Picturesque studies Sequentional analysis - Technische Universiteit ...

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Analysing method1. Relation between movement and formof the road2. OrientationTwo parts:To be recorded with a system of symbolsPhotographs and film are not suitedto communicate about a sequence58Analysing methodThe disadvantages of photographs and film (or so called 'realistic' representations ingeneral).Recording highway sequences with a camera has the advantage that it is recognizableand detailed. The disadvantage is that this way of recording does not highlight theessence of sequences and that it is difficult, if not impossible, to communicate aboutthe sequences. A third disadvantage is that it is almost impossible to bridge the gapbetween a series of recorded images and design. In a design process there hás to bea conceptual level, without it design is impossible.Therefore a technique has to be developed to communicate about the sequences.because the technique is about the essence of the design it has to be twodimensional.Appleyard an associates introduce an elaborate and fairly complicatednotation system. This is based on their theory about the highway experience.The notation system distinguishes between the two main aspects of the theory:1. The experience of movement via the changing spatial form and the way it is visible(lighting is also taken into account).2. Orientation58
1. Relation movement – form of the roadApparent motion of the surroundingsApparent self-motion59Relation between movement and the form of the roadNotation systemSymbols for:Apparent self-motion• Speed• Direction• Changes: stopping- driving away, accelerating-decellerating, up-down, right-leftApparent motion of the visual field (surroundings)• Moving alongside, over, under• Rotation• Translation• Widening or narrowing of the sides of the road or of the texture• General stability or instability• Apparent speed or the lack of it59
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Urban Analysiscode 7W565Picturesque
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Sequentional analysisSequence =A se
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5Babylon 680 v.Chr: Procession stre
Page 7 and 8: FlorencePalazzo Medici14457Original
Page 9 and 10: Stourhead 17999Stourhead 1799Over y
Page 11 and 12: Stourhead11Photograph StourheadThe
Page 13 and 14: John NashRegent’s street181113Reg
Page 15 and 16: Gaicomo Balla, ‘Flight of a Swall
Page 17 and 18: Castle Combe17Castle Combe, England
Page 19 and 20: Sequence High Street Oxford.From:Un
Page 21 and 22: Cullen‘Serial vision’21‘Seria
Page 23 and 24: Observing meticulouslyTownscape23IN
Page 25 and 26: TownscapeThe Functional Tradition25
Page 27 and 28: Serial visionTownscapeDavidGosling1
Page 29 and 30: Gordon Cullen“ Townscape ”Basic
Page 31 and 32: Gordon Cullen“ Townscape ”metho
Page 33 and 34: Landscape setting33Landcape Setting
Page 35 and 36: Entrances35Entances 1The sequences
Page 37 and 38: Vista’s, transitions, character,
Page 39 and 40: Groups39GroupsEnsembles of spaces a
Page 41 and 42: Rhythm and sequences41Rhythm and se
Page 43 and 44: Movement: relation road - context43
Page 45 and 46: Time45TimeCullen pays special atten
Page 47 and 48: Design Marycluther47Serial Vision M
Page 49 and 50: Greenwich49Streetview from the Gree
Page 51 and 52: Special characteristics of the ‘h
Page 53 and 54: highway experienceLevel 1: percepti
Page 55 and 56: highway experienceLevel 1: percepti
Page 57: highway experienceLevel 2: cognitio
Page 61 and 62: 1. Relation movement - form of the
Page 63 and 64: 2. Orientation2. Oriëntatielandmar
Page 65 and 66: Sequence diagramsrhytm and attentio
Page 67 and 68: TownCenterDesignTownEntranceBasic d
Page 69 and 70: DesignLinear representation of arin
Page 71 and 72: DesignNight diagram71Night diagramA
Page 73 and 74: Holland avenueFrancien Houben200373
Page 75 and 76: 75Depth of field and Service Statio
Page 77 and 78: 77Typological drawing of the zoning
Page 79 and 80: Historical development79Two example
Page 81 and 82: Abstraction81Making an abstraction
Page 83 and 84: Physical aspects of the sides of th
Page 85 and 86: Traffic technical aspects / environ
Page 87 and 88: Orientation / mental map87Orientati
Page 89 and 90: Areas89Areas that can be distinguis
Page 91 and 92: Conceptualideas91Three conceptual i
Page 93 and 94: Elaboration of theprofile93Examples
Page 95 and 96: 95Example of a sequenceChecking the
Page 97 and 98: Various examples9797
Page 99 and 100: properties delineation transitionsA
Page 101 and 102: properties delineation transitionsO
Page 103 and 104: properties delineation transitionsN
Page 105 and 106: properties delineation transitionsF
Page 107 and 108: Some possibilities to construct seq
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Vaux le Vicomte Sequence from park
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111From the terrace of the house lo
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113At a sub-goal (or landmark) look
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115At the sub-goal(also represented
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117Close to the house117
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119 11A traveler arrives by plane.
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121 33The platform is an anonymous
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123 55The internal spaces of an air
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125 77Leaving the parking lot and t
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127 99In the city centre the light
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129 1111The car trip ends in a park
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13113At the end of the night the tr
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Sequentional analysisThe examples s
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