discussion
PUP 420: Theory of Urban Design
We know there are several different roles of architecture within cities. Perhaps the most obvious role is to make a profit. People use architecture – buildings – as an investment.
The second role is to enable certain activities to take place – whether it’s related to living, working, recreating, etc.
Yet another role is to highlight and showcase an architect’s talent.
Role of architecture in the city
Rockefeller Center, NY
Lincoln Center, NY
There has been tension between architecture and urban planning, at times. Sometimes buildings are created to be stand-alone objects, or pieces of high art, whatever the latest fashion in architecture is.
However, studies have shown that when people enter college to major in architecture, their preferences in architecture are more or less the same as the general public’s. But by the end of architecture school, they favor designs that the public typically doesn’t like.
This leads to conflict between what architects like and want to build, and what the majority of people see as useful, practical, and/or aesthetically pleasing.
Role of Architecture in the city
Portlandia Building, Portland
Guggenheim Museum, Bilbao
Many recent “significant” buildings do not consider the quality of public spaces or streets, or how people can use the space.
The Seattle Public Library, for example, turns its back on city. Its design does not encourage people to linger.
Guggenheim Museum, Bilbao
Seattle Public Library
Role of Architecture in the city
Is the relationship that bad?
Guggenheim Museum, Bilbao
Seattle Public Library
When looking at the outdoor spaces in these photos, are these places where you’d like to relax for a while?
When we’re trying to figure out whether architecture equates to urban design, we can find a number of situations where it does:
First, when buildings respect context: street alignments, ground floor uses, and design (such as overall massing);
Next, when buildings serve as a catalyst for urban development;
Also, when a whole neighborhood is incorporated into single, multi-use building;
And finally, sometimes when there are a number of buildings in a complex (large- scale architectural projects).
When does Architecture = Urban Design?
Bruges, Belgium
With the first situation (contextual design), we have to consider whether buildings are supposed to complement their surroundings. This can be often at odds with the architect’s desire for self- expression, where the architect may want his/her building to be more visually prominent.
We also have to think about how we need individual buildings to add to or create the context fundamental to urban design – without buildings we wouldn’t have an urban landscape.
So this brings us to the essential dilemma between the creation of background versus landmark buildings.
Contextual Design
Guggenheim Museum, NY
We usually don’t want boring buildings with monotonous designs, but we also don’t want a collection of landmark buildings that don’t fit together.
Instead, we’re seeking a balance between attracting too much attention and being ignored.
As a rule of thumb, a new building should echo the design of its neighbors. It shouldn’t be an exact replica, but it can learn from its neighbors – picking up certain design characteristics and leaving off others.
Contextual Design
Contextual Design When we’re thinking about context, we have to ask whether the contextual design is “good” enough to warrant preserving – as opposed to preservation for the sake of preservation.
We want the buildings in an area to have a lively conversation with each other.
For example, the color of a particular building could be picked up and amplified by one building, the roofline by another.
This is the idea of unified diversity.
Georgetown, Washington, DC
There are three elements of architecture that are most important for establishing context:
1) Scale and Massing (arrangement of shapes),
2) Materials, and
3) Detailing.
Most laypeople notice similarity of facades and facade elements, but most architects and design guidelines focus on the first two elements. Generally, we need to match one or two of these elements, but not necessarily all three.
Contextual Design
Amsterdam, the Netherlands
It’s difficult to define context. Generally, we begin by looking next door for context: if the buildings next door are good examples, it’s better to use those than buildings that are a block away.
Modern contextualism: This is the idea of fitting in with the context but also creating designs that are a modern spin on existing buildings.
Contextual Design
South Campus Gateway, Columbus, OH
Rooflines: Sometimes this is the simplest way to fit in. We can usually add or subtract a story/level without being out of scale.
Materials: We can pick up a predominant material, but vary others. Details: We can choose which details to incorporate – we can make
one characteristic detail a focal point or perhaps create a modern version of a historic detail.
Are rules made to be broken? With urban design, there must be a reason to break the rules. We can locate places for novelty and surprise where they serve a purpose.
Cities have patterns, but we want to disrupt them sometimes. We should break up long walls with changes in plane and materials to help avoid monotony.
We also want to make sure landmark buildings are highlighted. Good places for landmark buildings are at the end of a vista or view; a place where several streets come together; or near public space.
Contextual Design
Millennium Park, Chicago
We have to decide how much sameness, how much diversity, we want.
If there’s too little variation, then there’s too little choice of what to look at. With too many identical elements, they blend together like single object and the tendency is to become boring.
If there are too many discordant elements, it can be visually chaotic.
Context vs. Diversity
Rasin Building, Prague
Contextual Design – Pioneer Square
Pioneer Square, Portland, OR
An example of respecting context is Pioneer Square in Portland, Oregon (discussed in your book). It has small blocks (200 feet square), narrow streets (60 to 80 feet), and is pedestrian friendly. Its older buildings give it a sense of history and visual character.
A few more details about Pioneer Square:
• Its scale is larger than the surrounding blocks but is modulated.
• Pioneer Courthouse is treated as a foreground building.
• The whole area provides active street life.
Contextual Design – Pioneer Square
Pioneer Square, Portland
Contextual design is more than just visual character. It’s also about things like:
Contextual Design
South Campus Gateway, Columbus, OH
• How buildings meet the street;
• Height, especially along street fronts;
• Ground floor uses of buildings;
• Distribution of entrances; and
• Materials, windows, and roof patterns.
Designing in context can be innovative, but it does require additional thought.
Moving on from context… We’ve already stated that buildings can have a catalytic impact on a neighborhood’s development. Sometimes this happens by accident but sometimes this is planned. It was planned for both Rockefeller Center and Lincoln Center. In some situations this can lead to unintended consequences, such as gentrification.
Buildings as Catalysts
Disney Concert Hall, LA
Lincoln Center, NY
Example: Corbusier’s Unité de Habitation at Marseilles, France:
Buildings as Urban Design
Two interests were represented – France needed mass housing after WWII, and meanwhile Corbusier had been seeking a vehicle to express his architectural ideas.
It was supposed to be part of a city of residential “neighborhoods” contained in vertical buildings in a park-like setting. It contained residential units for 1,000 people, a small hotel, retail, and communal facilities.
The problem was that the residential areas were not large enough to get the critical mass needed to sustain the retail activities. Plus, parking was haphazard.
There were other “Unité” buildings constructed in other cities, some of which have been very successful. Imitations have been less successful – pale copies where the way of life of the inhabitants is at odds with building.
Some building complexes can be considered urban design. One example is Kresge College, which is mentioned in your book.
It has an L-shaped open space “street” that is entered from parking through a gate at one end.
There are “crowd pullers” at each end of street – points of attraction, similar to how department stores tend to be anchors at malls.
The street itself is lined with administrative, academic, residential and social units.
Building Complexes as Urban Design
Kresge College has a picturesque flavor and places for activity. There are varied and interesting sequential views as you move throughout the space. The vista changes along the route, with streets punctuated with steps and platforms. The simple architecture contrasts with the picturesque quality – timeless.
Building Complexes as Urban Design
Building Complexes as Urban Design So why is Kresge College considered part of urban design? The open and enclosed spaces relate to each other; there are both public and private realms; the aesthetics of the design serve as a unifying element; and there is a sense of belonging – a setting for academic activities.
One purpose, or role, of buildings is to create an edge or frame a space.
Role of Buildings in Urban Design
Here are examples of buildings that frame views.
Role of Buildings in Urban Design
Neil Avenue, The Ohio State University Guggenheim, Bilbao
Role of Buildings in Urban Design Certain buildings also serve as landmark buildings. This is the Ontario College of Art & Design building in Toronto. OCAD is a school, but the building itself is a tourist destination.
Role of Buildings in Urban Design
Rockefeller Center, NY
Burnham Square, Columbus, OH
Buildings can also enliven and activate a space, encouraging people to go there or linger there.
Role of Buildings in Urban Design
Ohio State Recreation and Physical Activity Center
Buildings can also help people with wayfinding – helping them understand their surroundings and figure out where the natural flow of pedestrian traffic would go.
End of Unit 3.