haag
Kevin Lynch, The image of the city, The MIT Press, 1960
Aldo Rossi, Casa Aurora & Other recent projects, in Architectural Design, 1988
S. & R. Kaplan, Humanscape Environment for people, Duxbury Press, 1978
Monice Malnar and Frank Vodvarka, Sensory Design, University of Minnesota
Press, 2004
Hand Teerds, Public realm, public space, Oase#77, NAI Publishers, 2008
Steven Holl, Artemis Architecture - Steven Holl, 1998
Laura Schrijver, The Architpelago city, in OASE# 71, Nai Publisher, 2006
Steven Holl, Anchor, Princeton Architectural Press, 1991
Oswald & Ungers, Early Communes in the USA, in Architectural Design n 42,
1972
Steven Holl, Parallax, Princeton Architectural Press, 2000

Harry Mallgrave, The architects brain, Wiley Blackwell, 2010
Steven Holl, Intertwining, Princeton Architectural Press, 1996
DASH, New Open Space in Housing Ensambles, Nai Publisher, 2010
Gaston Bachelard, The poetics of the space, Beacon Press, Boston, 1994
Jan Gehl, Life between buildings, The Danish Architectural Press, 2010
Juhani Pallasma, Encounters, Rakennustieto, 2005
Rem Koolhaas and Bruce Mau, S,M,L,XL, 010 Publishers, 1995
Royal Danish Academy of fine Arts ,Close encounters with buildings, Centre for
Public Space Research/ Realdania Research, 2004
Leupen & Mooij, Het ontwerpen van woningen, Nai Publisher, 2008

Stephan Graham and Simon Marvin, Splintering Urbanism, Routledge, London,
2001
181

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FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

5TH NOVEMBER 2010

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

GROUP STATEMENT, KEYWORDS AND RESEARCH QUESTION

PERSONAL STATEMENT, RESEARCH QUESTION AND ESSAYS

The narrative experience of the specific space.

1.0 CRITERIA OF RESEARCH FIELDS

1.1 LIST OF CASE STUDIES

2.0 METHODS OF RESEARCH

2.1 METHODS OF ANALYSIS

2.2 METHODS OF READING THE RESULTS

2.3 COMBINE THE ANALYSIS AND ORGANIZE THE CONCLUSIONS

3.0 CASE STUDIES

4.0 GRID OF CONCLUSIONS

4.1 REFELCTIONS ABOUT THE CASE STUDIES CONCLUSIONS

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

GROUP STATEMENT, KEYWORDS AND RESEARCH QUESTION

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

GROUP STATEMENT, KEYWORDS AND RESEARCH QEUSTION

FLUCTUATING THROUGH THE FRAGMENTS OF THE PATCHWORK CITY,

A city must be read as a carpet of spatial programmatic fragments, as a continuum

Following the thought of Neutelings, the contemporary city should be considered as

Consequently, the objective of the research is to uncover

4 Kevin Lynch, Site Planning

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

PERSONAL STATEMENT, RESEARCH QUESTION AND ESSAYS

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

PERSONAL STATEMENT AND RESEARCH QUESTION

The narrative experience of the specific space.

The contemporary city should be considered as fragmented, dynamical,

Henry James, in Malnar and Vodvarka, Sensory Design

Kevin Lynch, The image of the city

Gordon Cullen, The concise townscape

Gordon Cullen, The concise townscape

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

ESSAY THE NARRATIVE EXPERIENCE OF THE SPECIFIC PLACE

THE NARRATIVE EXPERIENCE OF THE SPECIFIC SPACE

According to Cullen, the experience of the space provokes responsive emotions

Steven Holl, Parallax

Gordon Cullen, The concise townscape

Henry James in Malnar and Vodvarka, Sensory Design

Gordon Cullen, The concise townscape

Paul Valery, Il metodo di Leonardo

Gordon Cullen, The concise townscape

Gordon Cullen, The concise townscape

Kevin Lynch, Site Planning

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

Searching for other properties which influence the narrative experience, it is

places are specific;

These principles become interesting for the definition of narrative properties

Kevin Lynch, Site Planning

Kevin Lynch, Site Planning

Steven Holl, Pre-theoretical ground in Artemis Architecture, Steven Holl

Steven Holl, Pre-theoretical ground in Artemis Architecture, Steven Holl

FRAGMENTS OF THE PATCHWORK AS A NARRATIVE EXPERIENCE

S. & R. Kaplan, Humanscape Environment for people

The Kaplans examined these factors as distinct phenomena, trying to consider

According to Malnar and Vodvarka, complexity refers to the intricacy of the

S. & R. Kaplan, Humanscape Environment for people

S. & R. Kaplan, Humanscape Environment for people

Kevin Lynch, The image of the city

Malnar and Vodvarka, Sensory Design

Malnar and Vodvarka, Sensory Design