URBAN DESIGN TRAINING

SITE RESPONSIVE DESIGNAn approach to delivering contextual design.

by Paul Bulkeley

Aims:

1. A better appreciation for the relationship between site analysis and

design process – how a design strategy can be developed in response to its site.

2. An overview of site analysis techniques – how to interpret a context.

3. A live experience of site responsive design.

SITE RESPONSIVE DESIGN

‘The site of a building is more than a mere ingredient of its conception.

It is its physical and metaphysical foundation. Building transcends

physical and functional requirements by fusing with a place, by

gathering the meaning of a situation. Architecture does not so much

intrude on the landscape as it serves to explain it. Architecture and site

should have an experiential connection, a metaphysical link, a poetic

link.’

Steven Holl, Anchoring, 1988

Landscape

Local Materials, Local Forms

Materials

Topography

Opportunity

Constraints

Possibly the worlds most contextual building –

transcending physical and functional requirements

Great Mosque, Dejenne

The nostalgia of aesthetic consensus – an age passed

What generates great architecture?

1. Patrons

Occupants/users

Client

Future users

Neighbours

Citizens

Context

Architect

2. Balanced Product

DESIGN QUALITY INDICATORS

VITRUVIUS:

FUNCTIONALITY – Utilitas

BUILD QUALITY – Firmitas

IMPACT – Venustas

3. Process

Design is generated through:

� External principles and ideology.

� Form following function.

� The site.

Sacred Geometry

The villa Rotunda by Palladio is an

exercise in geometry with the size

of man as the starting point.

a. External Principles

Villa Rotunda, Palladio

Thomas Jefferson’s sketch for a city plan

b. Form follows function

It is the pervading law of all things organic and inorganic,Of all things physical and metaphysical,

Of all things human and all things super-human,Of all true manifestations of the head,

Of the heart, of the soul,

That the life is recognizable in its expression,That form ever follows function. This is the law

Louis Sullivan

Seattle Library, OMA

c. Design generated from the site

‘The true innermost being of architecture can be compared to natures seed, and something

of the inevitability of nature’s principle of growth ought to be a fundamental concept in architecture. If we think of the seeds that turn into plants or trees, everything within the same genus would develop the same way if

the growth potential were not so different and if each growth possessed within itself the ability to grow without compromise. On account of different conditions, similar seeds turn into widely differing

organisms.’

Jorn Utzon,

The Innermost Being of Architecture

How does a building grow naturally and uniquely out of the conditions

of its site?

‘Considerations of design and layout must be informed by the wider context, having regard not just to any immediate

neighbouring buildings but the townscape and landscape of the

wider locality. The local pattern of streets and spaces, building

traditions, materials and ecology should all help to determine the

character and identity of a development...’

(Department of the Environment 2000)

NPPF

7. Requiring good design

56. The Government attaches great importance to the design of the

built environment. Good design is a key aspect of sustainable

development, is indivisible from good planning, and should

contribute positively to making places better for people.

59. Local planning authorities should consider using design codes

where they could help deliver high quality outcomes. However,

design policies should avoid unnecessary prescription or detail and should concentrate on guiding the overall scale, density, massing, height, landscape, layout, materials and access of new development in relation to neighbouring buildings and the local area more generally.

NPPF

60. Planning policies and decisions should not attempt to impose

architectural styles or particular tastes and they should not stifle

innovation, originality or initiative through unsubstantiated

requirements to conform to certain development forms or styles. It is, however, proper to seek to promote or reinforce local distinctiveness.

61. Although visual appearance and the architecture of individual

buildings are very important factors, securing high quality and inclusive design goes beyond aesthetic considerations. Therefore, planning policies and decisions should address the connections between people and places and the integration of new development into the natural, built and historic environment.

NPPF

63. In determining applications, great weight should be given to outstanding or innovative designs which help raise the standard of design more generally in the area.

64. Permission should be refused for development of poor design that fails to take the opportunities available for improving the character and quality of an area and the way it functions.

65. Local planning authorities should not refuse planning permission for buildings or infrastructure which promote high levels of sustainability because of concerns about incompatibility with an existing townscape, if those concerns have been mitigated by good design.

Context is the character and setting of the area within which a

projected scheme will sit. It is its natural as well as human

history; the forms of the settlements, buildings and spaces; its

ecology and archaeology; its location, and the routes that pass

through it. Context also includes people, the individuals living in

or near an area and how communities are organised so that

citizens become real participants in the projected development.

A thorough appreciation of the overall site context is the starting point for designing a distinct place.

Urban Design Compendium

Why use context in design?

Strengthens local communities

Creates places of distinction and identity

Harnesses intrinsic site assets and resources

Integrates a building with its surroundings

Helps to ensures feasibility

Provides an efficient and relevant basis for design decision making.

An approach to contextual design - The notion of RECOGNITION

Skylines are sensitive to being

obscured by high buildings in front of

existing buildings or having their

silhouette spoiled by high buildings

behind them. New buildings should

respect their elders!

The scale, massing and height of proposed

development should be

considered in relation to that

of adjoining buildings; the

topography; The general

pattern of heights in the area;

and views, vistas and landmarks all influence the

form of a development.

House in CorrubedoChipperfield

What is a valid response to context?

� Preserve

� Integrate/Respect/Compliment

� Re-use

� Enhance/Modify/Transform

� Repair/Revive/Restore

� Critique

The battle for Chelsea Barracks

Chelsea Barracks Housing, RRP

Chelsea Barracks Housing, Quinlan Terry

PRESERVE

Paternoster Square, John Simpson Paternoster Square, Eric Parry and MJP

Brouwersgracht and L.A. Riesthuis, Amsterdam, Mecanoo Architects

Pier Arts Centre, Orkney, Reiach and Hall Architects

INTEGRATE

COMPLIMENT

Eric Parry Holburne Museum

REUSE

The Photographers Gallery,London

O’Donnell and Toumey

ENHANCE/MODIFY/TRANSFORM Temple Bar, Dublin

DISTINCT PARTS SET WITHIN A COORDINATED

VISION

REPAIR/REVIVE/RESTORE

Princesshay, Exeter

CRITIQUE

Rafael Moneo, Pilar Joan Miro Foundation, Mallorca

The Carbuncle Cup

One New Change, Jean Nouvel

Recognise what isn’t contextualism

Building in Context sets out the following broad approaches that lead to

the erosion of local distinctiveness. Development will erode the

context if it pursues either of two extreme philosophical positions:

a) A desire to purely reflect the concerns of our own time and

contrasting with the context.

b) A desire to purely preserve the character by copying the existing.

The worst results arise when two opinions are forced to compromiselate in the design process. Beware of the following evidence:

Fitting in?

Building In Context

The right approach is derived from a close examination of the context so that a new proposal can be well related to its context. This is set out as:

1. Relate well to geography and history of the place and the lie of the land

2. Sit happily in the pattern of development

3. Respect important views

4. Respect the scale of neighbouring buildings

5. Use materials and building methods which are as high a quality as the context

6. Create new views and juxtapositions that add to the variety and texture of the setting.

7. Show evidence of having being derived, in part, from an analysis of the place.

8. Repair and improves the place.

Contextual Design has:

A physical fit - sitting comfortably within its setting.

A visual fit – sitting beautifully within its setting.

A poetic fit - making a meaningful addition to a places story.

An emotional fit - ensuring occupants feel proud to call it home.

An environmental fit - protecting ecology.

A social fit – useful, welcoming and entertaining.

A spatial fit – connected, flowing and accessible.

An economic fit – deliverable.

Ultimately contextual design has the potential to create a well

mannered building or place that belongs here rather than

somewhere else.

2SITE ANALYSIS

“Always design a thing by considering it in its next larger context –a

chair in a room, a room in a house, a house in an environment, an

environment in a city plan.” – Eliel Saarinen

‘The analysis of public space provides a rational point of departure

for imagining its transformation’ – UDC

What are we looking for?

1. Constraints to resolve

2. Opportunities to realise

3. Weaknesses to repair

4. Strengths to reinforce

5. Character to preserve and enhance

How do we engage with a place?

LOOKS

FEELS

WORKS

How a place:

The theoretical context of contextual decisions:

i. The picturesque - Late eighteenth century contextual theorists held that landscapes should be designed with a picturesque 'transition' from the works of

man to the works of nature. LOOKS

ii. Genius loci - An early eighteenth century theory, that buildings and planting should respond to the Genius of the Place, created a still-influential theory of context. FEELS

iii. Modernism - Modernist architectural theory held that the appearance of structures should be a consequence of social function and abstract artistic principles, not physical contexts. WORKS

LOOKS - Townscape

– a visual approach

The fundamental theme of townscape

as a means of providing excitement,

drama and emotional response to the

physical environment is most closely

associated to the work of Gordon

Cullen. His seminal work, The

Concise Townscape consistently

emphasizes that the starting point for design is the individual's experience of the environment. Ivor

De Wolfe labels townscape as a

visual art of town planning that is a

contemporary extension of the

English picturesque school of

landscape design

FEELS – Genius Loci

- an experiential approach

Norberg-Shulz explored the character

of places on the ground, genius loci is

described as representing the sense

people have of a place.

‘The planner’s first approach to his

task is to sum up the personality of

the city which has been put under his

care.... The good plan is that which

will fulfil the struggle of the place to be

itself.’ (Sharp 1946)

WORKS - Responsive Environments

– a functional approach.

WHAT MAKES A SUCCESSFUL PLACE?The seven qualities that successful streets, spaces, vil lages,

towns and cities tend to have in common.

Character Places with their own distinct and successful identity.

Continuity and EnclosurePlaces where streets and public spaces are coherently and

attractively defined.

A Quality Public RealmPublic spaces that are safe, comfortable, well maintained,

welcoming and accessible for everyone.

Ease of Movement Places that are easy to get to and move through.

LegibilityPlaces that have a clear image and are easy to understand.

AdaptabilityPlaces that can evolve easily and flexibly

DiversityVaried environments offering a range of uses, opportunities and

experiences.

ASPECTS OF FORMThe inter-related elements which work together to define

buildings, groups of buildings and spaces.

Urban Structure The essential diagram of a place.

Urban GrainThe nature and extent of the subdivision of the area into smaller

development parcels.

Density and MixThe amount of development and the range of uses this

influences.

Height and MassingThe scale of a building.

Building Type

Façade and InterfaceThe relationship of the building to the street.

Details and MaterialsThe appearance of the building.

Streetscape and LandscapeThe design of route and spaces, their microclimate, ecology and

biodiversity

COUNCILLOR’S GUIDE TO URBAN

DESIGN

8 ASPECTS OF FORM

CABE 2003

GESTALT

THE WHOLE IS GREATER THAN

THE SUM OF THE PARTS

We look for both the practical and poetic to inform both the art and science of design decision making.

INSIDE OUTSIDE

LAYERS

Break the complex down into its constituent parts

Urban Environments can be conceived in terms of four interlocking

components:

i. Terrestrial Environment – the earth, its topography, microclimate and processes and manmade additions to it.

ii. Animate Environment – the living organisms that occupy it.

iii. Social Environment – the relations between people occurring in these places.

iv. Cultural Environment – behavioural norms, cultural artefacts and perception.

Carmona M, ‘Public Places, Urban Spaces’ Architectural Press. p37

PHYSICAL CONNECTIONS

Appreciate the physical context:

i. Understand the Macro, Meso and Micro Climate

ii. Identify existing landscape features both natural and manmade, topography, trees, water courses etc

iii. Understand the movement patterns. Access, connectivity, linkage and legibility.

iv. Consider the way people use and engage with the place.

v. Establish the physical constraints and opportunities above and below ground, inside and outside the red line.

vi. Form, Scale, Building lines, Patterns within the streetscape.

vii. Impact on adjoining owners and key views and vistas.

LAYERS

META-PHYSICAL CONNECTIONS

Appreciate the meta-physical context:

i. Peoples perceptions of the place

ii. Memories

iii. History

iv. Myth and legend

Establish a places identity

By the identity of a place, we refer to its “persistent sameness and

unity which allows that place to be differentiated from others”.

Relph describes this persistent identity in terms of three

components:

(1) the place’s physical setting;

(2) its activities, situations, and events; and

(3) the individual and group meanings created through people’s

experiences and intentions in regard to that place.

(Relph 1976, p. 45).

Public Engagement – gathering local knowledge can reveal what is

not visible about a place. i.e a Restrictive Covenant

Site analysis is a method of

gathering a better

understanding about a

place that must then be

critically interpreted through an iterative design process

and consultation with

local people.

Worked Example

National Tyre and Autocare site, St Cross

1895

CASE STUDIES

DEVELOPING A DESIGN FROM THE SITE

“A proper building grows naturally, logically, and poetically out of all its

conditions.” – Louis Sullivan

Prossibly the most contextual house we have ever designed

An entry from Snug’s blog

When we design we must have our eyes and our hearts open. We must

listen as well as look. We must smell, feel and remember. All of our

senses must be alive if we are to create designs that bring ongoing life

to the places in which we work. There is no status quo. Places, like the

cells in our own body, are always being renewed. The challenge is to

maintain our identity and character whilst striving towards maturity. For

the buildings we design to succeed in this task we must develop a deep

understanding and respect for site. The result will not however be a

pastiche of past responses. It will be something new, something

befitting our era and the needs of our age, something us and our clients

can be proud of.

stealth HOUSE

Extension to KINGFISHER COTTAGE

1 Castle Street, DublinDe Blacam & Meagher

i2

Access Parking

Thank you