Sie sind auf Seite 1von 30

A Guidebook to Urban Design This guidebook is an introduction to

some of the key concepts of urban design.


It is a beginners guide aimed at anyone
By Deer Park Alpha who wants to grasp the basics.

It will be a useful resource for people


whose city, town, village or estate is about
to undergo change through urban re-
generation. The guidebook is designed
to enable you to understand some of the
issues presented by urban designers and
planners and to give you the confidence
to talk their language and appreciate what
good urban design can be. This will help
you influence the design so that it
changes your communitys day-to-day life
for the better.
Introduction

i. What is Urban Design? . . . . . . . . . . . . . . . . . . . . . . 2


ii. Why Should I Care About Urban Design? . . . . . . . . . . . . 4
iii. What is in this Guidebook? . . . . . . . . . . . . . . . . . . . . 6
Dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Place 10

i. Local Character & Pattern . . . . . . . . . . . . . . . . . . . . 12


ii. Orientation, Landscape & Weather . . . . . . . . . . . . . . . 14
iii. Routes, Views & Vistas . . . . . . . . . . . . . . . . . . . . . . 16
iv. Enclosure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Case Study Blandford Forum, Dorset . . . . . . . . . . . . . 23

Making Good Spaces 24

i. How High, Wide & Far Apart . . . . . . . . . . . . . . . . . . . 26


ii. Building Lines & Corners . . . . . . . . . . . . . . . . . . . . . 28
iii. No Blank Walls Please . . . . . . . . . . . . . . . . . . . . . . . 30
Dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Case Study Silver Hill Development, Winchester . . . . . . . . 35

Bringing it to Life 36

i. Connecting Buildings to the Street . . . . . . . . . . . . . . . . 38


ii. Urban Clutter & Materials . . . . . . . . . . . . . . . . . . . . 40
iii. Public & Community Art . . . . . . . . . . . . . . . . . . . . . 42
Dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Case Study Weston Shore, Southampton . . . . . . . . . . . . 45

An Invitation to Get Involved 46


Further Reading 47
Acknowledgements 48
What is Urban Design?

Urban design means shaping villages, towns


and cities in ways that make them inspiring
and functional places to live. Urban design
applies equally to single buildings, streets
or entire neighbourhoods. It recognises that
any urban area is a complicated network of
building types, transport systems, people,
landscapes and spaces.

Urban design involves making decisions


to promote community spirit. A successful
place, whether developed over time or
through urban regeneration, allows people to
move freely through interesting surroundings.
It is these characteristics that inform this
guidebook which has people and places,
not buildings, at its heart.

7
Why Should I Care About Urban Design?

Good urban design changes peoples tried and trusted ideas, and community
lives for the better. It can make a journey participation. These new principles of
to school easier or a walk to the shops urban design learn from the great towns
safer and more enjoyable. Urban design is and cities of civilisation, but do not seek
relevant to large and small developments: to copy or hark back to the past as a
Whether it is a shopfront or an office better time.
building, it affects the suburbs as much
as our historic city centres. Through Planners and urban designers have realised
regeneration, urban design can help that residents know their area better than
communities that have spent years in anyone else: they know the problems, have
decline because of under-investment dreams for the future and even have some
and earlier unsuccessful design decisions. of the solutions. It is now common for
communities to be asked for their views
The twentieth-century saw the adoption and experiences before any designs have
of planning ideas that gave the car centre been drawn.
stage. These ideas were often poorly
implemented; they favoured large roads So why should you care about urban design?
and high-rise buildings over historic Because through events like community
street patterns and buildings that related planning workshops, you can put forward
to people. A look at before and after your ideas, make your communities better
photos demonstrates these changes. and ensure that the professionals have your
desires at the top of their list.
Fortunately, we are learning from our
mistakes and things are changing. At
the centre of this change are two agendas: We hope that this book will help you
New urban design principles, based on have your say.
What is in this Guidebook

This guidebook to urban design covers high quality public spaces and have clear
some key aspects of urban development: routes and landmarks. Great places are
layout, landscape, scale and appearance. sustainable, adaptable to change and have
a diverse mix of facilities that respond to
Layout deals with the overall plan of local needs.
a place including routes, spaces and
urban blocks. Scale is the height, width Remember: This guidebook is only the tip
and shape of buildings in relation to their of the iceberg! It does not cover every area
surroundings. Appearance is how a place of urban design. However, it will hopefully
looks and feels through materials and lead you to wanting to explore the subject
architectural features. further. To this end, there is a list of further
reading material at the back of the book.
Each of these aspects is loosely given its The books and publications listed are
own chapter where it is broken down into appropriate to developing a more advanced
easily understandable parts and explained understanding of where we live.
with the help of illustrations and a case
study. In addition, each chapter features
a dictionary that explains the highlighted
words and phrases.

Integral to each of these aspects of urban


development are a number of urban design
principles that successful places generally
have in common. Successful places tend to
have a character all of their own and have
streets and buildings that have defined
public and private spaces. In addition,
they are easy to move around in, feature
Introduction Dictionary

Built environment Regeneration Urban design Aspects of Development Form


All the man-made spaces, buildings and Renewing and revitalising an area. Making a place. Urban design involves By Design refers to eight Aspects of
infrastructure in towns and cities. Urban Regeneration was defined by the design and planning of spaces, routes Development Form. Urban design objectives
English Partnerships in 2003 as the and groups of buildings in villages, towns are, by themselves, abstract. They have an
Functional holistic process of reversing economic, and cities. Good urban design makes impact on peoples lives only by being
A building or space that is usable, social and physical decay in areas where successful developments. translated into development. The form
sometimes at the expense of decoration it has reached a stage when market forces of buildings, structures and spaces is the
or other aesthetic considerations. alone will not suffice. Urban designer physical expression of urban design.
A professional person who specialises
Landscape Scale in shaping urban environments. They may The most important characteristics of
The form and character of land and The impression of a buildings size and come from a background in architecture, the physical form of development are:
external space. shape compared to its surroundings, landscape architecture or planning.
especially in relation to the size of a person. Layout: urban structure;
Layout Urban Design Principles Layout: urban grain;
How buildings, streets and open spaces Space Guiding rules for making the best spaces Landscape;
are placed in relation to each other. An area set aside for a particular purpose. in a town or city. By Design (See further Density and mix;
It is often enclosed by physical things such reading) suggests seven objectives of Scale: height;
Neighbourhood as walls and buildings. Urban Design: Scale: massing;
An area within a city or town that has Appearance: details;
some distinctive features (especially one Suburbs 1. Character Appearance: materials.
forming a community). The blocks and neighbourhoods at the 2. Continuity and enclosure
edge of a town or city. There is less of a 3. Quality of the public realm The structure of this guidebook uses
Planner concentration of buildings and people 4. Ease of movement these eight aspects of development form to
A professional person who implements or than in towns. 5. Legibility demonstrate the objectives of urban design.
advises on strategic changes in the built 6. Adaptability
environment. This includes engaging Sustainability 7. Diversity. Urban block
communities to have a say in how their Meeting the needs of the present without An island of buildings surrounded by
local area is developed and making towns compromising the ability of future generations intersecting streets. Many blocks make
and cities that include attractive buildings. to meet their own needs. Bruntland, 1987 up a town or city.
Introduction

It is often said that urban design is about


the space between buildings and not
about the buildings themselves. Buildings
can be seen as a backdrop to the drama of
public life which plays out in the squares
and streets of our towns and cities.

Good urban design interprets and builds


upon the historic character, the existing
landscape and the aspirations of the local
communities, and arrives at a vision of
what a place might become.

Often, it is the quality and layout of public


spaces, such as squares, parks and streets
that give a place its identity. Think of your
local area. What are the places that come
to mind? They may have a variety of spaces
that are clearly defined and enclosed
by carefully positioned buildings or trees.
They may present views of local landmarks
and destinations, which helps you to
orientate yourself and makes a place
easy to understand.
Local Character & Patterns Character is the combination of qualities and features that distinguish
one place from another. We all love places that have character. If we think
of our favourite place, it will have a distinctive flavour all of its own that is
easily recognisable and describable.

People describe places they enjoy with words like fun, safe, charming,
pretty, friendly and welcoming. These words and phrases describe the
intangible qualities of a place. They describe the whole of that place rather
than any specific buildings or other physical things.

We can design and build new developments that allow people to talk
about their place with pride. This can be achieved by understanding what
makes or has made a place unique and then enhancing these to make the
most of them. Urban designers need to listen to the local community to
gain this understanding; it is hard to make a successful place without
this help.

Existing and historic patterns of streets and squares, along with the buildings,
form what is called the urban structure. Picking up on these existing
patterns and connecting new development to it, will make a place
interesting and rich with atmospheric qualities. It will also make a place
easy to move around, as new streets run into existing streets rather than
dead ends. Destroying the established urban grain with a new building
or development is rarely successful.
Orientation, Landscape & Weather The wind can work for and against us. Cool breezes in summer provide
natural air conditioning, but turbulence and the significant cooling effect
Good urban design exploits the natural elements such as the sun, wind, of wind on buildings and spaces is not so welcome in winter. The human
water and the natural dips and rises of the land to enhance the quality desire to huddle together applies to the layout of buildings, and by placing
and uniqueness of a place. low buildings close together the wind can be deflected over the urban area.

Understanding how a development can work with the natural world is at There are a number of ways that design can be used to make the most of
the heart of sustainability. The sun always rises in the east, always sets in the fundamental characteristics of any site. These include using slopes to
the west and is at its highest in the sky at midday. In the winter when the provide views and ponds to cool the summer air which blows across them.
days are short, the sun is low and penetrates further into buildings, casting Additionally, the positioning of deciduous trees in front of buildings
long shadows. Come the summer, the sun is high in the sky and the long blocks the sun in summer, whilst allowing it through in the winter. Not
days allow us to spend more time outside. only do these principles help make a unique and interesting place, but
they are sustainable and at the root of good simple green design.
The landscape and its topography shape the way we inhabit a place. When
the shape of the land is used, it can provide shelter, create viewing points It is no coincidence that 250-year old cottages often face south, have few
and locations for prominent buildings. Trees and other vegetation not only windows facing north, are built in hollows, sheltered from the wind,
make a pleasant place, but also provide shelter and natural privacy. and are made from local materials. We can learn much from history
and nature. The trick is not simply to copy them, but to apply what
is learnt from them appropriately.
Routes, Landmarks, Views & Vistas

A simple but interesting layout of streets enables people to easily orientate


themselves and navigate to their destination. Clearly defined and accessible
routes that connect with each other are therefore important to the success
of a place.

A mixture of large and small streets forming a network of routes gives


choice and priority to pedestrians and cyclists. However, a balance needs to
be found between pedestrians and vehicles, as they are both critical to the
day-to-day business of any successful town or city. The best parts of most
towns and cities are where pedestrians and cars are given equal priority.

A network of routes works best when the main streets are full of shops,
offices, public buildings and housing. Routes are also successful when
they are connected with each other to provide alternative ways of getting
around. Smaller, less important routes form a fine grain of walkable streets
that divide the city up into interesting and revealing public and private
spaces.

Creating vistas rather than blocked views allows people to move around
easily by visually linking their current location to a destination. Vistas
that end in or give prominence to landmarks are most successful. This is
because people use landmarks to find their way around a place whether it
is familiar or not. This is often referred to as legibility.

From the town, distant views of the wider landscape remind you of where
you are in relation to the countryside or other towns. Also, strong landmarks
such as a church spire can enhance distant views towards a town or city.
Enclosure

The need to protect ourselves from wind, rain, cold and heat is a basic
human instinct and enclosure in urban design is of great importance.
Enclosed spaces shelter us from the sun, wind and rain.

Enclosure occurs when streets and squares are contained by buildings and
to a lesser extent by walls, fences and planting. There are varying degrees
of enclosure, and this variety makes a place interesting and pleasant.

Stand-alone buildings such as large blocks of flats rarely create a sense of


enclosure and often fail to create pleasant places to live. They are usually
positioned in the middle of a site surrounded by car parking, perhaps
a playground and other grass or tarmac areas that nobody uses
or cares about.

To create enclosure, buildings should be placed around the edges of


the site to create public and private areas between them that are
enclosed, sunny and secure.

However, enclosed space should not be confused with a closed space.


Closed spaces do not offer easy routes out, whereas enclosed spaces
lead you along well-defined streets and paths. Successful urban design
is a series of interlinked enclosed spaces that are easy and safe to find
your way around.

Enclosure is most successful when buildings are organised together to


create positive space rather than positioned randomly without regard for
one another, resulting in areas that are uninhabited, sometimes unsafe
and generally unpleasant.
Place Dictionary

Architecture Deciduous trees


The art and science of design and Trees that shed all their leaves annually
construction of buildings. It can also at the end of the growing season. Trees
refer to the style of a building e.g. species such as oak, maple and beech are
Victorian Architecture. deciduous. Evergreen trees such a pine
retain their leaves all year round.
Character
The combination of traits and qualities Interlinked
distinguishing the individual nature of Connected. Interlinked spaces form
a person or thing. an interesting progression of streets
and squares.
Enclosure
To create defined urban spaces by the Landmarks
position of builidngs, structures, A building, structure or natural feature that
vegetation or landform. stands out from its background by virtue of
height, size or some other aspect of design.
Intangible
Incapable of being perceived by touch, Legibility
sight or smell. An intangible quality of The degree to which a place can be easily
a space is what it feels like emotionally understood and interpreted.
e.g. welcoming.
Massing
Landscape Architecture Shape, height and volume of a building
The art and science of designing spaces or group of buildings.
using natural and built materials in the
urban and rural environment. Orientate
To find ones way around, or to refer to
the direction a building faces in relation
to the points of a compass.
Place Dictionary

Place Secure
A particular point or part of a space A place that is safe. Secured by Design
that is occupied by a person or thing. is a police supported initiative that gives
Norwegian architect Christian a design a stamp of approval if it has
Norberg-Schulz has said that A place considered safety.
is a space that has a distinct character.
Topography
Positive Space The shape and study of the land and
Considered and well designed urban its man-made or natural features.
space: somewhere that is pleasant to be.
Urban structure
Square The framework of routes and spaces that
An urban space that is enclosed by connect locally and more widely, and the
buildings. A square in this sense can way developments, routes and open spaces
be an irregular shape such as a triangle! relate to one another.
Squares are important breathing spaces
in cities and provide areas for sitting, View
socialising, playing, eating and What is seen from a certain place.
admiring buildings.
Vista
Street An enclosed view, usually long and narrow
A public space usually lined with framed on a landmark or along a street.
buildings that is used by vehicles or
pedestrians or a mixture of both. Walkable
It differs from a road which is more A term that describes a place that is easy
vehicle-focused and is less likely to be and safe to walk around. A walkable city
lined with buildings. is one where homes, workplaces and shops
are close together and connected so that
the need to use a car is reduced.
Case Study :: Blandford Forum, Dorset

At the centre of the town is the Market Place that is wide


and enclosed by tall important buildings. This contrasts
with the narrow streets with low buildings that link into
the Market Place. A journey through the town is a good
example of different degrees of enclosure and interlinked
spaces.

Public buildings such as a hotel, town hall and church


are used as landmarks within an otherwise consistent and
nearly continuous line of local brick and stone buildings.
The church is a key landmark within the central Market
Blandford Forum is one of the finest Georgian towns in Place. It is the only tall building in the town, is therefore
England. It was rebuilt following its near destruction by a visible from a distance and provides an identity for the
great fire in 1731. The town is next to the River Stour and town. The town sits on a slight hill and with its curving
was recorded in the Doomsday Book. streets creates vistas of the carefully positioned landmark
buildings and of the countryside beyond.
Even though it was regenerated 270 years ago, important
lessons can be learnt about successfully redeveloping a Blandford Forum was rebuilt using historic patterns
place to enhance what already exists. using tried and tested urban design principles, but in the
contemporary architecture of the day. It is important that
Blandford Forum was rebuilt using the street layout our towns and cities learn from the past, represent the
that existed before the fire. This pattern of streets had present and look to the future.
developed over centuries because it was at the crossroads
of established trading routes from other significant towns
including Salisbury and Dorchester. By using the historic
pattern of the streets and squares, its local identity was
retained and enhanced.
Introduction

Buildings are defining pieces of the built environment.


Their size, shape and position in relation to one another
have a big impact on us.

This chapter explains how the space between buildings


is important and how buildings meet the street and their
surroundings. The best places have a variety of different
spaces: wide or narrow, sunny or shaded and open or
enclosed. Public spaces need to be positively designed,
they are places where the city comes to life and where
local culture can be expressed.

Buildings have an effect on the street or square that they


face. This can be both positive and negative. A long blank
wall facing a busy street can create an unattractive place.
On the other hand a street with shops on both sides
creates a lively environment. Corner buildings should be
seen as key features in our towns and cities because they
can act as landmarks to help us orientate ourselves.

The number and type of buildings affects the economic


viability of a place and is referred to as density. Higher
density developments enable more people to live in one
location and provide more customers to sustain local
shops and businesses. In addition, higher densities
help to support public transport and create vitality.
To achieve higher densities, care needs to be taken to
position buildings to create spaces around them that
are pleasant and can allow for change.
How High, Wide & Far Apart

The height of buildings surrounding streets Urban designers use a street-to-building enclosed. It is interesting to note that many
or squares affects the experience a person height ratio to express different types of of the much loved medieval cities have
has of that place. Think of the extremes: enclosure. A one to one ratio means the ratios of three to one, i.e. the buildings are
tall buildings along narrow streets and low street is as wide as the buildings are tall. three times as tall as the width of the street.
buildings along wide streets. Both can have A common ratio is one to three, where the
a sense of enclosure but the amount of street is three-times as wide as the height In urban locations, buildings that are four
light, the sound of traffic and the different of the typical buildings along it. This width to eight-storeys (medium-rise) can provide a
kinds of views and vistas will be very of street can incorporate wide pavements, good mix of density, flexibility, building
different. A well thought-out mixture of parking on both sides and two lanes of cost and energy use. In addition, streets
wide and narrow streets with tall and low traffic. Squares and boulevards can have and squares with continuous medium-rise
buildings will make a place interesting. a ratio of up to one to six and still feel buildings along their edges will highlight
and enhance public buildings, which can
be taller, wider and made from contrasting
materials. Of course, suburban areas and
villages (which are lower-rise and less
dense) have different requirements in
terms of building height and shape, where
single-storey, detached buildings might
be appropriate. It is therefore important
that the design of new buildings and
developments considers carefully the
existing context.
Building Lines & Corners

The building line is the boundary of the building with the streets and
squares. Dependent on location and building use, there are several ways
a building can be positioned in relation to the building line.

In the centre of towns and cities, the main buildings are best built right
up to the building line. This gives a clear definition of private and public
space and ensures that there are no left-over areas or recesses.

Set-backs of two or three metres can work well as areas for shops and cafs
to have seating or for houses to have a buffer to the pavement and to store
bikes and bins. Smaller set-backs of around half a metre rarely work as
the space is too small to use successfully. These smaller dead spaces often
become places for litter to gather.

In suburban areas where there might be more detached properties, the


building line can move much further back from the street. However, it
still needs to be consistent. Garages should not be positioned between
the boundary and the building line as they degrade the importance of
the buildings entrance and relationship to the street.

Corner buildings are special. They have two fronts and are often important
landmarks at the junction of streets. They can be taller than the buildings
that adjoin them and sit forward of the building line. Corner buildings
are an opportunity to give distinctive character to a place and should be
specifically designed for a corner site. It is a shame that in many residential
areas, house builders use a standard design regardless of whether it is a
corner or not.
No Blank Walls Please

A street with a continuous blank faade Views into buildings provide interest, entrances of a street of small shops This creates dead frontage. Garages
offers little idea of what is behind it. whilst views out contribute to safety or houses. This can have the effect of and parking can be placed to the rear,
Consequently, the street may feel unsafe by making a place feel overlooked. creating blank faades and deaden a leaving the front of the house for the front
and give the passer-by little to look at. The number of doors and entrances street. The rhythm of the narrow buildings door, porch and windows which can look
By contrast, a street with lots of windows generating activity on a street is a good that form a traditional terrace provides directly onto the street.
and doors opening onto it, will encourage indicator of the likelihood for street life: a good example of how a successful
street life, feel safe and draw attention the more, the better. street can work.
to the activity within. This is called an
active frontage and adds interest and Large buildings tend to have one main Within some residential developments,
vitality to a place. entrance rather than the multiple garages dominate the front of houses.
Making Good Space Dictionary

Active frontage Density


A building whose use is directly accessible The number of buildings or people in
from the street or space which it faces. a certain area. Similar densities can be
The opposite effect to a blank wall. achieved with different building types
e.g. a terrace of houses can have the same
Boulevards density as a block of flats but have a
A wide street lined with trees. different atmosphere.

Building use Faade


What goes on in a building e.g. retail The face or front of a building.
(selling), residential (living), office
(working), museum etc. Planning Flexibility
permission is normally required to The ability of a building or space to be
change a building from one use changed to suit various needs. For example,
to another. a building could be designed to have many
internal walls which do not support the
Context floor above and can therefore be rearranged
The setting of a site or area, including relatively easily to allow a different use.
factors such as traffic, activities and land
uses as well as the physical landscape. Medium-rise
Generally refers to buildings that are
Dead frontage between four and eight-storeys in height.
A faade that is blank and offers no life However, this can vary depending on
or activity to the street. The opposite of the surrounding context. For example,
active frontage. amongst the tall buildings of New York
City medium-rise would have a
different meaning than in a British
market town.
Making Good Space Dictionary

Public buildings
Buildings that are open to the public.
They can be municipal buildings such as
libraries, galleries, museums, community
and civic centres, or pubs and shops.

Ratio
A measure of the relative size of two
numbers which is expressible as a
proportion, i.e. the ratio of boys to
girls is two to one.

Set-backs
When a building is not built right up
to the building line, it creates a space
between it and the street edge. Set-back
can also refer to the upper storeys of
a building, where stepping back the
external walls can reduce the impact
of taller buildings.

Viability
Whether a place has the right mix of
buildings and population to attract
and sustain financial investment.

Vitality
How busy a place is at different times.
Case Study :: Silver Hill Development, Winchester

Appropriately scaled buildings on either side of the street


will frame the view of the cathedral tower.

A new Square will be created beside the refurbished and


restored Woolstaplers warehouse surrounded by shops
restaurants and cafs, with apartments above.

The proposed architecture respects the familiar pattern of


streets and buildings and adopts the range of local facing
materials: brick, timber, stucco, flint, clay tiles, slate, lead.

The Silver Hill site is an area of historic Winchester


bounded by Friarsgate, Eastgate Street and the Broadway.
It has over a period of time become disconnected from the
historic City Centre and sits in the only part of the historic
city which does not respect the medieval street pattern
of building.

A proposed development by Thornfield Properties with


Allies and Morrison Architects plans to inject new life
and stimulate economic activity by integrating a mixed
use development carefully into the existing heritage
of Winchester.

A traditional pattern of streets, a public square and


opened up waterways will be created. Through the
centuries, Winchester has developed a particular pattern
of building. Each period has its own preoccupations, but
is influenced and guided by what exists around it.
Introduction

Pretty and beautifully positioned parks


will never make up for poor quality and
badly chosen or positioned materials
and street furniture. Streets cluttered
with signs and lighting undermine the
quality of a space.

This chapter shows how the small things


in urban areas have a big impact on how
places look and function. It looks at how
the design of buildings and their relationship
to the street can influence the quality of
a place. It also explains that distinctive
public art is a great opportunity to involve
the community. When residents participate
in a public art project, the art can become
a focal point for the area and is often safe
from vandalism.
Connecting Buildings to the Street The entrance to a building is an important aspect of both
architecture and urban design. Clearly defined entrances
can show whether a building is public or private. Elements
such as porches and canopies provide interest to a street
and offer shelter to passers-by. The covered colonnade
or arcade brings the building out over the pavement.
It provides shelter and shade from the weather and can
offer spaces for seating, market stalls and other activities.
An awning can have a similar effect.

Balconies provide a means of seeing and being seen which


can make a place feel safer and more vibrant. They also
give the occupants outside space, views, light and air.
Balconies can enliven a buildings faade and encourage
life to spill out, bringing vitality to a street.

A very useful way of solving a number of issues is to step


up to a buildings ground floor level. A step up of half
a metre raises the window sills of the building above eye
How buildings meet the street is an important part of urban design. level and promotes a feeling of being overlooked, making a
The quality, feel and safety of streets and other public places is place feel safer. Raised or distinctive terraces for cafs, bars,
influenced by the appearance of buildings. The design of porches, pubs and restaurants create a better experience for those
balconies, colonnades and bay windows can make a place distinctive. sitting, as people can look down on the street or park.
All of these architectural details help to create street activity that enable Care needs to be taken when using steps and raised areas
people to meet and interact. to ensure that access is inclusive to all.

People like to personalise the places they inhabit by painting their door
or planting a window box. It communicates their tastes to the wider
community and contributes towards making a varied and more pleasant
place to live. It is important that buildings can be adaptable to allow
personalisation whilst maintaining a consistent look and feel.
Urban Clutter & Materials Soft landscape can provide a contrast to the stone, metal
and glass building materials found in towns and cities.
Our towns and cities can be overwhelmed by clutter: Trees and other plants express the changing season and can
traffic lights, endless signs, railings and benches in the screen and shelter buildings and public spaces. Planting
wrong place. The reason behind much of this clutter is can also provide natural habitats for wildlife to develop
the motor vehicle, which has been allowed to determine within urban areas.
how our towns look and feel, in the name of safety
and traffic flow.

Other than the buildings, the ground is the most visible


area of public space and the material that it is made
from has a big effect on a place. Hard landscape materials
such as cobbles, brick and stone link to local traditions
and tend to be long lasting. Making patterns on the floor,
or using texture, can break down large spaces into smaller
more people-friendly areas.

Signs, benches, bus stops and other street furniture


should be designed and accessible to all members of
the community. When linked together by a common
style, colour or material, they can help to make a place
distinctive and attractive.

Our towns and cities change at night. Lighting can be


used creatively to make spaces that are functional and
interesting. There is a balance to be struck between
providing enough lighting for safety reasons and having
too much light: more light than necessary can annoy
residents and pollute the night sky.
Art is one of the very few parts of a
Public & Community Art
development that the community can
actually be involved in making. With
Public art is most successful when it is considered the community taking ownership, the
from the very beginning of a development. This enables art becomes a source of pride and is
it to become an integral part of towns and cities. For respected and consequently looked after.
a relatively small investment, good quality public art
can have an enormous effect. It can help to give a Using an internationally acclaimed
place identity and character. artist can put a place on the map.
This kind of art is best suited to city or
town centre locations rather than within
residential areas. It is art that is designed
to attract people to a place, as much as
for the residents.

Public art does not have to be a bronze


statue in the centre of a square. There are
opportunities to use technology such as
texting to make it interactive and fun.
Alternative energy such as wind and solar
can be also promoted through public art.

Art should be a focal point of urban


design, not a stick-on-goodie provided by
a developer at the end of a project because
the planners require it.
Finishing Touches Dictionary

Access is inclusive Hard landscape


English Partnerships define Inclusive Design The materials used when making outdoor
as ...a way of designing environments so that space such as brick, stone, paving, street
they are usable and appealing to everyone furniture and artistic features.
regardless of age, ability or circumstance.
Public art
Alternative energy A work of art on view to the general
Covers methods of creating energy public. It can be part of a building or
such as electricity without using fossil stand on its own. Examples include
fuels. Common methods include using sculpture, murals, lighting effects, street
the sun (i.e with solar panels), wind furniture, paving, railings and signs.
(i.e with wind turbines), and waves
(i.e with wave turbines). Soft landscape
Grass, plants, flowerbeds, trees, hedges
Balcony that have been designed into a place.
A projection from a building that
provides external space. Street furniture
Structures which contribute to the street
Colonnade scene, such as bus shelters, litter bins,
An area covered by the floor above seating, lighting, railings and signs.
projecting over the pavement and
supported on columns.

Clutter
The uncoordinated arrangement of street
furniture, signs and other features.
Clutter can make a place feel untidy
and unwelcome.
Case Study :: Weston Shorescapes, Southampton

and explore the diversity of the wildlife habitats. The Big


Land Draw involved ninety people working together to
create a huge drawing of a diatom a single cell organism
found in the mudflats which is a source of food for wading
birds. The diatom has become the symbol of Weston
Shorescapes.

Walking along the shore you discover five large, white


stone seats embedded into the landscape. Each one is
handmade to an original pattern using traditional artisan
skills. Words, personal memories or community histories
Weston Shore is a 2.2km stretch of shoreline and is one of are inscribed into the smooth surface.
the most beautiful places in Southampton: a Site of Special
Scientific Interest (SSSI) and a place of community, history, The project includes new soft landscaping that creates a
nature, work and leisure. Artist Abigail Downer has drawn unifying pattern of high points or platforms from which
inspiration from the people and place and from the way to enjoy the views. On a smaller scale, they act as informal
residents, young and old, continue to shape the character seating and way markers in the landscape. The landforms
of the landscape. are planted with wild flower mix and marine grass to
enhance insect habitats.
The project has restored four 1930s beach shelters,
enhanced wildlife habitats, provided new seating, path
and terraces, and created a unique interpretation trail
that explores the shores hidden histories. Local residents,
children, young people and schools took part in a year long
programme of activities and events.

The artist worked with the community and led people


to discover and recreate the microscopic world of the
mudflats, unearth some exciting treasures from the past
An Invitation to Get Involved Further Reading

We hope that you understand why good English Partnerships and the Housing
urban design is important. Your input is Corporation (2000) Urban Design
vital to changing your towns and cities for Compendium 1.
the better. You know your area, what works
and what does not and it is important that English Partnerships and the Housing
you and your community have your say. Corporation (2007) Urban Design
Compendium 2.
We hope that having read this book, you
understand more about urban design By Design (2000) DETR and CABE.
and can use your knowledge to improve
where you live. Cowan, R (2005) The Dictionary of Urbanism.

The Princes Foundation (2000)


Planning by Design not Default.

Urban Task Force (1999)


Towards an Urban Renaissance, DETR.

Lynch, K. (1990) The Image of the City,


Massachusetts, MIT Press.

Secured by Design
www.securedbydesign.com

Carmona, M; Heath, T; Oc, T; Tiesdell, S


(2003) Public Places, Urban Spaces
The Dimensions of Urban Design.

Cullen, G. (1961) The Concise Townscape.


Acknowledgements

We would like to thank the following people for their input and support
in the production of this book: Paul Bulkeley for his expert advice during
the project and the referral at the beginning. Mark Drury at the Solent
Centre for Architecture + Design for having the idea of such a book in the
first place and for making sure it all happened. The South East England
Development Agency (Miranda and Alex) for supporting and funding
the project. Sifer! Jon Skipper for feedback on the early draft and his
quality photography. Elizabeth Smith at Southampton City Council for
allowing us to use her Weston Shorescape text. Allies and Morrison for
giving us permission to use the Silver Hill masterplan. Peter Wainwright
for his positive and constructive feedback. Oliver Merkin for editing and
smoothing it out! And to Nathalie and Capucine for putting up with six
months of urban design.

Picture Credits
p. 4-5 Neil Marshall, Portsmouth City Council; p. 18 Jon Skipper; p.20 Monika Kostera, Toby Forage; p.21
Monika Kostera, Kevin Ritchie, Michael Thompson; p.23 John Lamper; p.26 Deer Park Alpha; p.28 Deer Park
Alpha; p.29 Wendy Fuller; p.30 Alan Stanton; p.31 Dahon; p.32 Alan Stanton; Alan Light; p.33 Monika Kostera;
p.34 Monika Kostera, Alan Stanton; p.35 Allies and Morrisons; p.38 Christine Olson; p.40 Dewet Diener, Angela
Sevin, Josh Swannack, Tanakawho; p.42 Jo DeSyllas; p.43 Jon Skipper, Alison Jackson-Bass; p.44 Hans Kylberg,
Stuart Murdoch. p.45 Solent Centre for Architecture + Design, Matthew Dunkinson.
Published by Solent Centre for Architecture + Design This project received funding from SEEDA
30A High Street, Lyndhurst, Hampshire SO43 7BG UK through South East Excellence.

Copyright Solent Centre for Architecture + Design


and South East England Development Agency

Das könnte Ihnen auch gefallen