The document discusses urban design theories and the metabolist movement in Japan. Some key points: - The metabolist movement emerged in post-war Japan to address the need for efficient residential and urban housing. Metabolists rejected traditional architecture and envisioned cities with large, flexible structures that facilitate organic growth. - Notable metabolist projects included Kisho Kurokawa's capsule tower and Kenzo Tange's plans for redeveloping cities like Tokyo that integrated the sea and sky into urban habitats. - The metabolist movement was influenced by teams like Team X and sought to situate futuristic concepts in the context of Japan's reconstruction and rapid economic growth in the 1960s. -

1. THE
URBAN DESIGN THOERIES
‘The art of creating and shaping cities and towns,,
What is Urban Design Mean?
- Urban design involves the
arrangement and design of buildings,
public spaces, transport systems,
services, and amenities. Urban
design is the process of giving form,
shape, and character to groups of
buildings, to whole neighborhoods,
and the city.
- It is a framework that orders the
elements into a network of streets,
squares, and blocks. Urban design
blends architecture, landscape
architecture, and city planning
together to make urban areas
functional and attractive.
-Urban design is about making
connections between people and
places, movement and urban form,
nature and the built fabric.
Urban design draws together the
many strands of place-making,
environmental stewardship, social
equity and economic viability into
the creation of places with distinct
beauty and identity.
Parametricism A New Global Style for Architecture and
Urban Design.
Akaber Hussein AL-siad full 2017-2018
Urban design practice areas range in scale from small public spaces or streets to
neighborhoods, city-wide systems, or whole regions.
"Urban design and city building are surely among the most auspicious endeavors of this or
any age, giving rise to a vision of life, art, artifact and culture that outlives its authors. It is
the gift of its designers and makers to the future. Urban design is essentially an ethical
endeavor, inspired by the vision of public art and architecture and reified by the science of
construction." -Donald Watson
The main influences of
urban
Social
Environment
Economic
Aesthetics
Technical
Redeveloping
ELEMENTS OF URBAN DESIGN
Buildings
Public Space
Streets
Transport
Landscape
Urban Design weaves together these elements into a coherent,
organized design structure
The urban design structure defines the urban form and the building
form

2. KEVIN A. LYNCH
Kevin Andrew Lynch ( January 7, 1918 Chicagi,
Illinois US - April 25,1984) was an American urban
planner , scholar, writer.
-Educated at the Yale university, Rensseleaer
polytechnic Institute and the Massachusetts institute
of Technology.
Kiven
Lynch
Books
KIVEN LYNCH
THEORY
-Gained professorship in MIT in the year 1963.
Eventually earned professor emeritus status from
same.
-Consulted to the state of Rhode island, new England
medical centre, Boston redevelopment corp, MIT
planning office, and other organizations.
-Awards Rexford G. Tugwell Award (1984)
THE
IMAGE
OF
THE
CITY
Paths: paths are channels along which
the observer customarily. or potentially
moves. Thy may be streets, walk way,
transit lines, canals, railroads.
knowledge tended to think of the city
interms of topography, large regions,
generalized characteristics, and broad
directinal relationships.
- paths is the
predominant
city elements,
although their
importance
varied accord-
ing to the
degree
of familiarity
with the city.
- some People
with least
The Image of the City is a 1960 book American urban theorist Kevin lynch.
The book is the result of a five-year study of Boston, Jersey City and Los
Angeles on how observes take in information of the city. And use it to make
mental maps. Lyuch ‘s conclusion was that people formed mental maps of their
surroundings consisting of five basic elements.
Lynch ‘s Five Elements
Kevin Lynch found that there are five basic elements which people use to
construct their mental image of a city:
*Pathways * Landmarks
*Districts * Nodes
*Edges

3. Districts are the medium-to-large sections
of the city which the observer mentally
enters "inside of," and which are
recognizable as having some common,
identifying character.
- Districts are the relatively large city
areas which the observer can mentally go
inside of, and which have some common
character. They can be recognized
internally, and occasionally can be used
as external reference as a person goes by
or toward them.
Nodes: are the strategic foci into which
the observer can enter, typically either
junctions of paths, or concentrations of
some characteristic. But although
conceptually they are small points in the
city image, they may in reality be large
squares, or somewhat extended linear
shapes, or even entire central districts
when the city is being considered at a
large enough level. Indeed, when
conceiving the environment at a national
or international level, then the whole
city itself may become a node. The
junction, or place of a break in
transportation, has compelling
importance for the city observer.
Because decisions must be made at
junctions,
Edges: are the liner elements not
considered as path: they are usually, but
not quite always, the boundaries
between two kinds of area . They act
lateral references.
- They are the boundaries and linear
breaks in continuity: shores, railroad
cuts, edges
of development, walls.
Landmarks: the point references considered
to be external to the observer, are simple
physical elements which may vary widely in
scale. There seemed to be a tendency for
those more familiar with a city to rely
increasingly on systems of landmarks for
their guides—to enjoy uniqueness and
specialization, in place of the continuities
used earlier. Since the use of landmarks
involves the singling out of one element
from a host of possibilities, the key physical
characteristic of this class is singularity,
some aspect that is unique or memorable in
the context. Landmarks become more easily
identifiable, more likely to be chosen as
significant, if they have a clear form, if they
contrast with their background; and if there
is some prominence of spatial location.
Figure-background contrast seems to be the
principal factor. The background against
which an element stands out need not be
limited to immediate surroundings: the
grasshopper weathervane of Faneuil Hall
the sold dome of the State House, or the
peak of the Los Angeles City Hall are
landmarks that axe unique against the
background of the entire city.
Kevin Lynch
SKETCHES

4. POST-WAR- JAPAN
UTOPIANISM
60S
METABOLISM
RESIDENTAL AND
URBAN HOUSING
SEA
S
K
Y

Congrea Intermationaux d’
Architecture Moderne
1958….1959
TEAM X
1959….1960S
ARCHIGRAM
.1960S
Organic Growth process

5. M
E
T
A
B
O
L
I
S
T
METABOLISM The issue of
Utopianism in Japanese urbanism
MOVEMENT
The dissolution of the Congrea Intermationaux d’ Architecture Moderne in 1959 was a critical and
symbolic moment of transition that opened up possibilities for exploring new approaches to urbanism.
Metabolism was the most important urban architectural, artistic and philosophical movement, that
Japan produced in the twentieth century.
It’s influence went beyond the utopian concepts of a society that was experiencing rapid economic
growth in the early 60s and it materialized in specific projects, not only in japan but also beyond the
archipelago.
The pursuit of new urbanism in japan in the post-war period often took the form of utopian speculations
that reflected currents of socioideological changes and diverse local conditions.
 In the late 1950s a young group of Japanese architects and city came together from
the Metabolist group. Post-war-japan was in need of residential and urban housing.
With this mind the group began designing structures that would formally be
capable of maximizing efficiency.
 The Metabolists rejected traditional architectural beliefs and developed a
new conception of form and function.
 The categories that the group envisioned for the future of cities around
the world are large scale, flexible and extensible structures that facililtate an
organic growth process.
 The Metabolists concerned themselves with housing large populations while
presrving autonomy of the individual in a modern world.
 Kenzo’s works of urban design in the 1960s. It aimsto situate this avant-
garde movement in the context of Japan's post-war urban reconstruction,
rapid economic growth and socio0political transformation, and argues that
the Metabolists' futuristic concepts, which often envisioned the sea and the
sky as human habitats of the future, were in fact the architects‘ response to
the particular urban and cultural crises that confronted Japanese society in the
post-war era.
 The origins of the metabolist movement lie at the end of the 1950s. After
tha fall of CIAM, which ceased its operation in 1958, the ideas of TEAM X
of great influence to young architects around the globe, also influence to young
japanese architects (i.e. Kisho Kurokawa). The oorld design conference of 1960
was to be held in japan and a group of young japanese architects were involved
with the planning of the conference. Takashi Asada, Kisho Kurokawa, Noboru
Kawazoe and Kiyonori Kikutake met and discussed frequently and began to
think about the next generation of japanese architecture. During the confere-
nce the metabolist group presented their first declaration: Metabolism 1960-
a Proposal for a new urbanism. Contributors to this work were Kiyonori
Kikutake, Fumihiko Maki, Masato Otaka, Kisho Kurokawa and Kiyoshi Awazu.
The idea of matabolism implemented in modern culture was , besides aechitect-
ural, also philosophical.
``

6. M
E
T
A
B
O
L
I
S
m
Kikutake
structure

7. TONY GARNIER
(1869-1948): THE
INDUSTRIAL CITY.
Tony Garnier designs the plans of an ideal
city, called “An industrial city” during his stay
at “Villa Médicis” (1899-1904). Published in
1917, it is a milestone in the 20th century
history of architecture and urban planning.
Tony Garnier will be rebuked many times by
the French Academy for not dedicating his
full energy to his research project,
“Tusculum” which concerned the
reconstitution of a Roman city. He dedicated
himself instead to avant-garde ideas, by
working on his modern city project,
designed for about 35.000 inhabitants. The
“Industrial City” of Tony Garnier, which can
be compared to a city of labor, illustrates the
ideas of Fourier. Tony Garnier located it in a
place that can be identified as being in Saint-
Etienne area (near by Saint-Chamont / Rive-
de-Gier), which was heavily industrialized at
the beginning of the 20th century. Going
against urban conceptions of his time, the
architect developed the zoning concept,
dividing the city into four main functions:
work, housing, health, leisure. The city is
located on a rocky headland, the industrial
area being clearly separated from it and
located down the headland, at the
confluence of a river. Four main principles
emerge: functionnalism, space, greenery,
and high sunshine exposure
prospect ", so as to avoid that they shade each
other. The center of the city is reserved for
administrative services and public facilities.
Models of individual dwellings.
On all his predecessors, Tony Garnier presents
a considerable technical innovation which is to
adopt the reinforced concrete for all its
buildings, and a no less great aesthetic
innovation which is to opt for a refined pen.
Twenty years in advance, he will have defined
what will be called " the international style ".
The forms it gives to its buildings are of an
astonishing premonition since it imagines as
well the plan of glass as the windows in width,
the roof terrace, the pilings, the cantilevers
and technical innovations like the water block,
electric collective heating, thermal control, etc.
Functionalism manifests itself in the desire to
adapt the architectural data and the overall
organization to the needs of the man living in
the industrial age and who must try to keep in
touch with nature.
Tony Garnier has had a lasting influence on
contemporary architecture rather than as a
theoretician. His work is that of a precursor,
because it contains in power the bases of the
current urbanism and the ideas which will be
developed by Corbusier, in particular during
the CIAM.
The industrial zone.
For a rational purpose, the plant is located
in the plain, near a hydro-electric dam and a
railway. The living quarters, where the
primary schools are, are grouped on a
south-facing plateau sheltered from the
north winds and emanations from the
factory; they are interspersed with vast
green unfenced green spaces, which allow
free movement of pedestrians.
The industrial zone
. The standardized houses, of cubic forms,
are largely open to the light the interior
courtyards are suppressed and the buildings
rather spaced, according to the principle
today called ".
Individual dwellings
The garden city
Heliotherapy center
Green School

8. The factories
Stilt constructions
The train station
Hospital
Models of individual dwellings

10. Tony Garnier –
Une cité
industrielle

11. A PATTERN LANGUAGE
A pattern Language: Towns, Building, Construction is a 1977
book on architecture, urban design, and community livability
The book creates a new language, what the authors call a
patterns, derived from timeless entities called patterns. As they
write on page XXXV of the introduction, “All 253 patterns
together form a language “. Patterns describe a problem and
then offer a solution. In doing so the authors intend to give
ordinary people, not only professionals, a way to work with
their neghbors to improve a town or neighborhood, design an
office, workshop or public building such as a school.
- A pattern language describes an entirely new attitude to
architecture and planning .
- The pattern language is intended to provide a complete
working alternatives to our present ideas a bout architecture,
building, and planning.
- Some patterns focus on materials, noting that some ancient
systems, such as concrete, when adapted by modern
technology, may become one of the best future materials.
“ We believe that ultra-lightweight concrete is one of the most fundamental
bulk materials of the future.”
- Other patterns focus on life life experiences such as the street
café (pattern 88)
“The street café provides a unique setting, special to cities: a place where
people can sit lazily, legitimately, be on view, and watch the world go by….
“Encourage local cafes to spring up in each neighborhood. Make them
intinmate places, with several rooms, open to a busy path, where people can
sit with coffee or a drink and watch the world go by. Build the front of the
café so that a set of tables stretch out of the café, right into the street”.
A Pattern Language includes 253 patterns
 A pattern language has the structure of a network.
 We always use it as sequence, growing through the patterns,
moving always from the larger patterns to the smaller, always from
the ones which then embellish those structures, and then those
which embellish the embellishments.
 All 253 pattrens together form a language. They create a coherent
picture of an entire region, with power to generate such regions in
a
million forms, with infinite variety in all the detaile.
 each pattern may have a statement that is referenced to another
pattern by placing that pattern's number in of brackets, for
example: (12) means go to the Community of 7000 pattern. In this
way it is structured as hva avant la letter
 Pattern languages are composed of 4 elements:
 The pattern name is a handle used to describe the problem The
problem describes when to apply the pattern The so lon describes
the elements that make up the design and their relationships The
consequences are the results and trade-offs when applying the
pattern
“ Each concrete building problem has a language,
The planning own as an entirety has a language.
And each building task within the town has its
own language “
Christopher Alexander, The Timeless Way Of Building
(TTWOB), p358.
Christopher Alexander et al., A pattern language, p.958.
Christopher Alexander et al., A pattern language, p.437,439.
(born 4 October 1936 in Vienna, Austria)[1][2] is a widely
influential architect and design theorist, and
currently emeritus professor at the University of California,
Berkeley. His theories about the nature of human-
centered design have affected fields beyond architecture,
including urban design, software, sociology and
others.[3] Alexander has designed and personally built over
100 buildings, both as an architect and a general
contractor.[4][5]
In software, Alexander is regarded as the father of
the pattern language movement. The first wiki—the
technology behind Wikipedia—led directly from Alexander's
work, according to its creator, Ward
Cunningham.[6][7][8] Alexander's work has also influenced the
development of agile software development.

12. *** This pattern helps to embellish and give life to
any south facing out doors (105) and in a situation
where the outdoors is not to the south, but east or
west, it can help to modify the building so that the
effective part of the outdoors moves towards the
south. It also helps to complete building edge (160)
,and to place outdoor room (163).
The area immediately outside the building, to the
south – that angle between its walls and the earth
where the sun falls – must be developed and made
into a place which lets people bask in it. Important
outdoor areas should be to the south of buildings
which they serve, but even if the outdoor areas
around a building are toward the south, this still
won’t guarantee that people will actually use
them.
the point that important outdoor areas should be
to the south of buildings which they serve, and he
presented the empirical evidence for this idea in
south facing outdoors (105).
‘’But even if the outdoor areas around a building are
toward the south, this still won't guarantee that
people actually will use them.’’
In this pattern, we shall now discuss the subtler fact
that a south-facing court or garden will still not
work, unless there is a functionally important sunny
place within it, intently and specifi-cally placed for
sun, at a central juncture between indoors and
outdoors and immediately next to the indoor rooms
which it serves.
Here is an example — a sunny place at the edge of a
building, directly related to the inside, and set in a
nook of the building. Someone comes there every
day to sit for a moment,
water the hanging plants, see how they are doing,
and take in some sun.
A particularly beautiful version of this pattern can be
made when several sunny places are placed
together — perhaps for a house cluster (37) or a
work community (41).
Sunny place
*If you want this place work you should be put
reason for going there,
like:
a swing.
a potting table for plants.
a special view.
a brick step to sit upon and look into a pool.
Inside a south-facing court, or garden, or yard, find
the spot between the building and the outdoors which
gets the best sun. Develop this spot as a special sunny
place —
make it the important outdoor room, a place to work
in the sun, or a place for a swing and some special
plants, a place to sunbathe. Be very careful indeed to
place the sunny place in a position where it is
sheltered from the wind. A steady wind will prevent
you from using the most beautiful place
Make the place itself as much as possible like a room — private
terrace on the syreet(140), outdoor room (163), always at least six
feet deep, no less ‫ــــ‬ six foot balacony (167) , perhaps with foliage or
a canvas to filter the light on hot days – filtered light (238) , trellised
walk (174), canvas roof(244), put in seats according to seat
spots(241).***
SUNNY PLACE**
(161)

13. ***every building has rooms where people stay
and live and talk together — common areas at the
heart (129), farmhouse kitchen (139), sequence of
sitting spaces (142). Whenever possible, these
rooms need to be embellished by a further "room"
outdoors. This kind of outdoor room also helps to
form a part of any public outdoor room (69), half-
hidden garden (111), private terrace on the steet
(140); or sunny place (161).
A garden is the place for lying in the grass,
swinging, croquet, growing flowers, throwing a
ball for the dog. But there is another way of being
outdoors: and its needs are not met by the garden
at all.
For some moods, some times of day, some kinds of
friendship, people need a place to eat, to sit in
formal clothes, to drink, to talk together, to be still,
and yet outdoors.
They need an outdoor room, a literal outdoor room
— a partly enclosed space, outdoors, but enough
like a room so that people behave there as they do
in rooms, but with the added beauties of the sun,
and wind, and smells, and rustling leaves, and
crickets.
The historical concept of the house-garden is
entirely different.
Domestic gardens as we have known them through
the centuries were valued mostly for their
habitableness and privacy, two qualities that are
conspicuously absent in contemporary gardens.
Privacy, so little in demand these days, was
indispensable to people with a taste, for dignified
living. The house-gardens of antiquity furnish us,
even in their fragmentary and dilapidated state,
perfect examples of how a diminutive and
apparently negligible quantity of land can, with
some ingenuity, be transformed into an oasis of
delight. Miniature gardens though they were, they
had all the ingredients of a happy environment.
These gardens were an essential part of the house;
they were, mind you, contained within the house.
One can best describe them as rooms without
ceilings. They were true outdoor living rooms, and
invariably regarded as such by their inhabitants.
The wall- and floor-materials of Roman gardens, for
example, were no less lavish than those used in the
interior part of the house. The combined use of
stone mosaic, marble slabs, stucco reliefs, mural
decorations from the simplest geometric patterns
to the most elaborate murals established a mood
particularly favorable to spiritual composure. As for
the ceiling, there was always the sky in its hundred
moods. (pp. 157-59).
sunny places, terraces, gazebos
need to be made as outdoor rooms
The inspiration for this pattern comes from Bernard Ru-dofsky's chapter, "The
Conditioned Outdoor Room," in Behind the Picture Window (New York: Oxford Press,
1955).
An outdoor space becomes a special outdoor room when it is well enclosed with walls of
the building, walls of foliage, columns, trellis, and sky; and when the outdoor room,
together with an indoor space, forms a virtually continuous living area.
This outdoor room is formed, must often, by free sanding columns – COLUMN PLACE (226), walls – GARDEN WALL(137), LOW SITTING WALLS (243),
perhaps a trellis overhead – TRELLISED WALK (174), or translucent canvas awning – CANVAS ROOFS (244), and a ground surface which helps to provide
CONNECTION TO THE ERATH (168). Like any other room , for it’s construction start with THE SHAPE OF INDOOR SPACE (191) , and STRCTURE FOLLOW
SOCIAL SPACES (205)***
OUTDOOR ROOM**
(163)

14. *** among the common areas and sitting spaces — COMMON
AREAS AT THE HEART (129), SEQUENCE OF SITTING SPACES (
142).
— there is a need for one, at least, which puts the people in the
house in touch with the world of the street outside the house.
This pattern helps to create the HIDDEN GARDEN (111) and gives
life to the street — GREEN STREET (51) or PEDESTRIAN STREET
(100).
The relationship of a house to a street is often confused: either
the house opens entirely to the street and there is no privacy;
or the house turns its back on the street, and communion with
street life is lost.
We have within our natures tendencies toward both
communality and individuality. A good house supports both
kinds of experience: the intimacy of a private haven and our
participation with a public world.
But most homes fail to support these complementary needs.
Most often they emphasize one, to the exclusion of the other:
we have, for instance, the fish bowl scheme, where living areas
face the street with picture windows and the "retreat' where
living areas turn away from the street into private gardens.
The old front porch, in traditional American society, solved this
problem perfectly. Where the street is quiet enough, and the
house near enough to the street, we cannot imagine a much
better solution. But if the street is different, a slightly different
solution will be necessary.
Early in his career, Frank Wright experimented with one possible
solution. When he built beside lively streets he built a wide
terrace between the living room and the street.
To our knowledge, Grant Hildebrand first pointed out this pattern
in Wright's work, in his paper, "Privacy and Participation: Frank
Lloyd Wright and the City Street," School of Architecture,
University of Washington, Seattle, Washington: 1970. Hildebrand
gives an interesting account of the way this pattern works in the
Cheney house:
As the pedestrian looks toward the house from the sidewalk, the
masonry terrace wall is located so that his line of sight over its
top falls at the lower edge of the elaborately leaded upper glass
zone of the terrace doors. Vision into the living room from the
sidewalk thus is carefully controlled. If the occupant within the
house is standing near the doors only his head and shoulders are
dimly visible through a diffusing surface. If the occupant is sitting
he is, of course, completely hidden from the pedestrian's view.
Section of private terrace and street.
But whereas the pedestrian cannot effectively intrude on the privacy of
the house, the inhabitant on the other hand has a number of options
available at will. As he stands or sits on the terrace itself, well above the
sidewalk, the effect is of easy participation in the full panorama of the
street. From the elevated platform vision is unobstructed. Neighbors and
friends can be waved at, greeted, invited in for a chat. Thus the terrace,
projecting toward the street, linked - and still links - the Cheney house
and its inhabitants to the community life of Oak Park. The configuration is
so successful that, as in the Robie house, there has never been much
need for curtains. The parapets and the leaded glass, carefully placed, do
it all. Thus out of the decision to face the living room toward the street
has come not a sacrifice of privacy, but a much richer range of alternative
experiences for the occupant
We believe that Wright's use of this pattern was based on accurate
intuitions about a fundamental human need. Indeed, there are empirical
grounds for believing that the need for a house to be in touch with the
street outside is a fundamental psychological necessity: and that its
opposite - the tendency some people have to keep their houses away
from the street, locked up, barred, and disconnected from the street - is a
symptom of a serious emotional disorder - the autonomy-withdrawal
syndrome. See Alexander, "The City as a Mechanism for Sustaining
Human Contact," W. Ewald, ed., Environment for Man,Indiana University
Press, 1967, pp. 60-102.
Here is an example of this pattern from Greece. It is clear that the pattern
can be expressed in many ways, so long as the relationship, the balance
of privacy and street contact, is maintained.
Let the common rooms open onto a wide terrace or a porch which looks
into the street. Raise the terrace slightly above street level and protect it
with a low wall, which you can see over if you sit near it, but which
prevents people on the street from looking into the common rooms.
PRIVATE TERRACE ON THE STREET**
(140)
If possible, place the terrace in a position which is also congruent with natural contours - Terraced Slope (169). The wall, if low enough, can be
a Sitting Wall (243); in other cases, where you want more privacy, you can build a full garden wall, with openings in it, almost like windows, which
make the connection with the street - Garden Wall (173), Half-Open Wall (193). In any case, surround the terrace with enough things to give it at
least the partial feeling of a room - Outdoor Room (163). . . .

15. *** once the building's major rooms are in position, we have
to fix its actual shape: and this we do essentially with the
position of the edge. The edge has got its rough position
already from the overall form of the building - WINGS OF LIGHT
(107), POSITIVE OUTDOOR SPACE (106), LONG THIN HOUSE
(109), CASCADE OF ROOFS (116). This pattern now completes
the work of WINGS OF LIGHT (107), by placing each individual
room exactly where it needs to be to get the light. It forms the
exact line of the building edge, according to the position of
these individual rooms. The next pattern starts to shape the
edge
When they have a choice, people will always gravitate to
those rooms which have light on two sides, and leave the
rooms which are lit only from one side unused and empty.
This pattern, perhaps more than any other single pattern,
determines the success or failure of a room. The arrangement
of daylight in a room, and the presence of windows on two
sides, is fundamental. If you build a room with light on one side
only, you can be almost certain that you are wasting your
money. People will stay out of that room if they can possibly
avoid it. Of course, if all the rooms are lit from one side only,
people will have to use them. But we can be fairly sure that
they are subtly uncomfortable there, always wishing they
weren't there, wanting to leave — just because we are so sure
of what people do when they do have the choice.
Our experiments on this matter have been rather informal and
drawn out over several years. We have been aware of the idea
for some time — as have many builders. (We have even heard
that "light on two sides" was a tenet of the old Beaux Arts
design
tradition.) In any case, our experiments were simple: over and
over again, in one building after another, wherever we
happened to find ourselves, we would check to see if the
pattern held. Were people in fact avoiding rooms lit only on
one side, pre-
ferring the two-sided rooms — what did they think about it?
We have gone through this with our friends, in offices, in many
homes — and overwhelmingly the two-sided pattern seems
significant. People are aware, or half-aware of the pattern —
they understand exactly what we mean.
If this evidence seems too haphazard, please try these
observa-tions yourself. Bear the pattern in mind, and examine
all the buildings you come across in your daily life. We believe
that you will find, as we have done, that those rooms you
intuitively recognize as pleasant, friendly rooms have the
pattern; and those you intuitively reject as unfriendly,
unpleasant, are the ones which do not have the pattern. In
short, this one pattern alone, is able to distinguish good rooms
from unpleasant ones.
The importance of this pattern lies partly in the social
atmosphere it creates in the room. Rooms lit on two sides,
with natural light, create less glare around people and objects;
this lets us see things more intricately; and most important, it allows us to
read in detail the minute expressions that flash across peopled faces, the
motion of their hands . . . and thereby understand, more clearly, the meaning
they are after. The light on two sides allows feofle to understand each other.
In a room lit on only one side, the light gradient on the walls and floors inside
the room is very steep, so that the part furthest from the window is
uncomfortably dark, compared with the part near the window. Even worse,
since there is little reflected light on the room's inner surfaces, the interior
wall immediately next to the window is usually dark, creating discomfort and
glare against this light.
In rooms lit on one side, the glare which surrounds people's faces prevents
people from understanding one another.
Although this glare may be somewhat reduced by supplementary artificial
lighting, and by well-designed window reveals, the most simple and most
basic way of overcoming glare, is to give every room two windows. The light
from each window illuminates the wall surfaces just inside the other window,
thus reducing the contrast between those walls and the sky outside. For
details and illustrations, see R. G. Hopkinson, Architectural Physics: Lighting,
London: Building Research Station, 1963, pp. 29, 103.
A supreme example of the complete neglect of this pattern is Le Corbusier's
Marseilles Block apartments. Each apartment unit is very long and relatively
narrow, and gets all its light from one end, the narrow end. The rooms are
very bright just at the windows and dark everywhere else. And, as a result, the
glare created by the light-dark contrast around the windows is very disturbing.
LIGHT ON TWO SIDES OF EVERY ROOM**
(159)

16. LIGHT ON TWO SIDES OF EVERY ROOM**
(159)
In a small building, it is easy to give every room light on two sides: one
room in each of the four corners of a house does it automatically.
In a slightly larger building, it is necessary to wrinkle the edge, turn
corners, to get the same effect. Juxtaposition of large rooms and
small, helps also.
In an even larger building, it may be necessary to build in some sort of
systematic widening in the plan or to convolute the edge still further,
to get light on two sides for every room.
But of course, no matter how clever we are with the plan, no matter
how carefully we convolute the building edge, sometimes it is just
impossible. In these cases, the rooms can get the effect of light on
two sides under two conditions. They can get it, if the room is very
shallow — not more than about eight feet deep — with at least two
windows side by side. The light bounces off the back wall, and
bounces sideways between the two windows, so that the light still has
the glare-free character of light on two sides.
And finally, if a room simply has to be more than eight feet deep, but
cannot have light from two sides — then the problem can be solved
by making the ceiling very high, by painting the walls very white, and
by putting great high windows in the wall, set into very deep reveals,
deep enough to offset the glare. Elizabethan dining halls and living
rooms in Georgian mansions were often built like this. Remember,
though, that it is very hard to make it work.
Therefore:
Locate each room so that it has outdoor space outside it on at least
two sides, and then place windows in these outdoor walls so that
natural light falls into every room from more than one direction.
Don't let this pattern make your plans too wild — otherwise you will
destroy the simplicity of positive outdoor space (106), and you will
have a terrible time roofing the building — roof layout (209).
Remember that it is possible to keep the essence of the pattern with
windows on one side, if the room is unusually high, if it is shallow
compared with the length of the window wall, the windows large, the
walls of the room white, and massive deep reveals on the windows to
make quite certain that the big windows, bright against the sky, do not
create glare.
Wrinkly the edge
Each room has light on two side
Place the individual windows to look onto something beautiful
WINDOWSOVERLOOKING LIFE (192), NATURAL DOORS AND
WINDOWS (221); and make one of the windows in the room a
special one, so that a place gathers itself around it — window place
(180). Use deep reveals (223) and FILTERED light(238) ***

17. COLUMNS AT THE CORNERS**
(212)
*** assume that you have worked out the roof plan,
and laid out ceiling vaults for every room on every floor
— roof layout (209), floor and ceiling layout (210).
These vaults are not only the basis of the structure, but
also define the social spaces underneath them. Now it is
time to put columns at the corners of the vaults. This
will both complete them as clearly defined social spaces
— structure follows social spaces (205) — and also be
the first constructive step in the erection of the building
— gradual stiffening (208).
We have already established the idea that the
structural components of a building should be
congruent with its social spaces.
In structure follows social spaces (205) we have
established that the columns need to be at corners of
social spaces for psychological reasons. In efficient
structure (206) we have established that there needs to
be a thickening of material at the corners of a space for
purely structural reasons.
Now we give yet a third still different derivation of the
same pattern — not based on psychological arguments
or structural arguments, but on the process by which a
person can communicate a complex design to the
builder, and ensure that it can be built in an organic
manner.
We begin with the problem of measurement and
working drawings. For the last few decades it has been
common practice to specify a building plan by means of
working drawings. These measured drawings are then
taken to the site; the builder transfers the
measurements to the site, and every detail of the
drawings is built in the flesh, on site.
This frocess criffles buildings. It is not possible to make
such a drawing without a T-square. The necessities of
the drawing itself change the plan, make it more rigid,
turn it into the kind of plan which can be drawn and can
be measured.
In order to achieve this aim, the building must be
generated in an entirely different manner. It cannot be
made by following a working drawing slavishly. What
must be done, essentially, is to fix those points which
generate the spaces — as jew of them as possible —
and then let these points generate the walls, right out
on the building site, during the very process of
construction.
You may proceed like this: first fix the corner of every
major space by putting a stake in the ground. There are
no more than a few dozen of these corners in a building,
so this is possible, even if the measurements are
intricate and irregular. Place these corner markers
where they seem right, without regard for the exact
distances between them. If angles are slightly off, as
they often will be, the modular dimensions are
impossible anyway
Chalk marks on the ground.
These simple marks are all you need to build the building. Once construction starts,
you can start very simply, by building a column, over each of these marks. These
columns will then generate the rest of the building, by their mere presence, without
any further need for detailed measurements or drawings, because the walls will
simply be built along the lines which connect adjacent columns: and everything else
follows.
For the upper storys, you can make drawings of the column positions and once again
transfer them to the actual building while it is being built. As you will see from final
column distribution (2 1 3), upper story columns do not need to line up perfectly
with downstairs columns.
The method hinges on the fact that you can fix the corners of the spaces first — and
that these corners may then play a significant role in the construction of the
building. It is interesting that although it is based on entirely different arguments
from structure follows social spaces (20$), it leads to almost exactly the same
conclusion.
"Staking out"
Therefore :On your rough building plan, draw a dot to represent a column at the corner of every
room andin the corners formed by lesser spaces like thick walls and alcoves. Then transfer these
dots onto the ground out on the site with stakes.

18. GARDEN CITY OF TOMORROW
Sir EBENZER HOWARD (1898-1902)
Howard wanted to design an alternative to the overcrowded and polluted industrial
cities of the turn of the century, and his solution centered on creating smaller “garden
cities” (with 32,000 people each) in the country linked by canals and transit and set in
apermanent greenbelt. His scheme included vast open space, with the aim of giving
urban slum-dwellers the best of both city andcountry living. He captioned the above
diagram “A Group of
smokeless, Slumless Cities.”
THE THREE MAGNETS
- Town life has good and bad characteristics.
- Country life has good and bad characteristics.
- Town-Country life can have all the good things about life in towns and life in the country
- without any of the bad things.
CONCEPTUAL LAYOUT
• Divided into six equal wards, by six main Boulevards that radiated from the central
park/garden.
• Civic institutions (Town Hall, Library, Hospital, Theatre, Museum etc. ) are placed
around the central garden.
• The central park enclosed by a crystal palace acts as an arcade for indoor shops and
winter gardens.
• The streets for houses are formed by a series of concentric ringed tree lined avenues.
• Distance between each ring vary between 3-5km .
• A 420 feet wide , 3 mile long, Grand avenue which run in the center of concentric rings
, houses the schools and churches and acts as a continuous public park.
• All the industries, factories and warehouses were placed at the peripheral ring of the
city.
• The municipal railway was placed in another ring closer to the industrial ring , so that
the pressure of excess transport on the city streets are reduced and the city is connected
to the rest of the nation.
GARDEN CITY PRINCIPLE
Assumed data-
• A total of 6000 acre estate
• 1000 acres, purely for the central garden city as a
home for 30000 people.
• Surrounding the central city 5000 Acres of land is
retained for agriculture and home for 2000 people,
with cow pastures, farmlands, and welfare services
GARDEN CITY DATAS
• Central City:
Area: 12000 acres.
Population : 58000 people
• Agglomeration Cities:
Area: 9000 acres
Population: 32000 people
• Distance between central main city and
the agglomeration: ~10km .
• Assuming the Garden City model was
implemented and found to be successful
Howard begins to describe how the City
could grow and become part of an
integrated network of Garden Cities
CITY GROWTH
• The principle of “always preserving a belt of
country” around cities should
always be maintained, argues Howard, so
once a city has reached capacity a new one
must be founded outside the agricultural belt
(the influence of colonial-models prominent).
• Eventually there a central city (of perhaps
58,000 inhabitants) would be
surrounded by a number of smaller off-shoot
cities, connected by railroad and canal
infrastructure

19. A city block, urban block or simply block is a central element of
urban planning and urban design . A city block is the smallest area
that is surrounded by streets. City blocks are the space for buildings
within the street pattern of a city, and form the basic unit of a city's
urban fabric.
City blocks may be subdivided into any number of smaller land lots
usually in private ownership, though in some cases, it may be other
forms of tenure. City blocks are usually built-up to varying degrees
and thus form the physical containers or 'street walls' of public
space. Most cities are composed of a greater or lesser variety of
sizes and shapes of urban block. For example, many pre-industrial
cores of cities in Europe, Asia and the Middle-east tend to have
irregularly shaped street patterns and urban blocks, while cities
based on grids have much more regular arrangements.
Generally 1/8 of a mile (200 meters)
(Most?) American cities are laid out with 1/16 mile by 1/8 mile
grids. (Metric equivalents: 100 meters by 200 meters.) Major streets
are usually at 1/4, 1/2, or 1 mile intervals. (Metric equivalents: 400
meters, 800 meters, or 1.6 km).
Some exceptions: Midtown Manhattan (in New York City) has a
rough 1/20 mile by 1/10 mile grid, with some avenues being twice
that length at 1/5 mile.
Newer neighborhoods (often called "suburbs") usually have grids of
major streets, but the minor streets are often mazes instead of
grids.
Streets in Salt Lake City are 7 to the mile, in both dimensions. An
oddball number, but the consistency (plus the use of numbers for all
addresses) makes calculating distances straightforward.
URBAN
BLOCK
A city block is the distance between consecutive streets, running east-
west, or avenues, running north-south. The Manhattan grid has about
20 streets per mile but only a few avenues per mile making it convenient
to describe "short blocks" or "long blocks" (for blocks facing avenues or
streets respectively). Portland, Oregon was laid out with most streets
and avenues in a 200 foot grid, making more corner lots so that
developers received more profit as corner lots command a higher price.
How exactly do you come to the conclusion that E-W is a 'street' and N-
S is an 'avenue'? Last time I checked, 'street' is a road built up on either
or both sides, and 'avenue' is a tree-lined road. [That's just the way
numbered roads are laid out in Manhattan and some other places. It
would surely be less confusing to use sets of numbers that don't conflict,
particularly for visitors from places without that convention who don't
suspect the vital significance in the "avenue" or "street" after the
number, but that's how they named 'em.]
There is no definition of how big it is. Each city block is just as big as it is.
They aren't even all the same shape.
A city block would typically be 1/16 to 1/8 of a mile.
In many large eastern cities, a CityBlock is a standard 1/20 of a mile.
That is, there is that much space between the centerlines of the streets
in grid-platted parts of the city.
The smallest part of a town enclosed by streets.
- The store is huge, occupying an entire city block.
- The distance from one urban street to the next.
- In Lawrence, a mile is generally 12 city blocks east-west or 8 blocks
north-south.
- Go along that road for about a city block, and you should see an old
barn.

20. ROSA PARKS
EARLY LIFE
•Full name: Rosa Louise
McCauley Parks
•was born in February 4, 1913
in Tuskegee, Alabama.
•She grew up on a farm with her brother , mother and
grandparents.
•Rosa Parks's childhood brought her early experiences
with racial discrimination and activism for racial
equality and activism for racial equality.
•After her parents separated, Rosa's mother moved the
family to Pine Level, Alabama to live with her parents,
Rose and Sylvester Edwards both former slaves and
strong advocates for racial equality; the family lived on
the Edwards' farm, where Rosa would spend her youth
•She worked as a seamstress
after she left school.
•She was a civil rights activist who worked hard to end
segregation. She stood up for civil rights.
•She got married to her husband Raymond Parks. He
worked as a barber, but he also was a civil rights
activist. Dec 1932.
•She was an African American Civil Rights Activist,
whom the U.S Congress called "the first lady of civil
rights" and "the mother of the freedom movement".
Seamstress: a job sewingand makingclothes.
EDUCATION
Rosa Parks got her education at home and at rural
school in Pine Level. She also attended Industrial
school for girls in Montgomery.
She had to drop off nine grade at Booker T.
Washington High School because her grandmother
was very sick and there is no body to take care of her.
But she finally received high school diploma when she
was 20 years old after she was married because of the
help of her husband to finish her school. At that time
only a small number of black people in Montgomery
were graduated high school.
Young
Rosa
Parks
i
in
1927
In 1929, while in the 11th grade and attending a laboratory school for secondary
education led by the Alabama State Teachers College for Negroes, Rosa left school
and got a job at a shirt factory in Montgomery
ACTIVISIM
After Rosa earned her high school degree in 1933. She
soon became actively involved in civil rights issues by
joining the Montgomery chapter of the NAACP
in1943
Rosa Parks becomes secretary of NAACP. When she
first joined the NAACP, Mr. E. D. Nixon was president
and only two women were Johnnie Carr and her.
Rosa Parks finally received certificate of voting in the
mail at the third time she took the literacy test and she
also had to pay poll tax to vote. She said, "If you were
older and registered, you had to pay the poll tax back
to the time you were twenty one". Rosa got registered
when she was 32 years old. So, she had to pay $16.50
at that time.
•"One of my main duties was to keep a record of cases of discrimination or unfair
treatment or acts of violence against black people“ E.D. nixon

21. MOVEMENT AGAINST INEQUALITY
One day in 1943, Parks boarded the bus and paid
the fare. She then moved to her seat but driver
James F. Blake told her to follow city rules and
enter the bus again from the back door.Parks
exited the bus, but before she could re-board at
the rear
door, Blake drove off, leaving her to walk home
in the rain.
After working all day, Parks boarded the
Cleveland Avenue bus around 6 p.m., Thursday,
December 1, 1955, in downtown Montgomery.
She paid her fare and sat in an empty seat in the
first row of back seats reserved for blacks in the
"colored"
section. Near the middle of the bus, her row was
directly behind the ten seats reserved for white
passengers.
December 1, 1955, was the day on which Rosa
Parks took her famous bus ride. Below you will
read some of the rules bus riders followed at that
time:
•White people boarded the bus through the front
door. They dropped their coins into the fare box
next to the driver. Then they sat in one of the
long seats at the front of the bus or in one of the
first three rows of seats.
•Black people boarded the bus through the front
door. They dropped their coins into the fare box.
Then they had to get off the bus and get back on
through the door in the back of the bus. They
took a seat in one of the last five rows or they
stood in a “standing only” area at the back of the
bus.
•If a white person got on the bus and there were
no more seats in the white section, a black
person who was sitting in the front rows of seats
set aside for black people had to give up his or
her seat.
Rosa Parks lived in
Alabama, a southern
state of America.
Black people (African- Americans) living
in Alabama were not treated equally to
white
Americans.
They did not have equal rights.
Example: Black people and white people had
to sit in certain seats on the bus. If all the
“white seats” were taken then a black person
had to stand up to let the white person sit
down
-This was the law in Alabama!
White
people
Black
people
SEGREGATION (separation)

22. Rosa Parks
Arrest
*Instead of riding the buses to work,
many African-American people in
Montgomery, Alabama, found other
ways to get to work
SEGREGATION (separation)
December 5, 1955 Starting of Montgomery,
Alabama, Bus Boycott.
"I realized that this incident was what brought the
masses of people together to stay off the buses in
Montgomery“
Boycott means: to refuse to buy something or to
take part in something as a way of protesting.
-By boycotting the buses they hoped to change the
laws of segregation. The buses depended on
African-Americans to keep their business running.
-Non-violent Protest
* The boycott went on for 13 months.
African- Americans walking to
work,boycotting the buses.
- The boycott ended when the U.S.
Supreme Court ruled that the
segregation laws on
Alabama’s buses were not legal.

23. Parks on a Montgomery bus on
December 21, 1956, the day
Montgomery's
public transportation system was
legally integrated. Behind Parks is
Nicholas
C. Chriss, a UPI reporter covering the
event.
After her arrest, Parks became an icon of the Civil Rights Movement
but suffered hardships as a result. Due to economic sanctions used
against activists, she lost her job at the department store. Her
husband quit his job after his boss forbade him to talk about his wife
or the legal case. Parks traveled and spoke extensively about the
issues.
Rosa Parks also participates in Civil Rights March on Washington to
push for federal civil-rights laws and speaks at SCLC's annual
meeting.
Rosa Parks published her first book, "Rosa Parks: My Story" with the
help of Jim Haskins.
•Rosa Parks published her first book, "Rosa Parks: My Story" with
the help of Jim Haskins.
After the problem
Nowadays, it is a Museum
Books written in memory of Rosa Parks
BOOKES ABOUT ROSA PARKS
The USPS issued its first civil rights
stamp Jan 1.The series wraps up in
August with the dedication of a stamp
recognizing the 50th anniversary of the
“March on Washington,” where King
delivered his “I Have a Dream” speech.
The Parks stamp marks the second in a
new civil rights collection from the
Postal Service.
Elaine Eason Steele, co-founder of the Rosa and Raymond Parks
Institute for Self Development,

24. Parks resided in Detroit until she died of natural causes at the age of 92 on October
24, 2005, in her apartment on the east side of the city
-1976, Detroit renamed 12th Street "Rosa Parks Boulevard."
-1979, the NAACP awarded Parks the Spingarn Medal, its highest honor,
1980, she received the Martin Luther King Jr. Award.1983, she was
inducted into Michigan Women's Hall of Fame for her achievements in
civil rights. 1990, Parks was invited to be part of the group welcoming
Nelson Mandela upon his release from prison in South Africa.
The Bus Stop" at Dexter Avenue and Montgomery State the place Rosa
Parks boarded pays tribute to her and the success of the Montgomery bus
boycott.
Statue of Rosa Park in
Statuary Hall in the
United States Capitol,
Washington, D.C
The Rosa Parks
Congressional Gold
Medal
The statue of Rosa Parks
in the Museum Michigen,
Ohio.
Rosa Parks receiving a honorary
medal for her immense service as a
social service
1996, she was awarded the Presidential Medal
of Freedom,the highest honor given by the U.S.
executive branch. 1998, she was the first to
receive the International Freedom Conductor
Award given by the National Underground
Railroad Freedom Center.
AWARDS
Rosa Parks Transit Center, Detroit
The Rosa Parks Transit Center is the main local bus station in Detroit, Michigan
serving as the central hub for the Detroit Department of Transportation (DDOT) bus
system. The station was built on the site of Times Square in the west end of
Downtown Detroit.
Parks spent her last years living quietly in Detroit, where she died in 2005 at the
age of 92. After her casket was placed in the rotunda of the United States Capitol
for two days,
the nation could pay its respects to the woman whose courage had changed the
lives of so many
Rosa Parks impact on other’s lives:
• Rosa Parks helped stop segregation.
• She helped us white and black people to be together today.
• She made things even between white and black people
• She help us(Black people) drink from the same fountains today ,
she helped us eat at same restaurants white people.
• Today we can all use public facilities without
being separated and have equal rights to do so.
• So Rosa Parks changed the world by not giving
up her seat when asked to .

25. Robert Moses brought the Radiant City to New York. His vision
of the modernized city included expressways that encouraged a
car culture of commuting in and out of New York. Jacobs was
one of his fiercest opponents.
When city planning supreme Robert Moses proposed a road
through Greenwich Village in 1955, he met opposition from one
particularly feisty local resident: Jane Jacobs. It was the start of a
decades-long struggle for swaths of New York
Moses was an avatar of the early 20th-century vision that the
only salvation of cities was the large-scale destruction of their
existing features.
Jane Jacobs (1916 –2006) was an American-Canadian journalist,
author, and activist best known for her influence on urban
studies, sociology, and economics. Her influential book The
Death and Life of Great American Cities (1961) argued that
urban renewal did not respect the needs of most city-dwellers.
In the book she introduced sociological concepts such as "eyes
on the street" and "social capital“
Death caused by elimination of pedestrian activity (highway
construction, large-scale development projects)
Urban Life that many cities had experienced . Jacobs noted that
if planners wanted to maintain a vital urban , they should pursue
gradual , small-scale , voluntary civil efforts instead of large –
scale , capital supported redevelopment projects.
Jacobs started writing about the city life and urban planning as a
neighborhood activist , not as a trained professional .
Jacobs is concerned about personal safety issues than state-of-
art planning techniques.
Jacobs was committedly urban
Jane Jacobs thought on contemporary city planning is an attack
on it’s approach in both cases; design and rebuilding . She
attempted to introduce new principles of city and rebuilding . It
is an attack on the principles and aims that have shaped
modern, orthodox city planning and rebuilding.
Jacobs involved in the neighborhood control and community
resistance to bulldozer redevelopment
Jane Jacobs
Jane Jacobs declares war on major schools of urban planning:
“This chapter is an attack on current city planning and rebuilding. It is
also, and mostly, an attempt to introduce new principles of city
planning and rebuilding, different and opposite from those now taught
in everything from school or architecture and planning to the Sunday
supplements and women’s magazine”. (p.103)
Jane Jacobs
Her view on urban planning “Cities are for people.”
Pro-neighborhood activist
Passionate critic of Robert Moses
“Death and Life” was one of the first critiques on Urban Renewal and
still stands as one of the most influential texts on urban planning.
In 1961 the Death and Life of Great American Cities upset many
planners by ridiculing their dreams of Radiant cities .
Jane Jacobs defends her positions with common sense and undeniable
anecdote.
Jacobs considered urban renewal as a process that only served to create
instant slums.
She says that parks although they are good but they are often dangerous ,
and crowding was bad but it is safest places for children to play.
It was committedly urban never suburbs at a time when inner city
communities were being increasingly abandoned to forces of poverty ,
decay, and neglect.

26. Jane Jacobs Ten Big Ideas by Nate Storring
1. Eyes on the Street: Pedestrian traffic throughout the day, and the
watchful eyes that come with it, enhance the safety of city streets.
2. Social Capital: The everyday activities and interactions that occur in a
neighborhood slowly build up a network of relationships between
neighbors. This “social capital” provides a foundation for mutual trust,
shared efforts, and resilience in times of trouble.
3. The Generators of Diversity: Four factors in city planning and design
help make the city diverse, safe, social, convenient, and economically
vibrant: a. Mixed Uses: A mixture of all kinds of residences, workplaces,
and shops brings people out on the street at all times of day. b. Aged
Buildings: Humdrum, rundown buildings provide cheap space for new
businesses and other low- or no-profit enterprises. c. Small Blocks: A
denser street network means more opportunities for retail and more
chances for people to meet their neighbors. d. Population Density: Simply
put, you need lots of people in a small area to provide enough use for a
city’s streets, parks, and enterprises.
4. Form Still Follows Function: Fashions and technologies come and go, but
what always remains relevant are the countless ways that people use the
city, how the city works as a whole, and whether or not our urban design
and planning reflect and serve those functions. 5. Local Economies:
Economic growth, whether local, national or global, relies on the ability of
urban economies to provide amply and diversely for themselves, rather
than relying on imports.
6. Innovation: All new work is added to fragments of older work, like the
first dressmaker to take up bra-making to improve the fit of her dresses.
The greater the diversity of existing work in a local economy, the more
opportunities to add new work and recombine old work in new ways.
7. Make Many Little Plans: The diversity of a good neighborhood can only
be achieved when we allow many different people to pursue their own
little plans, individually and collectively
8. Gradual Money: Both diverse little plans and new kinds of work require
diverse little sources of money available on an ongoing basis.
Unfortunately, both public and private sources often only provide money
floods and money droughts instead.
9. Cities as Organized Complexity: Cities function like ecosystems.
Everything is connected to everything else in intricate, particular ways that
cannot be captured well by statistics or formulas. Only close observation
and reasoning from the bottom up will do.
10. Citizen Science: The people best equipped to understand urban
complexity are “ordinary, interested citizens.” Without the assumptions
that often come with professional training, everyday users of the city can
learn more freely from what they see and experience firsthand.
of Sidewalks:Safety,” she out lines her basic nations of what makes a neighborhood a
community and what makes a city livable. Safety- particularly for women and children –
comes from “eyes on street,” the kind of involved neighborhood surveillance of public
space that modern planning practice in the corbusian tradition had destroyed with it’s
insistence on superblocks and skyscraper development.
A sense of personal belonging and social cohesiveness comes from well-defined
neighborhoods and narrow, crowded, multi use streets
Many scholars have a greed with Jacobs, emphasizing that vital urban life relies on the
active street life that results from high levels of pedestrian traffic. They argued that
vibrant , pedestrian friendly city streets were crucial to the social , functional, and leisure
activities of many city residents
SIDEWALKS
For Jacob , a vital urban life meant a continual “sidewalk ballet” consisting of a
streetscape filled with pedestrians at all times of the day ,. This urban vitality will not be
possible if pedestrian activity is restrained to single purpose during a certain time of day.
Rather , streets should experience a “cross-use” of activity related to a range of different
purposes, which allow pedestrian activity at all hours of the day.
Sidewalks essentially serves three functions:
1. Provide safety (sidewalks offer a place for the eyes of the neighborhood)
2. Provides a public place for the meetings between citizens
3. Sidewalks are real laboratory in which the moral lives of children are established
Jacobs noted that short and close-knit blocks complemented mixed land uses, thereby
enhancing urban diversity.
City Parks and city neighborhood
Intended as a vital park of neighborhoods, but some are detrimental and others are
successful.
Purposes of physical planning for effective neighborhood
1. Lively and interesting streets .
2. Make streets as continuous network.
3. Use Parks, squares , public buildings as part of streets.

27. Collage City
COLIN ROWE AND FRED KOETTER
Colin Rowe is British architectural historian, critic, theoretician
and teacher. He graduated from Liverpool School of
Architecture. Then, Rowe entered the Warbung Institute in
London to study the history of Architecture under Rudolf
Wittkower. In this time, he wrote his first essay “The
Mathematics of Ideal Villa” in 1947. This essay is important for
his career and his ideas about architecture. After the graduation
from The Warbung Institute, he taught at the University of Texas
at Austin and at the Cornell University in New York as a
Professor. He influenced on world architecture and urbanism in
the second half of twentieth century.
Fred Koetter is British architect and architectural
historian. Fred Koetter is one the founder
of Koetter, Kim and Associates in
Boston and Koetter, Kim and Associates in London
. He took his bachelor’s architecture from the
University of Oregon in 1963 and his master
in architecture is from Cornell University in 1966. Fred Koetter has taught
at Cornell University, the University of Kentucky, Yale University and
Harvard University.
COLIN ROWE AND FRED KOETTER
THE MATHEMATICS OF IDEAL VILLA
Colin Rowe has written his first essay in 1947 while studying at the Warbung
Institute. It is “The Mathematics of Ideal Villa”. The content of this essay
was parallel to their concept of collage and Fred Koetter’s architectural
approach. In this easy, he analyzed that the history of architecture and the
modern architecture are in coherence. He claimed that the pioneer of the
modern architects like Le Corbusier and their buildings, works are more
complex than thought. Because the modern architects claim that the
modern architecture is new and it has a pure form, and it is completely
different from existing buildings. But in this analyze, he handled that on the
contrary of thought, the works and structures involved tradition and new
idea.
In his very detailed researches on Le Corbusier’s buildings, Colin Rowe
Claims that Le Corbusier has used analytic and geometric principles, which
have been already existing, in traditional architecture. In this article, he
compared Villa Malcontenta designed by Palladio and Villa Stein designed
by Le Corbusier with analytic diagrams. Rowe explains that both of the villas
have some strong similarities in the aspect of plan, ratios, and volumes.
However for the façades of the villas, which creates the differentiation,
while classical design dominates The Palladio’s Villa, Le Corbusier’s Villa had
a bold use of modern design. In the other words, it does not mean that
modern architecture rejects history of architecture and modern design is
not just new.
COLLAGE CITY
Colin Rowe and Fred Koetter in the 1970’s developed their ideas of a
“Collage City” as an essay. Collage City was expanded and published as a
book in 1979. Colin Rowe’s and Fred Koetter’s concept of collage as it does
a critique of modern utopianism and a proposal for radical heterogeneity of
appropriated form. And all these would seem to summarize much of
architectural post modernism.
Rowe’s and Koetter’s concept of collage city can be a law as a model for
architecture. The collage city is specified by Karl Popper’s anti- utopianism
and fallibilism, Isaiah Berlin’s anti-hedgehog perception and the idea of
bricoleur. This system is established on autonomous grid and
heterogeneous fragments.
Colin Rowe and Fred Koetter

28. 2 3
COMPROMISE
TRADITION
CITY
MEMORY
MODERN
CITY
PROPHECY
COLLAGE
CITY
1
THE HEDGEHOG AND THE FOX
Another name that was an inspiration for Colin Rowe and Fred
Koetter is Isaiah Berlin, especially his article “The Hedgehog
and The Fox”(1957). Isaiah Berlin was British social and political
theorist, philosopher and historian of ideas. Berlin categorizes
people or their way of thinking in two general classes. The first
class is hedgehog that knows only one great subject and links
everything to that universal and dominating subject. The
second class is the fox that knows many things and that are
capable of pursuing many diverse goals, which can sometimes
be contrasting.
Based on this definition, Colin Rowe and Fred Koetter defined
Le Corbusier as a fox posing as a hedgehog from time to time.
And this illustrates that the hedgehog and the fox can not be
separated with precise lines. The same scheme can be seen in
the article named “Notes on the In-between” by Fred Koetter.
He argues that since the age of enlightenment, thoughts’ world
is perceived as an arena in which contrasting thoughts fight,
and that the solution is always sought in destroying the
opposing idea. He reminds the famous contrasts, us vs. them,
that have been presented to the architecture world in recent
years, however much in-between is closer to the reality.
Because the reality is complex, diverse, slippery, uncertain,
indefinable. Unfortunately unclear definitions are not
preferable. Thus, for a strong and credible argument, it is
necessary to put on fox’s mask, like Le Corbusier.
UTOPIA AND TRADITION
While improving the idea of the collage city, Colin Rowe and
Fred Koetter were influenced by the ideas of Karl Popper,
especially his ideas about the utopias. Popper was prominent
name in the philosophy of science. He criticizes utopias, which
views as designed and very firmly isolated models of society.
He thought that utopias are despotic and lack tolerance.
Popper’s idea forms the basis of collage city concept. But Rowe
and Koetter did not reject utopia entirely. They believed that
modern and tradition, fantasy and real should be combined.
Popper’s other idea that influences Rowe and Koetter is
inevitability of tradition. Just as science advances though
hypothesis being examined and being replaced with new ones.
Architecture and society also can advance with traditions being
examined and being revised and being replaced with newer ones.
In fact, the tradition is a critical tool that provides advancement,
even thought it seems like a contradiction.
Colin Rowe believes that we can of course take strength from
novelty and fantasy, but this strength certainly have to be
connected to the existing and the familiar, and it should be put
into a frame that consists of memories. Under these
circumstances, it is absurd to separate nostalgia from prophecy,
remembrance from expectation, arcadian from utopia with
precision. According to Colin Rowe, ideal city should be both a
theatre of memory and a theatre of prophecy. It is misleading to
call the supporters of the former “conservative” and the
supporters of the latter “radical”, just as much as to present
these two sides uncompromising.
COLLAGE CITY
It is possible to see “anti-utopia” which is Karl Popper’s idea and
“anti-hedgehog” which is Isaiah Berlin’s ideas as foundation of
Colin Rowe’s and Fred Koetter’s Collage City. Collage city
proposed that cities could be improved through the collaging of
variety of urban elements including shaped, figural open space
into the continuous fabric of a city. In the other words, they
proposed the concept of “bricoleur”. From Thomas Moore to Le
Corbusier, people –or people with a more predominant fox side-
have dreamt of “ideal city”, meanwhile real cities have been
shaped by the accumulation of step-by-step progresses,
unfinished intentions and obligatory compromises.
CONTEXTUALISM
Colin Rowe and Fred Koetter have proposed contextualism as a
compromising theory. They started with two basic concepts while
developing the city theory. First concept is standing alone,
finished object such as Templetto San Pietro designed by
Bramante and Unite d’Habitation designed by Le Corbusier. They
are blocks among large green parks. This type structures also the
main idea of the modern city. They are independent blocks.
Second concept is that space carved into tissue and it created
streets, squares, and connections, which expresses itself in
traditional city patterns. As a solution of this duality, they
proposed that contextualism. In the most basic form,
contextualism is the idea of mixing type and context. In the other
word, the softening of the ideal type through giving
compromises. It means to integrate new and tradition.
CONTEXTUALISM
Two basic concepts while developing the city theory:
Standing alone , finished object such as donato Bramante’s tempietto and
unite d’Habitation.
Space carved into tissue : streets, squares, connections.
As a solution of this duality they proposed contextualism.
COLLAGE CITY
“Anti-utopia” and “anti-hedgehog” as foundation of collage city.
Cities could be improved through the colloguing of variety of urban elements .
The concept is “bricoleur”.
Real cities have been shaped by the accumulation of step-by-step progress.
The city as a museum.
Bricoleur architecture makes a hole.
Collage City

29. Le CORBUSIER
Le Corbusier as the young architect began to articulate his vision
of modern life.
Le Corbusier’s theory of urban planning may be divided into
four stages:
1. A CONTEMPORARY CITY 1922
2.THE RADIANT CITY 1935
3. THE GREAT WASTE 1937
4. REGIONAL PLANNING 1939
His idea of a modern city , labeled “Radiant City.”
THE RADIANT CITY 1935
The main difference between “contemporary” and “radiant”
cities lies in le Corbusier’s concern to give dwellers a more
pleasant and efficiency environment .
He looked for a new scale … (great empty space !!!) … sports ,
they must take place right outside the houses.
Inspired by the physical and human laws , to bring machine age
man essential pleasures. The goals Radiant city are:
Sun in the houses
A view of the sky through large windows
Trees he can see from his houses
The materials of urban are :
Sun , sky , trees, steel, cement .
https://www.google.com.ly/search?q=THE+RADIANT+CITY+1935&safe=strict&tbm=isch&tbs=rimg:Cd26WftVgYx4IjgIjau0PHGTdpI3onizpVh3U8P-fJC4fnzb_16ihEOgjPAx2wiIAcqEhHcuPDDZsBDDDg3jS4FAHjyoSCQiNq7Q8cZN2ERQOwWqMeeW1KhIJkjeieLOlWHcRFA7Baox55bUqEglTw_158kLh-
fBE2fqe2LqqN1CoSCdv_1qKEQ6CM8ETZ-p7Yuqo3UKhIJDHbCIgByoSERyMm6Xx0L8a8qEgkdy48MNmwEMBFnkbUzYTTKKSoSCcODeNLgUAePEZZGEtC4pn_1t&tbo=u&sa=X&ved=0ahUKEwif1tmjkP_YAhVDC-wKHZgfB4gQ9C8IHA&biw=1366&bih=589&dpr=1#imgrc=CI2rtDxxk3YNPM:

30. THE CITY OF TOMORROW AND IT’S PLANNING 1920s
Because of “the exodus of city dwellers” from the centers of
great cities, and the “replacement by business”. Le Corbusier
seems to take this as evidence that people prefer to live in
suburbs rather than in cities, and therefore bases his theory of
urban planning on the idea that the center should be for
commerce (and some public services), and that it be
surrounded by two belts of residential areas – one with
“blocks of dwellings on the ‘cellular’ system” , and one outer
garden city.
This book offers some very interesting clues as to the
motivations for use-zoning.
The importance of statics
Le Corbusier’s obsession with efficiency , modernity , standard
isation, and speed,
He is incredibly formulaic as he attempts to determine the
“fundamental principles of modern town planning “ that can
be applied university to all cities
Mathematics , geometry , and technology are to be utilized in
order to generate such increased efficiency in our cities these
principles are not only applied to the layout of the city’s
streets and buildings, but also to the mass production of
homes
Le Corbusier suggests that uniformity and efficiency are
manifestations of the modern and progressive age.
The city’s design should be in stark contrast to nature as it
shows man’s ability to conquer and organize nature to his own
benefit.
His desire to increase density , maximize open space , and
minimize the travel distances between land use functions
demonstrates his desire to make city living as organized and
economical as possible.
Surrounding the center there would be a belt residential
buildings, in the form of these zigzag blocks with “set-backs”
Each of these buildings are to be small communities in
themselves, offering catering and domestic services.
Le Corbusier’s garden city is rectilinear (as the rest of his
Contemporary city). The 400 x 200 yard blocks are parks
surrounded by two or three story “villas” These parks are said
to contain all kinds of arrangements for sports: “Football,
tennis , running tracks , basket ball , etc. are all available
Le Corbusier’s theories suggest that the center of a great city
should consist mainly of skyscrapers – exclusively for
commercial use – and that the area occupied by these should
be no grater than 5 percent. The remaining 95% should be
with trees. 1,200 inhabitants to acre (4046,8m2). Also in the
center there would be train station, the “hub” of the city , and
three-story buildings with “luxury shops, […] restaurants and
cafes . “the residential blocks with set-backs:
120 inhabitants to the acre. These are the luxury dwellings.
The whole city is a park. It is a vertical city.
Le CORBUSIER
THE CITY OF TOMORROW 1920s
https://www.youtube.com/watch?v=rw8LNJ8gBq4

31. promotes the creation and restoration of diverse, walkable,
compact, vibrant, mixed-use communities composed of the same
components as conventional development, but assembled in a
more integrated fashion, in the form of complete communities.
These contain housing, work places, shops, entertainment, schools,
parks, and civic facilities essential to the daily lives of the residents,
all within easy walking distance of each other. New Urbanism
promotes the increased use of trains and light rail, instead of more
highways and roads. Urban living is rapidly becoming the new hip
and modern way to live for people of all ages. Currently, there are
over 4,000 New Urbanist projects planned or under construction in
the United States alone, half of which are in historic urban centers.
NEW URBANISM is the most important planning movement this
century, and is about creating a better future for us all. It is an
international movement to reform the design of the built
environment, and is about raising our quality of life and standard of
living by creating better places to live. New Urbanism is the revival
of our lost art of place-making, and is essentially a re-ordering of
the built environment into the form of complete cities, towns,
villages, and neighborhoods - the way communities have been built
for centuries around the world. New Urbanism involves fixing and
infilling cities, as well as the creation of compact new towns and
villages.
1. Walkability
Most things must be within a 10-minute walk of home and work.
Pedestrian friendly street design.
Pedestrian streets free of cars in special cases.
2. Connectivity
Interconnected street grid network disperses traffic and eases
walking.
A hierarchy of narrow streets, boulevards, and alleys.
High-quality pedestrian network and public realm makes walking
pleasurable.
3. Mix-Use and Diversity
Mix of shops, offices, apartments, and homes on site. Mixed-use
within neighborhoods, within blocks, and within buildings.
Diversity of people (of ages, income levels, cultures, and races.)
4. Mixed Housing
A range of types, sizes and prices in closer proximity.
5. Quality Architecture and Urban Design
Emphasis on beauty, aesthetics, human comfort, and creating a
sense of place. Human scale architecture and beautiful
surroundings nourish the human spirit.
NEW URBANISM
6. Traditional Neighborhood Structure
Discernible center and edge.
Public space at center.
Importance of quality public realm; public open space designed as civic art.
Contains a range of uses and densities within 10-minute walk.
TRANSECT PLANNING : HIGHEST DENSITIES AT TOWN CENTER
PROGRESSIVELY LESS DENSE TOWARDS THE EDGE , THE TRANSECT IS AN
ANALYTICAL SYSTEM THAT CONCEPTUALIZE MUTUALLY REINFORCING
ELEMENTS , CREATING A SERIES OF SPECIFIC NATURAL HABITATS AND/OR
URBAN LIFESTYLE SETTINGS . THE TRANSECT INTEGRATES ENVIROMENTAL
METHODOLOGY FOR HABITAT ASSESSMENT WITH ZONING METHODOLOGY
FOR COMMUNITY DESIGN . THE PROFFESIONAL BOUNDRY BETWEEN THE
NATURAL AND MAN MADE DISAPEARS , ENABLING ENVIROMENTALISTS TO
ASSES THE DESIGN OF THE HUMAN HABITAT AND THE URBANISTS TO
SUPPORT THE VIABILITY OF NATURE . THIS URBAN-TO-RURAL TRANNSECT
HIERARCHY HAS APPROPRIATE BUILDING AND STREET TYPES FOR EACH AREA
ALONG THE CONTMUUM
FOR EACH AREA ALONG THE CONTMUUM
7. Increased Density
More buildings, residences, shops, and services closer together for ease of
walking, to enable a more efficient use of services and resources, and to
create a more convenient, enjoyable place to live.
8. Green Transportation
A network of high-quality trains connecting cities, towns, and
neighborhoods together.
Pedestrian-friendly design that encourages a greater use of bicycles,
rollerblades, scooters, and walking as daily transportation.
9. Sustainability
Minimal environmental impact of development and its operations.
Eco-friendly technologies, respect for ecology and value of natural

32. systems.
Energy efficiency.
Less use of finite fuels.
More local production.
More walking, less driving.
10. Quality of life
Taken together these add up to a high quality of life well worth living,
and create places that enrich, uplift, and inspire the human spirit.
1. BENEFITS TO RESIDENTS
Higher quality of life; Better places to live, work, & play; Higher, more
stable property values; Less traffic congestion & less driving; Healthier
lifestyle with more walking, and less stress; Close proximity to main
street retail & services; Close proximity to bike trails, parks, and nature;
Pedestrian friendly communities offer more opportunities to get to know
others in the neighborhood and town, resulting in meaningful
relationships with more people, and a friendlier town; More freedom
and independence to children, elderly, and the poor in being able to get
to jobs, recreation, and services without the need for a car or someone
to drive them; Great savings to residents and school boards in reduced
busing costs from children being able to walk or bicycle to neighborhood
schools; More diversity and smaller, unique shops and services with local
owners who are involved in community; Big savings by driving less, and
owning less cars; Less ugly, congested sprawl to deal with daily; Better
sense of place and community identity with more unique architecture;
More open space to enjoy that will remain open space; More efficient
use of tax money with less spent on spread out utilities and roads
2. BENEFITS TO BUSINESSES
Increased sales due to more foot traffic & people spending less on cars
and gas; More profits due to spending less on advertising and large signs;
Better lifestyle by living above shop in live-work units - saves the stressful
& costly commute; Economies of scale in marketing due to close
proximity and cooperation with other local businesses; Smaller spaces
promote small local business incubation; Lower rents due to smaller
spaces & smaller parking lots; Healthier lifestyle due to more walking and
being near healthier restaurants; More community involvement from
being part of community and knowing residents
3. BENEFITS TO DEVELOPERS
More income potential from higher density mixed-use projects due to
more leasable square footage, more sales per square foot, and higher
property values and selling prices; Faster approvals in communities that
have adopted smart growth principles resulting in cost / time savings;
Cost savings in parking facilities in mixed-use properties due to sharing of
spaces throughout the day and night, resulting in less duplication in
providing parking; Less need for parking facilities due to mix of
residences and commercial uses within walking distance of each other;
Less impact on roads / traffic, which can result in lower impact fees;
Lower cost of utilities due to compact nature of New Urbanist design;
Greater acceptance by the public and less resistance from NIMBYS;
Faster sell out due to greater acceptance by consumers from a wider
product range resulting in wider market share
4. BENEFITS TO MUNICIPALITIES
Stable, appreciating tax base; Less spent per capita on infrastructure and
utilities than typical suburban development due to compact, high-density
nature of projects; Increased tax base due to more buildings packed into
a tighter area; Less traffic congestion due to walkability of design; Less
crime and less spent on policing due to the presence of more people day
and night; Less resistance from community; Better overall community
image and sense of place; Less incentive to sprawl when urban core area
is desirable; Easy to install transit where it's not, and improve it where it
is; Greater civic involvement of population leads to better governance
The Neighborhood, the District and the Corridor Andres Duany
and Elizabeth Plater-Zyberk
The fundamental organizing elements of the New Urbanism are
the neighborhood, the district and the corridor. Neighborhoods
are urbanized areas with a balanced mix of human activity;
districts are areas dominated by a single activity; corridors are
connectors and separators of neighborhoods and districts. A
single neighborhood standing free in the landscape is a village.
Cities and towns are made up of multiple neighborhoods and
districts, organized by corridors of transportation or open space.
Neighborhoods, districts and corridors are urban elements. By
contrast, suburbia, which is the result of zoning laws that
separate uses, is composed of pods, highways and interstitial
spaces.
principles of an ideal neighborhood design:
I) The neighborhood has a center and an edge.
2) The optimal size of a neighborhood is a quarter mile from
center to edge.
3) The neighborhood has a balanced mix of activities-dwelling,
shopping, working, schooling, worshipping and recreating.
4) The neighborhood structures building sites and traffic on a
fine network of interconnecting streets.
5) The neighborhood gives priority to public space and to the
appropriate location of civic buildings.
The neighborhood has a center and an edge.
The center is a necessity, the edge not always so.
The center is always a public space, which may be a square, a
green or an important street intersection. It is near the center of
the urban area unless compelled by some geographic
circumstance to be elsewhere.
Eccentric locations are justified ifthere is a shoreline, a
transportation corridor or a place with an engaging view.
The center is the locus ofthe neighborhood's public buildings,
ideally a post office, a meeting hall, a day-care center and
sometimes religious and cultural institutions.
Shops and workplaces are usually associated with the center,
especially in a village.
Neighborhood edges may vary in character: they can be natural,
such as a forest, or manmade, such as infrastructure. In villages,
the edge is usually defined by land designated for cultivation.
In high-density urban areas, the neighborhood edge is often
defined by infrastructure, such as rail lines and high traffic
thoroughfares that best remain outside the neighborhood.
WAYS TO IMPLEMENT NEW URBANISM
The most effective way to implement New Urbanism is to plan
for it, and write it into zoning and development codes. This
directs all future development into this form.
New Urbanism is best planned at all levels of development:
-The single building
-Groups of buildings
-The urban block
-The neighborhood
-Networks of neighborhoods
-Towns
-Cities
-Regions
The optimal size of a neighborhood is a quarter mile from center
to edge. This distance is the equivalent of a five-minute walk at
an easy pace.
The neighborhood has a balanced mix of activities-dwelling,
shopping, working, schooling, worshipping and recreating.
The neighborhood consists activities includes a range of housing
types for a variety of incomes.
The neighborhood structures building sites and traffic on a fine
network of interconnecting streets.