INTRODUCTION TO URBAN DESIGN  Relates more to management of ‘Private’

development through planning schemes and

Urban Design development controls. It integrates land use
planning and transportation planning to improve the
 Arrangement, appearance and functionality of towns built, economic and social environments of
and cities, especially shaping and uses of urban communities.
public space.
1. Architecture - Individual building
 It ranges from a metropolitan region, city or a town
down to a street, public space or even a single Function: Fundamentally to provide shelter
building. Form: An art that is appreciated by many for its beauty.
Firmness: Stability of structure
 Urban design is concerned not just with appearances
and built form but with environmental, economic, 2. Landscape Architecture - The art and practice of
social and cultural consequences of design. designing the outdoor environment, specially
designing parks or gardens.
 It deals with groups of buildings and the urban
spaces between these buildings. 3. Urban Design - Focus on the physical improvement
of the public environment.
 Streets
Pedestrians 4. Urban Planning
Paths  Organizes the physical components of the city
Gardens  Deals with functional relationships between the
Squares elements of the city uses of the buildings – streets –
transportation – infrastructure.
 Urban design focuses on the users of these spaces.  Focus on function, not on aesthetics.

 It shall ensure diversity and choice for people, and

enhance how different networks link together for
people.

 It concerns aesthetics of physical environment,

landscape of open spaces.

 It is the process of shaping the physical setting for

life in cities and villages.

 It is the art of making places. Role of Urban Design

It is also the complex inter-relationship between
different buildings and the relationship between  Shaping and uses of public spaces
buildings, streets, squares, parks, and other spaces  Public environment/ Public realm/ public domain
that make up the public realm. It is also concerned  All kinds of spaces used freely on a day-to-day basis
with the nature and quality of the public realm itself. by the general public.

 Urban Design is often considered as a Public spaces are subject to:

component/part of ‘Urban Planning’, ‘Landscape 1. Overlapping management of multiple agencies
Architecture’, or Architecture. 2. Interest of nearby property owners
3. Requirements of multiple users.
 However, with increasing importance of Urban
Design in these disciplines, it is better understood as The design, construction, and management of public
a design practice that operates at the intersection of spaces, therefore, typically demands consultation and
all three. negotiation across a variety of spheres. Urban designers
rarely have the degree of artistic liberty or control
 Urban Design Theory deals with “Design and sometimes available in design professions such as
management of Public Space” & the way Public architecture.
Places are used and experienced

Scope of Urban Design

Urban Planning
 Scale and degree of detail (ranges from layout of
cities to design of pavements.)

 Preparation of Design Guidelines and Regulatory

Frameworks, or Urban Legislation, Control
Development, Advertising, etc. and in these sense
overlap with urban planning.

 Design of particular spaces and structure and in this

sense, overlap with architecture and landscape
architecture.

 May also deal with place management to guide and

assist the use and maintenance of urban areas.

ELEMENTS IN THE CREATION OF THE IMAGE

These individual images can be analyzed to produce elements – nodes in districts can exist within their
group images – the prevailing patterns, perceptions, and polarizing center, while nodes in paths can exist at their
experiences within a space carried by majority of its convergence.
inhabitants. These group images are important in
understanding a city’s current cultural themes, identity, LANDMARKS
character, as experienced by its residents. Landmarks are the last of the five elements and are
somewhat set apart from the rest. Instead of relying on
PATHS inhabitant experience to form the mental image, these
Paths are the channels along which the observer moves, external, physical features provide a reference point to its
circulates, and navigates through. From streets, surroundings.
walkways, transit lines, canals, railroads, and bridges,
paths are the routes we traverse in our everyday that are While these can differ in scale, these physical elements,
often undervalued, seemingly peripheral to our through their color, detail, size, or distinct character, can
experience, but whose influence greatly shapes our help situate a person in the space and greatly aid in
perception of our cities. wayfinding. Common examples can be buildings,
storefronts, facades, trees, urban structures, etc. These
It is through these paths that we situate the other contribute to the image by creating identifiable
elements – they are the framework in which the other monuments that demarcate the space and illuminate its
elements are arranged and experienced. surroundings.

EDGES
Edges are elements that delineate between one space
and another. These spaces are often of special
significance because they are points of discontinuity in
the urban fabric. From shores, railroad cuts, edges of
development, and walls, these elements signal change –
the end of one region and the start of another.

These spaces can manifest in a stark break or a point

where the two regions coalesce. These elements of
change make lasting impressions on the group image and
provide deeper context to a person’s experience.

DISTRICTS
Districts are large sections of the city pulled together by a
central, identifying character. These two-dimensional
elements are most apparent when experienced from the
inside (while still recognizable when viewed from the
outside) and whose urban experience offers features,
atmosphere, or opportunities unique to itself.

Lynch explains that most people perceive their cities as a

series of districts and whose images are greatly shaped
by unique spatial identity.

NODES
Nodes, also termed cores, are the central foci which
characterize its immediate vicinity. Lynch details two
main types of nodes: junctions and concentrations.
Junction nodes signify the convergence of elements (e.g.
crossroads, moments of shift from one structure to
another, transportation hubs, etc.).

Concentration nodes are defined by the use or physical

character they house and are most known for (e.g.
Broadway). These spaces stand as a symbol to its
inhabitants and rely on their engagement. Nodes can be FORM QUALITIES
hard to define and can exist within the other five
These are the categories of direct interest in urban 1. High visibility of joints and seams (as at a major
design, since they describe qualities that a designer may intersection, or on a sea-front);
operate upon. 2. clear relation and interconnection (as of a
building to its site, or of a subway station to the
SINGULARITY street above).
The contrast may be to the immediate visible These joints are the strategic moments of structure and
surroundings, or to the observer's experience. These are should be highly perceptible.
the qualities that identify an element, make it
remarkable, noticeable, vivid, recognizable. Directional Differentiation
1. asymmetries, gradients, and radial references
Observers, as their familiarity increases, seem to depend which differentiate one end from another (as on
less and less on gross physical a path going uphill, away from the sea, and
continuities to organize the whole, and to delight more toward the center);
and more in contrast and uniqueness which vivify the 2. or one side from another
scene. (as with buildings fronting a park);
3. or one compass direction from another
FORM SIMPLICITY (as by the sunlight, or by the width of north-
1. clarity and simplicity of visible form in the south avenues).
geometrical sense, These qualities are heavily used in structuring on the
2. limitation of parts as the clarity of a grid system, a larger scale.
rectangle, a dome
Forms of this nature are much more easily incorporated Visual Scope
in the image, and there is evidence that observers will Qualities which increase the range and penetration
distort complex facts to simple forms, even at some of vision, either actually or symbolically.
perceptual and practical cost. When an element is not These include transparencies, overlaps, vista views and
simultaneously visible as a whole, its shape may be a etc.
topological distortion of a simple form and yet be quite
understandable. Motion Awareness
The qualities which make sensible to
CONTINUITY the observer, through both the visual and the kinesthetic
1. continuance of edge or surface (as in a street senses, his own actual or potential motion.
channel, skyline, or setback);
2. nearness of parts (as a cluster of buildings); Such are the devices which improve the clarity of slopes,
3. repetition of rhythmic interval (as a street-corner curves, and interpenetrations; give the experience of
pattern); motion parallax and perspective; maintain the
4. similarity, analogy, or harmony of surface, form, or consistency of direction or direction change; or make
use (as in a common building material, repetitive visible the distance interval.
pattern of bay windows, similarity of market activity,
use of common signs). Such are the devices which improve the clarity of slopes,
These are the qualities that facilitate the perception of a curves, and interpenetrations; give the experience of
complex physical reality as one or as interrelated, the motion parallax and perspective; maintain the
qualities which suggest the bestowing of single identity. consistency of direction or direction change; or make
visible the distance interval.
DOMINANCE
Dominance of one part over others by means of size, Since a city is sensed in motion, these qualities are
intensity, or interest, resulting in the reading of the whole fundamental, and they are used to structure and
as a principal feature with an associated cluster. even to identify, wherever they are coherent enough to
make it possible (as: "go left, then right," "at the sharp
This quality, like continuity, allows the necessary bend," or "three blocks along this street").
simplification of the image by omission and subsumption.
Physical characteristics, to the extent that they are over These qualities reinforce and develop what an observer
the threshold of attention at all, seem to radiate their can do to interpret direction or distance, and to sense
image conceptually to some degree, spreading out from form in motion itself. With increasing speed, these
a center. techniques will need further development in the modern
city.

Clarity of Joint
Time Series
Series which are sensed over time, including utterly different image quality than if it were placed
both simple item-by-item linkages, where one element is singly and prominently at the city core.
simply knitted to the two elements before and behind it
(as in a casual sequence of detailed landmarks), and also
series which are truly structured in time and thus
melodic in nature (as if the landmarks would increase in
intensity of form until a climax point were reached).

The former (simple sequence) is very commonly used,

particularly along familiar paths. Its melodic counterpart
is more rarely seen, but may be most important to
develop in the large, dynamic, modern metropolis.

Here what would be imaged would be the developing

pattern of elements, rather than the elements
themselves—just as we remember melodies, not notes

Names and Meanings

Non-physical characteristics which may enhance the
imageability of an element. Names, for example, are
important in crystallizing identity. They occasionally
give locational clues (North Station).

Naming systems (as in the alphabetizing of a street

series), will also facilitate the structuring of elements.
Meanings and associations, whether social, historical,
functional, economic, or individual, constitute an entire
realm lying beyond the physical qualities we deal
with here. They strongly reinforce such suggestions
toward identity or structure as may be latent in the
physical form itself.

THE SENSE OF THE WHOLE

In discussing design by element types, there is a

tendency to skim over the interrelation of the parts into a
whole. In such a whole, paths would expose and prepare
for the districts, and link together the various nodes. The
nodes would joint and mark off the paths, while the
edges would bound off the districts, and the landmarks
would indicate their cores. It is the total orchestration of
these units which would knit together a
dense and vivid image, and sustain it over areas of
metropolitan scale.

The five elements—path, edge, district, node, and

landmark— must be considered simply as convenient
empirical categories, within and around which it has
been possible to group a mass of information. To the
extent that they are useful, they will act as building
blocks for the designer.

Having mastered their characteristics, he will have the

task of organizing a whole which will be sensed
sequentially, whose parts will be perceived only in
context. Were he to arrange a sequence of ten landmarks
along a path, then one of these marks would have an
DIMENSIONS OF URBAN DESIGN ‘Morphological’ dimension of urban design is the layout
and configuration of urban form and space. There are
The urban design process involves creating buildings, essentially two types of urban space systems, ‘traditional’
groups of buildings, spaces, and landscapes, as well as and ‘modernist’. ‘Traditional’ urban space consists of
establishing frameworks and procedures that will ensure buildings as constituent parts of urban blocks, where the
success for future generations. Town and city planning, blocks define and enclose external space. ‘Modernist’
street design, and public space design are all parts of urban space typically consists of free-standing ‘pavilion’
urban design. In essence, it’s about composing the buildings in landscape settings.
physical setting for life by bringing together multiple
disciplines – the art of making places. Urban Morphology
Urban morphology is the study of the form and shape of
An urban environment can be analysed in a variety of settlements. Appreciation of morphology helps urban
ways, including from a visual, perceptual, social, and designers to be aware of local patterns of development
other viewpoints. According to Krier (1979), for instance, and processes of change.
urban space is “all sorts of space between buildings” and
is “consciously understood as urban space” when “its It is developed with the urban sprawl and expansion of
geometrical traits and aesthetic aspects are clearly the city. It is the consequence of long historical and social
legible.” processes. It is part of the study of urban ecology where
the urban system with various elements and their
Lynch (1960) took a different technique, analysing the interrelationship is studied.
physical surroundings to determine the perceptual
structure of an urban area. He identified a number of There are four elements of urban morphology:
tangible components that make up a city’s imageability 1. Land uses
and legibility. Lynch’s idea of urban structure thus relies 2. Building Structure
on how people perceive their city in society. 3. Plot Pattern; and
4. Street Pattern
Creating public spaces from a human standpoint is
another viewpoint (Carr, et al., 1992, p. 85). “Needs,
rights, and meaning” are the human dimensions. This
dimension is concerned with “how people and places
interact and how this impacts how settings function.”

The perceptual dimension

Awareness and appreciation of environmental
perception, and, in particular, of perception and
experience of ‘place’, is an essential dimension of urban
design. Since the early 1960s an interdisciplinary field of
environmental perception has developed, and there now
exists a significant body of research on people’s
perception of their urban environment.

An initial concern with environmental images has been

supplemented by work on symbolism and meaning in the
built environment. The interest in environmental
perception has also been reinforced by a body of work
focusing on the experiential ‘sense of place’ and ‘lived-in’
experiences associated with urban environments.
Environmental Perception The visual dimension
Both the environment and we are impacted by each It explains the aesthetic appreciation of the environment.
other. For this interaction to take place, our ability to Visual appreciation of urban environments is also a
perceive—or to be aroused by the senses of sight, sound, product of perception and cognition – that is, what
smell, or touch that provide cues about the world around stimuli we perceive, how we perceive them, how we
us—must be present. Perception involves the gathering, process, interpret and judge the information gathered,
organizing, and making sense of information about the and how it appeals to our mind and emotions.
environment
The Functional dimension
Sense of Place The functional dimension of urban design, which involves
Sense of place describes the wide range of connections how places work and how urban designers can make
between people and places that develops based on the ‘better’ places. The ‘social usage’ and ‘visual’ traditions of
place meanings and attachment a person has for a urban design thought each had a ‘functionalist’
particular setting. Sense of place refers to the emotive perspective.
bonds and attachments people develop or experience in
particular locations and environments, at scales ranging The Functional dimension
from the home to the nation. Sense of place is also used Five primary needs that people seek to satisfy in public
to describe the distinctiveness or unique character of space:
particular localities and regions. 1. Comfort
2. Relaxation
3. Passive engagement
4. Active Engagement
5. Discovery

Comfort
1. Comfort is a prerequisite of successful public space.
2. The length of time people stay in a public space is a
function an indicator of its comfort.
3. The dimensions of a sense of comfort include
environmental factors (relief from sun, wind, etc);
physical comfort (comfortable and sufficient seating,
etc); and social and psychological comfort (privacy,
The Social Dimension safe, etc)
Space and society are clearly related: it is difficult to
conceive of ‘space’ without social content and, equally, to Relaxation
conceive of society without a spatial component. Space 1. Relaxation is a more developed state with the body
and society are clearly related: it is difficult to conceive of and mind.
‘space’ without social content and, equally, to conceive of 2. In urban settings, natural elements- trees, greenery,
society without a spatial component. water features – and separation from vehicular
traffic help accentuate the contrast with the
There are five key aspects of urban design’s social immediate surroundings and make it easier to be
dimension. The first is the relationship between people relaxed.
and space. The second is the interrelated concepts of the
‘public realm’ and ‘public life’. The third concerns the Passive Engagement
notion of neighborhoods. The fourth concerns issues of 1. The prime form of passive engagement is people
safety and security. The fifth is the issue of accessibility. watching.
2. What attracts people is other people and the life and
More than any other dimension of urban design, the activity that they bring.
social dimension raises issues concerning values, and 3. Opportunities for passive engagement are also
difficult choices with regard to the effects of design provided by fountains, views, public art, and so forth.
decisions on individuals and groups in society.
Active Engagement
Furthermore, the role of design is delivering particular 1. Design of the public realm can create
social goals, which is inevitably limited (although opportunities for contact.
important), and urban designers will need to work with a 2. In public spaces, the arrangement of different
wide range of other public and private stakeholders to elements: benches, telephones, fountains,
effect significant sound benefits. sculptures, coffee carts can be made more or
less conductive to social interaction.
Discovery
1. Representing desire for new spectacles and
pleasurable experiences, discovery depends on
variety and change. Involving a break from the
routine and the expected.
2. Discovery might involves launch time concerts, art
exhibitions, street theatre, festivals, parades,
markets, society events

The Temporal Dimension

It deals with the influence of time on urban environment
Scope of Urban Design. There are three temporal
dimensions of urban design. First, as activities are fluid in
space and time, environments are used differently at
different times. Urban designers need to understand time
cycles and the time management of activities in space.

Second, although environments relentlessly change over

time, a high value is often placed on some degree of
continuity and stability. Urban designers need to
understand how environments change, what stays the
same and what changes over time. They also need to be
able to design and manage. accommodate the
inevitability of time’s passage.

Third, urban environments change over time, and urban

design projects, policies, etc., are implemented over time