Revisiting the Role of Architecture for 'Surviving’ Development. 53rd International Conference of the Architectural Science Association 2019, Avlokita Agrawal and Rajat Gupta (eds), pp. 195–204. © 2019 and published by the Architectural Science Association (ANZAScA).

Experiential quality of public spaces with strong cognitive values

Ravindra Patnayaka1 and Gaurab Das Mahapatra2 1, 2 GITAM (deemed to be university), Visakhapatnam, India {ravindra.patnayaka, gaurabdas.mahapatra}@gitam.edu

Abstract: A city should be easily recognizable to all, devoid of the users’ inherent understanding of ‘spatio-formal’ quantities. Inhabitants of a city tend to develop long associations with certain genre of spaces within the city by recording the morphological character of a public space in series of visuals, with time. The process of re-interpreting the layers of images, thus recorded, has a strong coherence with experiential quality of the urban space. The image making potential of such urban spaces possess strong cognitive values for creating better user experience. This paper tries to review the postulated techniques by renowned thinkers/ designers/ planners for creating imageability in the perceivers’ mind. These learning were further used to critically analyze the correlation between functional and psychological conscience in experiential mapping. Renowned public spaces like St. Peter’s precinct, Rome and Taj Mahal complex, Agra were used as examples to understand the qualities possessed by public spaces that are capable of building a strong image in the users’ mind. This paper concludes with recommendations on an exploratory approach in perceiving, observing and image making of a public space.

Keywords: Cognition, Urban Spaces, St. Peter’s, Taj Mahal

1. Introduction

Formulated urban theories are apt for interpreting the architectural significance of a public space. Renowned postulations like Sir Gordon Cullen’s ‘The concise townscape’ (1961), Edmund Bacon’s ‘Design of Cities’ (1967) and Kevin Lynch’s ‘Imageability’ (1960) has been significantly explaining the qualities of cognitive values of public spaces. Although these theories were developed as late as 20th century, however, there have been examples since ages which inherently contained the design principles, which chronologically became places of ‘public interest’ rather than spaces of ‘structural significance’. Experiencing or critically observing a successful public space taking cues from the existing theoretical insights might help designers to analyse the traits behind an ideal public space design and further implement in futures designs of similar genre.

In the subsequent paragraphs, the two world renowned tourist attraction namely - St.Peter’s complex (325 C.E) – Rome and Taj Mahal Complex (1631 C.E) – Agra are conceptually dissected based on the renowned theories of Sir Gordon Cullen and Kevin Lynch. Besides the tourism aspects, the two cases have one distinct similarity as well as a prevalent dissimilarity. The similarity is the fact that both of them

196 Patnayaka, R and Mahapatra, G.D

have continued to be a figment of imagination to all users alike. The stark dissimilarity is that the intended use of respective public spaces. On one hand Taj Mahal complex has diminished its significance of mausoleum and re-basked its glory based on pure architectural significance. St.Peter’s complex on the other hand has retained the socio religious approach towards its place making.

2. St. Peter’s precinct, Rome

Built in the shape of a ‘cross’, St. Peter’s Basilica is the largest Christian church of Europe. It is a late renaissance church which is believed to have the remains of the first Pope - Saint Peter, after whom it is likely to have been named (Tronzo, 2005). However, since as long as fourth century, there had been a church on the same site as that of St. Peter’s basilica which was built by Constantine to popularize his own acceptance of Christianity in approximately 325 C.E. Deciding to restore and expand the church, in 1452 C.E., Pope Nicholas began restoration of the old ‘Constantinian’ basilica (McClendon, 1989). However, in 1506 C.E., Pope Julius II came up with the idea of complete redesign of the church. Often appreciated by architects and artists alike, this brilliant piece of architecture has a special place in the heart of millions of travellers that visit this sacred site every year. Based on historic records, the present construction took place for about 120 years (between 18.04.1506 - 18.11.1626) and was purposely built over the existing Constantinian basilica. A phenomenal number of ten architects (designers) were involved in the design of the present St. Peter’s Basilica; starting with the reputed Doonato Bramante. The others that followed were Giuliano Da Sangallo, Raffaello Sanzio, Baldassare Peruzzi, Antonio Da Sangallo the Younger, Michelangelo, Jacopo Barozzi da Vignola, Giacomo Della Porta, Carlo Maderno and Gian Lorenzo Bernini respectively. Each one of them had their own interpretation of the spatio-formal quantity that St. Peter’s Basilica might need (Pritchard, 2014).

2.1. Explanation of the square in terms of Urban Design

Research of urban theorists suggests that a balance between built and open is the key to any successful public place. In case of St. Peter’s, the built mass is restricted to less than 35% of the entire complex (Fig. 4). Moreover, the articulation of the spaces is done in a way that the entire morphology of the complex helps in cognition. It is to be noted that, the nature of spaces (Fig. 5) leads the user through different enclosures in their journey from other parts of Vatican City to St. Peter’s complex. By the time users (or visitors) reach St. Peter’s or leave St. Peter’s, the cognition of the place is retained, due to the comparatively varied morphology. In addition to this, the thus created permeability (Fig. 6) is significant due to the creation of ideal permeability in St. Peter’s complex in comparison to the rest of the city (Colquhoun, 1989). It is to be noted that although organic growth might have prevailed in the city outside the complex, the sensitivity of St. Peter’s complex continually creates imageability in the perceivers’ mind due to the carefully carved spatio-formal quantity. Edmund Bacon argues that interaction between the three elements of ‘Human’, ‘Built Form/ Environment’ and ‘Nature’ has major influence on the cognitive quality of a public space.

197

Experiential quality of public spaces with strong cognitive values

Figure 1: The Plaza (source: www.happytovisit.com) Figure 2: Figure Ground Map (source: Author)

Figure 3: Morphology (source: Author) Figure 4: Physical Permeability (source: Author)

A successful public plaza needs a perfect scale for the people to connect to, and St. Peter’s plaza offers just that. The St. Peter’s plaza is a combination of Monumental and Human Scale architecture; but integrated to carve a niche for itself. The visual axis (Fig. 7) which is created through the design helps the users to experience it in a cognitive way. The connection (Fig. 8) between the user and St. Peter’s is almost taken to an ideal degree of cognition due to existing spatial values.

Figure 5: Visual Connectivity or permeability to the space based of Axis (source: Author)

The nature of spaces: 1 – Loss of enclosure

2 – Coarse Grain

3 – Dense Fabric

4 – Perfect Enclosure

The degree:

1 – Extra

2 – Lack

3 – Perfectly Permeable for a public plaza

198 Patnayaka, R and Mahapatra, G.D

Figure 6: Visual Connection to the space based on the cone of vision (source: Author)

2.4. Explanation of the square in terms Tools of Quality of Experience

Through the explanation of Edmund Bacon’s in Design of Cities (Bacon, 1976) regarding public space, there are certain ‘tools’ or design-based cognitive elements which might be helpful in determining the effectiveness of a public space; purely in terms of spatio-formal quantities. Some of them are- ‘meeting the sky’, ‘meeting the ground’, ‘points in space’, ‘recession planes’, ‘design in depth’ and ‘ascent and descent’. These qualities are not essential, but desirable in a public space for its increased cognition. As per the observation carried out for this paper, in St. Peter’s, there qualities can be observed.

Figure 7: Building Qualities (source: Author)

The experiential interpretations of the authors are illustrated in the Fig. 7, Fig. 8 and Fig. 9; which conveys the message regarding the observation of certain principles present in the design itself. The placement of the statues (Fig. 8) on the colonnades (besides immortalizing the saints) almost drives the users to an enigmatic feeling of heavenly experience owing to its placement and inclination of human beings to look up to space to associate themselves to an element of higher aspiration. The same impact of the space on the human cognition would not have happened in case of placement of the statues on ground or within the complex (Fig. 9 and Fig. 10). The volume in foreground, the balance of mass in background, the ratio between built and open, the positioning of the elements across the skyline of the building, the scale of the plaza in comparison to the user, the opening and closing of the layout and endless other unobserved or unidentified architectural qualities are responsible for the unique experiential quality which St. Peter’s complex offers. Even, the vertical recession planes in harmony with the vertical horizontal planes create a symphony which runs like a background score to the St. Peter’s basilica. The reference to “Frozen Music” for architecture by F.L. Wright takes a real shape in this case.

Here, the argument can be formed regarding the intent of the designer. Should the designer initiate the thought process in an user regarding fragmenting the spatio formal quantity and then allow space for cognition of the public space. The answer is ‘NO’, since design is for all. However, if the designer is

199

Experiential quality of public spaces with strong cognitive values

comparatively sensitive in incorporating these qualities in the design, an user shall experience the enigma of the public space without understanding the technicalities behind it, which is perfectly alright.

Figure 8: Points in Space and Recession Planes (source: Author)

Figure 9: Design in Depth (source: Author) Figure 10: Ascent and Descent (source: Author)

3. The Taj Mahal Complex, Agra

As per Cullen, “Group of building together and collectively they can give visual pleasure which none can give separately.”

Taj Mahal, the Indo-Islamic architectural marvel with its outstanding universal value for its aesthetics, elucidated at both building level and the precinct level is a UNESCO world heritage site in India. The physical setting of Taj Mahal complex with its constituent components of exuberant riverfront terrace altering the Taj, Char-Bagh garden in, and forecourt complex named Jikuakhana functioning as a plaza and a commercial cum residential sector named caravanserai renamed as Taj Gunj; well connected with a pubic promenade with respective walled enclosures (Figure 11). Marble Mausoleum block with Mughal garden in its forefront complementing the elegancy of the structure set within an encompassed boundary; ensures the visitor an overwhelming experience of being within unique consecrated premises.

Experiencing Taj Mahal from an urban designer’s perspective surprisingly unveiled the thoughtful implications of many of the Gordon Cullen’s principles even before they were postulated. The then master builders succeeded in accomplishing the vision statement of emperor Shahjahan containing certain aspects such as proportion systems, configuration management of built mass with open spaces, retaining the element of interest throughout the visitors’ journey, augmentation of enthusiasm with a continuous unfolding of revelation throughout etc.

200 Patnayaka, R and Mahapatra, G.D

a

b

c e

d

Figure 11 Taj Mahal Physical Setting (Sorce: a-Google, b-author, c-www.woutersrealty.com, d-author, e-

www.tajmahal.gov.in)

Creation of the rhythmic correlation of mass and space, harmonious contrast with color and texture within the Taj Mahal complex and its expedition reflexes in successful containment of the cognitive imagery thus created in the visitors’ mind. The image map thus created exemplifies the relevancy of Gordon Cullen’s principles concerning optics, place and content.

3.1. Concerning Optics

The concepts of serial vision, existing view and emerging view and focal point are the principles concerned with optics in the given urban setting. In serial vision, a perceiver records the series of revelations while walking around a monument within vicinity at uniform speed as lattice of images, henceforth creating a strong cognitive mind map. A continuous stretch of street with a certain character results in boredom; on contrary, breaking the monotony with variations in building scales, articulating with open spaces like plazas reinforces the sense of exploration throughout the journey. A sense of surprise can be retained in the beholders experience quotient by a sudden revelation of buildings or structures at various strategic locations in one’s journey. Intermediate nodes accommodating various earmarked elements with striking scale does have a potential of becoming a focal points, thus functioning as landmarks which plays a crucial role in the cognitive mapping as spatial cues.

Tal Mahal complex surprisingly beholds the above discussed principles which can be unveiled within one’s journey through out the physical setting. The first glace of Taj Mahal’s skyline observed from distant places as soon as one enters the proximate area implants the first impression in the perceivers’ mind (Figure 12a). The sense of discontentment and intensified enthusiasm in the beholder’s cognitive conscience is imparted as a result of screening the visual coherence with the marble mausoleum by a momentary walk through Bazaar Street with sandstone ornate colonnade leading to an open plaza in Jiluakhana (Figure 12b-c). The great gate (Darwaza-I-Rauza), the entrance pylon provided onto north of Jiluakhana plaza, breaking the monotony with its magnificent scale becomes the focal point of forecourt pavilion (Figure 12d-e). The first spectacular vision of the Taj Mahal at an appreciatable distance with its grand garden forefront captured through the framed archway of the south entrance pylon reveals the sense of surprise in the perceiver’s mind; also creates a strong imagery snapshot with its articulated

201

Experiential quality of public spaces with strong cognitive values

aesthetic appeal (Figure 12f). Series of revealing frames with snapshots with increment in Taj Mahal‘s scale while approaching, creates a lattice of imagery in perceiver’s mind (Fig 12g). The design feature of red sandstone podium on which the Taj was altared again screens the visual contact of the marble marvel. A straight flight stairway leading to the terrace enhances the enthusiasm in the visitor in the process of expedition as the only element one can observe while ascending is nothing but ‘the sky’ (Figure 12j). The sudden exploded spectacular visual unveiled as one reaches the podium terrace is the magnificent architectural masterpiece standing elegantly on a serene marble floor plane (Figure 12k) with a backdrop of red sandstone structure canvassed with river Yamuna. The aesthetic fabric of the building envelope with a judicious application of entasis for a structure of monumental scale confers the optical correction. The resultant panorama looking towards the entrance pylon far beyond the tomb garden from the Taj’s podium terrace, well articulated within the contrasting red sandstone liwan boundary appeals a sense of closure and also creates a profound cognitive image (Figure 12n). The total journey throughout encompassing Fatehpuri (west) gate, Jiluakhaana, the entrance pylon, the great Mughal garden, expedition at the podium level, appreciating the abutting masterpiece accommodates series of focal points which sustains the enthusiasm within visitor’s mind confronting the characteristic application of serial vision (Figure 12a-h) .

Figure 12 Serial Vision in Taj Mahal Complex (Source: Author e&f-www.tripadvisor.in)

3.2. Concerning Place

Visual coherence within an urban setting is achieved by the implication of harmonious character among the elements of a given contextual environment; while, breaking the monotony within the given characteristic townscape is made possible by articulation of respective physical attributes of architectural spaces and that which defines the sense of closure. Any physical setting which is self-sufficient to produce a sense of completeness within given surroundings is referred to as an enclosure. The configuration management defines the character of the very place whether a closure, an enclosure or loss of enclosure. The Bazaar street passing across west gate to the east gate in Jiluakhana breaks the monotony of street character by accommodating a public square (chowk) as a focal point within the midway. The chowk is characterized with its possession of the monumental entrance pylon opening to Taj mahal onto its north and another gateway leading to the Taj gunj. The square, in spite of being a widened up open space, it acts as an enclosure from which one can diversify towards respective functional spaces. On contrary, the mausoleum block along with the tomb garden being safeguarded by a huge fortified wall in all the four directions, visitor’s experiences loss of enclosure as the inferred angle between the midpoint of cross section to the highest point on to the fortified wall is 5o approximately (Figure 13a). Any angle thus made which is less than 14o will be considered as loss of enclosure.

202 Patnayaka, R and Mahapatra, G.D

As per Culllen, “The practical result of so articulating the town into identifiable parts is that no sooner do we create a HERE than we have to admit a THERE, and it is precisely in the manipulation of these two spatial concepts that a large part of urban drama arises.”

Strategic placement and articulation of various built structures such as gateways, kiosks, specific locations as parts of encompassing colonnade with respective scale, proportion, and design features has given a sense of here and there concept. The sense of surprise beholds in the perceivers mind triggers the imagination quotient to guess various possible explorations ahead. The built visual ensemble functions as an element which embellishes the fact that being here there is something to explore ‘there’ beyond; this can be experienced right in front of the grand gateway appreciating the available view of Taj Mahal at a distant far location (Figure 13b-c). Sense of ‘here and there’ can also be experienced even without a physical visual barrier and from considerable distant locations such as viewpoints and vistas earmarked at strategic locations so that one can appreciate the available panorama by being ‘here’ itself. The available view of Taj Mahal from Mehtab Bagh, an unaccomplished garden space beyond river Yamuna (Figure 13e) and also spectacular view from Agra fort especially from Diwan-e-Khas (Figure 13d) and Musamman Burj considered as the best vistas.

a

b c

de

Figure 13 Aspects Concerning Place in Taj Mahal Complex (Source: a&b Author, c-lonelyplanet.in, d-dreamstime.com, e-en.wikipedia.org)

3.3. Concerning Content

“The sense of space becomes more meaningful with the created drama of juxtaposition. Variation observed in spatial configuration, form, texture, color etc plays an important role”

The contrast in terms texture and color such as many of the buildings within Taj Mahl Complex apart from the marble mausoleum were built with red sand stone housing intricate inlay work with white marble; thus, spectacular balance achieved in the compositions assures the visual serenity. A continuous juxtaposition of the spatial context throughout the journey such as a narrow Bazaar Street opening to a chowk accommodating the great gate which screens the grand Char-Bagh beyond it; sudden exposure to a huge garden space with Taj Mahal at its far end results in a sense of astonishment as one passes through the tunneled archway of the great gate. The sense of ‘infiniteness’ in the backdrop for any structure intensifies its grandeur. Taj Mahal has this special implication of having an ‘infinite backdrop’ that can be experience from any corner of the Taj complex; achieved by its monumental scale and

203

Experiential quality of public spaces with strong cognitive values

strategic location with river Yamuna and sky as the backdrop and having an advantage of not having any dominating structure within the cone of vision of the beholder as one is within the fortified premises.

4. Conclusion

With respect to the importance of the square in terms of ‘Quality of Life’, there are certain things which might be inferred from the above study. St. Peter’s Complex has an inherent awareness of space which is being used creatively by participation of all its users, in a process which involving or engaging. Moreover, the very architecture of it draws a person into its depth and involves him/her in an experience, which in turn is unknowingly shared by all the other people who are in the realm. It must be noted that the designers’ problem (in case of St. Peter’s) was not to create façades or architectural mass, but to create an all-surrounding experience in order to give rise to involvement. Similarly, the Taj Mahal complex with its spatial planning, design features, configuration of mass and spaces, scale and volumes, juxtaposing contrast, visual appeal and special configuration cues results in building a strong combinative imagery within the minds of the visitors while experiencing the manifested quality spaces. Physical setting of Taj Mahal complex with an array of various image making elements such as intermediate focal points such as the great gate way in the forecourt and water pools (hauz) in char-bagh; nodes such as Chowk in Jikuakhana and podium terrace foyer; edges such as Bazaar Street, ornate colonnades being part of fortification (Liwan); hierarchically designed and designated pathways and Taj Mahal itself standing as an universal landmark imprints a strong imageability quotient in the explorer’s conscience. The designer in case of St.Peter’s Rome thus created functions in time and space: imagined forms as expand and contract with regular movement of natural active flow through structure of the city. True involvement in a piece of architecture comes when both the community and the designer subtly turn the process of the planning and building a city into a work of art. In this creative design process, the designer of St. Peter’s has enlightened the relevant community about the significance and meaning of the evolving forms in the flow of engagement with the space. This engagement is the major force behind the inception of cognition in the case of St. Peter’s. In case of Taj Mahal complex there has been an extensive morphological evolution which has little or rather negligible resemblance to the actual intended use with which it was incepted during its creation. As an example, Taj Gunj which was designed as accommodation space and workshop units for artisans (dedicated to construction of Taj Mahal complex); which eventually got converted into resting units for visitors/travellers; further the genre of the space got near permanently modified into a squatted urban setting. Thus, the present use of the space has no relevance to the Taj Mahal Complex; neither historically nor cognitive way. However the significance of Taj Mahal has retained its value owing to the overwhelming architectural aesthetics and structural wonders; whose credit solely goes to the design values and principles which were incorporated without any kind of formalized modern urban theories. Thus, design articulation of public spaces with due consideration of strategic experiential concerns would effectively results in easing out the process of cognitive mapping and increase timelessness of the architecture involved.

Acknowledgements

We express our heartfelt thanks to Prof. Dr. K. Mohan (Director, School of Architecture, GITAM deemed to be University, Visakhapatnam Campus) for his ever inspiring attitude which helps the fraternity around him to constantly engage themselves in research and publication. We also thank the Research,

204 Patnayaka, R and Mahapatra, G.D

Publication, Documentation and Consultancy (RDPC) Cell in GSA for their encouraging endeavor to enrich the faculty members about the nuances in Architectural Writing and Publication Ethics.

References Bacon, E. (1976) Design of Cities. Revised edition (20 May 1976) ed. s.l.:Penguin USA. Colquhoun, A. (1989) Twentieth-Century Concepts of Urban Space, Cambridge: MIT Press. Cullen, Gordon. (1961) The Concise Townscape, New York: Architectural Press. Herr, C.M., Gu, N., Roudavski, S. and Schnabel, M.A. (eds.) (2011) Circuit Bending, Breaking and Mending: Proceedings of the 16th International Conference on Computer-Aided Architectural Design Research in Asia CAADRIA 2011, Association for Research in Computer-Aided Architectural Research in Asia (CAADRIA), Hong Kong. Koch, Ebba. (2005) The Taj Mahal: Architecture, Symbolism, and Urban Significance, Muqarnas, Vol. 22 pp. 128-149. Lynch, Kevin. (1960) The image of the city, London: The M.I.T.Press McClendon, C. B. (1989) The History of the Site of St. Peter's Basilica, Rome, Perspecta, Volume 25, pp. 32-65. Minsk, M.L. (1990) Process models for cultural integration, Journal of Culture, 11(4), 49–58. Pritchard, L., (2014) Pope John Paul II Vatican City, Rome, Italy: St. Peter's Square. 1st ed. s.l.:CreateSpace Independent Publishing Platform. Tronzo, W. (2005) St. Peters in the Vatican, Cambridge: Cambidge University Press. www.tajmahal.gov.in, (2018) The Taj Mahal story [online] Available at: https://www.tajmahal.gov.in/taj_story.html [Accessed 21 July 2019]. There is a section break below, please do not delete it. There is a section break above, please do not delete it.