this slide discussed about the built environment and what matters the most when designing it.

1. BACK to the OLD WAYS
neo-traditional practices in
Architecture and Urban Design
INTEGRATED DESIGN II
ARCH 4112
Tofik A.

3.  How did modern architecture/planning happen?
 How did we evolve so quickly from architecture
and planning that had ornament and detail, to
buildings that were often blank and devoid of
detail?
 Why did the look and feel of buildings shift so
dramatically in the early 20th century?

4. How did Modern Architecture/planning happen?

5.  Robert venturi’s book has enduring significance in a complex
and contradictory age.
 Not many in Architecture books have defined a specific historical moment in
the way Robert venture’s “complexity and contradiction in Architecture”: a
book that, published 50 years a go and in print to the present day,
fundamentally changed how we look at, think and talk about Architecture.
The architecture historian Vincent scully’s famous assessment of
venture’s treatise as ‘probably the most important writing on the making of
architecture since lecorbusier’s ‘une vers architecture’ has proven to be to
the point in many ways, and few architecture books since have achieved a
comparable significance in shaping the discipline’s discourse.

6.  Even though complexity and
contradiction was not really a book
about urbanism, it was again scully who
pointed out that underlying venture’s
argument was an essentially urban
understanding concave space, as
opposed to lecorbusier’s interest in the
plasticity of volumes:
 ‘lecorbusier’s great teacher was the
greek temple with its isolated
body white and free in the landscape, its
luminous and austerities clear in the
sun…’

8.  Venturi’s primary inspiration would
seem to have come from the greek
temple’s historical and
archetypal opposite, the urban
facades of Italy, with their endless
adjustments to the counter
requirements of inside and outside
and their inflection with all the
business of everybody’s life: not
primarily sculptural actors in vast
landscapes but complex spatial
containers and definers of streets and
squares.’

9. The Revival of Traditional Urbanism and
the Birth of “New Urbanism”
 This renewed appreciation of traditional urban forms was presaged by
Jane Jacobs in her landmark book The Death and Life of
American Cities (Jacobs, 1961). Her description of the
vitality and life on the streets in her New York neighborhood contrasted
poignantly with the crime and grime of the urban wastelands produced
by urban renewal. However, professional architects and planners
largely dismissed her stinging criticism of modernist planning;
 during the 1960s her advocacy for the importance of traditional streets
and cohesive neighborhoods fell on deaf ears.
 But by the 1980s Jacobs’ book had become a standard text, establishing
a strong counter-narrative about city design, one that recognized again
the importance of traditional city forms and spaces.
 Le Corbusier, once the hero of the modern city, soon became
the archvillain of this revisionist history, with his revolutionary and
draconian proposals for “The City of Tomorrow” identified as the source
of everything bad about modernist urbanism.

10.  at Yale, the renowned architectural
historian Vincent Scully taught
courses on the urban form and
building types of American traditional
towns and cities.
 Two of Scully’s graduate students in
the early 1970s, Andres Duany
and Elizabeth PlaterZyberk,
found this material particularly
fascinating.
 A few years after graduating, these
two pioneers founded their
groundbreaking urban design firm DPZ
in 1980 and assumed leadership roles
in the development of what became
known as Neo-Traditional
Development (TND).

11.  Duany and Plater-Zyberk’s, Stimulated by this new awareness, they
were able to understand many things that were wrong with modernist
city planning; this critique mirrored many observations by Jane
Jacobs, but was now articulated with an extra edge of practicality
that presaged radical design action.
 This critique also led them to formulate a new approach to zoning
 writing and diagramming new rules for development that captured the
spirit and essence of the rediscovered traditional urbanism.

12.  The confluence of Traditional Neighborhood Development and Transit-Oriented
Development led to the formalization in 1996 of the “New Urbanist” movement.
The name “The New Urbanism” was consciously chosen to define the
return to traditional urban forms and spaces from the period 1890-1930.
 It was defined as “new” in contrast to the old and discredited urban language of
modernism.
 And it was to be “urban” by creating a coherent urban structure to counteract
the faults of a sprawling suburban model of city development.
 The movement’s manifesto was written out at length in the Charter of
The New Urbanism.
 It set forth a series of principles “to guide public policy, development practice,
urban planning and [urban] design,” and was organized in a hierarchy of ten
interlocking scales: Region; Metropolis; City; Town; Neighborhood;
District; Corridor; Block; Street; Building (CNU, 1998).

13.  By the end of the 20th
Century, New Urbanism had
matured into a detailed and
multi-faceted approach to
rebuilding towns and cities,
with an increasingly long list
of successful projects.
 As the 21st century has
progressed, New Urbanism
has evolved further to include
an environmental agenda
around concepts of
sustainability and resilience,
now vital urban design issues
in the face of climate change
and ecologically damaging
suburban sprawl.

14.  All of these urban movements can provide richness to our historical narrative,
but without altering the central premise – that today, in the early 21st
century, the mainstream practice of urban design has moved beyond
modernist concepts of the city and now is firmly rooted in the
concepts of traditional urbanism.
 Defined public spaces once again create the setting for public life and
commerce, and form the connective tissue of settlement patterns, from
village to city scale

15. For real though, How did Modern Architecture/planning really
happened?

16. The Article
 History holds that modernism was the
idealistic impulse that emerged out of
the physical, moral and spiritual
wreckage of the First World War.
 While there were other factors at work
as well, this explanation, though
undoubtedly true, tells an incomplete
picture.

17.  Recent advances in neuroscience point to another important factor:
 one reason modern architecture looked so different than past
constructions was because its key 20th-century founders literally
didn’t see the world in a “typical” fashion. Literally

18.  They couldn’t. Their brains had been either physically altered by the trauma
of war or, like Le Corbusier, they had a genetic brain disorder.
 And while their recommendations for “good design”—a new world, a clean
slate—certainly reflected their talent, ambition, and drive, their remedies
also reflected their brains’ specific disorders.

19.  In recent years, several authors and physicians have described the father
of modernism, Le Corbusier (1887-1965), the Swiss-French architect, as
autistic.
 Writers, such as the critic and psychiatrist Anthony Daniels,
and the biographer Nicholas Fox Weber, have come to the conclusion that the
Swiss-French architect met the diagnostic criteria for autism
spectrum disorder (ASD).
 They’ve chronicled his impaired social communications, repetitive
behaviors, abnormal fixations (including a fascination with concrete), and
apparent absence of interest in others.

20.  “For all his genius, Le Corbusier remained completely
insensitive to certain aspects of human
existence,” Weber writes in Le Corbusier: A Life (Knopf
2008).
 “His fervent faith in his own way of seeing, blinded him to
the wish of people to retain what they most cherish
(including traditional buildings) in their everyday lives.

21.  Eye tracking people with autism can help us understand why Le Corbusier
remained blind to others’ views—he literally couldn’t process visual stimuli
normally.
 And the autism diagnosis can also help us better understand why his
architecture turned out the way it did. This is quite important.
 For it turns out people on the spectrum often struggle not only with social
relations but with visual overload referred to as hyperarousal.

22.  So, no surprise, then, that Le Corbusier would streamline Villa Savoye,
built near Paris in the early 1930s, to the point it suggests a box on stilts
rather than what it was: a wealthy couple’s country retreat.

23.  People with certain brain disorders, including ASD, respond to visual stimuli in
a very distinct fashion. In the pictures above, at left we see a “typical” brain
looking at a kitten; at right, one with autism spectrum disorder (ASD).
 Eye tracking tools measure unconscious and conscious eye movements, and in
this instance, create a dark shadow where people look most. These images
show how a typical viewer focuses directly on the eyes and central area of
the face, while a brain on the spectrum taking an opposing approach, avoids
the eyes and central face almost entirely.

24.  In the Age of Biology, as the 21st century is now dubbed, we have new
explanations of why people with ASD like to simplify a scene; they literally
have too many brain connections (or hyperplasticity).
 This overload leaves them struggling to emotionally regulate or simply keep
themselves stable during the day.
 There’s a good reason why Le Corbusier wrote about hating the hubbub of
crowded Parisian sidewalks [he calls them donkey paths] . “We
must kill the street,“ he extorts in Towards a New Architecture (1931).

25.  His vision of the city of the
future features isolated
towers, highways and
no people in view at all;
from an autistic perspective,
this cleaned-up, less
detailed vision is
simply easier to take
in.
 Given the characteristics of
the disorder, it becomes
almost predictable.

26. Traditional city
façade is a wall to the urban
room beyond the building, be
it a street, a square, a
plaza, park, or alley.
Placeis to
Architecture
as meaning is to
language.

27.  Perhaps as significantly, Corbu came to prominence at an extremely
disruptive time in world history, the years after WWI, which gave him a
unique entry, Anthony Daniels, the retired MD, argues:
 I think his career would only have been possible in the wake of the First
World War, with its terrible dislocation and loss of confidence in
the civilization of which it seemed to be the culminating event.

28.  Today’s trauma specialists know “the body keeps the score,” as Dr.
Bessel van der Kolk, the founder of the Trauma Center of Brooklyn MA and
world-renown PTSD [post-traumatic stress disorder] expert, is fond of saying.
(He published a New York Times best-selling book of the same title in
2014.):
 Prolonged and repeated exposure to near-death experiences
change the brain, actually shrinking it, fMRI research shows.
 Survivors lose the ability to interpret environmental stimuli in a normal or
“neurotypical” way and, similarly to autism, the disorder can significantly
compromise their ability to understand and empathize with others.
 PTSD sufferers tend to avoid eye contact, something the mentally healthy
perennially seek for emotional regulation.

29.  Reading assignment

30. 14 PATTERNS OF
BIOPHILIC DESIGN
“In every walk with nature one receives far more than
one seeks.” John Muir, 19 July 1877

31.  Biophilia is humankind’s innate biological connection
with nature.
 It helps explain why crackling fires and crashing
waves captivate us; why a garden view can enhance
our creativity; why shadows and heights instill
fascination and fear; and why animal companionship
and strolling through a park have restorative,
healing effects.
 Biophilia may also help explain why some urban
parks and buildings are preferred over others, Also
why some urban setups are cherished more than
others.

32.  Beyond representation, cultures around the world have long brought nature
into homes and public spaces.
 Classic examples include the garden courtyards of the Alhambra in Spain,
porcelain fish bowls in ancient China, the aviary in Teotihuacan (ancient
Mexico City), bonsai in Japanese homes, papyrus ponds in the homes of
Egyptian nobles, the cottage garden in medieval Germany, or the elusive
hanging gardens of Babylon.

33.  Le Corbusier’s Cité Radiant (unbuilt 1924) may have resulted in
disastrous urban designs, but by putting towers in a park surrounded by grass
and trees, he was trying to provide city dwellers with a connection to nature.
 As the International Style took root, it spread glass buildings everywhere;
unfortunately, the buildings, and particularly the interiors of commercial
buildings, increasingly disconnected people from nature.
 The term ‘biophilia’ was first coined by social psychologist Eric Fromm
(The Heart of Man, 1964) and later popularized by biologist Edward
Wilson (Biophilia, 1984).
 The sundry denotations – which have evolved from within the fields biology
and psychology, and been adapted to the fields of neuroscience,
endocrinology, architecture and beyond – all relate back to the desire for a
(re)connection with nature and natural systems.

34.  14 PATTERNS OF BIOPHILIC DESIGN
 Nature in the Space Patterns
 1. Visual Connection with Nature
 2. Non-Visual Connection with
Nature
 3. Non-Rhythmic Sensory Stimuli
 4. Thermal & Airflow Variability
 5. Presence of Water
 6. Dynamic & Diffuse Light
 7. Connection with Natural Systems
 Natural Analogues Patterns
 8. Biomorphic Forms &
Patterns
 9. Material Connection with
Nature
 10. Complexity & Order
 Nature of the Space
Patterns
 11. Prospect
 12. Refuge
 13. Mystery
 14. Risk/Peril

35.  NATURE-DESIGN RELATIONSHIPS
 Biophilic design can be organized into three categories –
 Nature in the Space, Natural Analogues, and Nature of the Space –
providing a framework for understanding and enabling thoughtful
incorporation of a rich diversity of strategies into the built environment.


38.  DESIGN CONSIDERATIONS
 WHAT IS GOOD BIOPHILIC DESIGN?
 Biophilic design is the designing for people as a biological organism,
respecting the mind-body systems as indicators of health and well-being in
the context of what is locally appropriate and responsive.
 Good biophilic design draws from influential perspectives – health conditions,
socio-cultural norms and expectations, past experiences, frequency and
duration of the user experience, the many speeds at which it may be
encountered, and user perception and processing of the experience – to
create spaces that are inspirational, restorative, healthy, as well as
integrative with the functionality of the place and the (urban) ecosystem to
which it is applied. Above all, biophilic design must nurture a love of place.

39.  WORKING WITH BIOPHILIC
PATTERNS
 While informed by science, biophilic design
patterns are not formulas;
 they are meant to inform, guide and assist
in the design process and should be
thought of as another tool in the designer’s
toolkit.
 The purpose of defining these patterns is
to articulate connections between aspects
of the built and natural environments and
how people react to and benefit from
them.

40.  After each pattern is defined, it is then discussed in terms of the following:
 The Experience briefly considers how the pattern might impact the way a
space feels;
 Roots of the Pattern highlights key scientific evidence that relates human
biology to nature and the built environment;
 Working with the Pattern highlights design attributes, examples, and
considerations; and
 Relation to other Patterns briefly notes opportunities for integrative biophilic
design strategies.

41.  [P1]
 VISUAL
CONNECTION WITH
NATURE
 ***
 A Visual Connection
with Nature is a
view to elements of
nature, living
systems and natural
processes.
 THE EXPERIENCE
 A space with a good Visual Connection with Nature feels
whole, it grabs one’s attention and can be stimulating or
calming. It can convey a sense of time, weather and other
living things.
 RELATION TO OTHER PATTERNS
 Visual Connection with Nature is often paired with a
number of other patterns.
 Common overlaps with the most significant potential
impact: [P2] Non-Visual Connection with Nature [P3] Non-
Rhythmic Sensory Stimuli [P5] Presence of Water [P8]
Biomorphic Forms & Patterns [P11] Prospect

42.  [P2]
 NON-VISUAL
CONNECTION WITH
NATURE
 **
 Non-Visual Connection
with Nature is the
auditory, haptic,
olfactory, or gustatory
stimuli that engender a
deliberate and positive
reference to nature,
living systems or
natural processes.
 THE EXPERIENCE
 A space with a good Non-Visual Connection with Nature feels
fresh and well balanced; the ambient conditions are
perceived as complex and variable but at the same time
familiar and comfortable, whereby sounds, aromas, and
textures are reminiscent of being outdoors in nature.
 RELATION TO OTHER PATTERNS
 As experiences can be enhanced when paired with more than
one sense, the application of a second pattern could help
identify the stimuli or other qualities of the stimuli.
 Common overlaps: [P1] Visual Connection with Nature [P3]
Non-Rhythmic Sensory Stimuli [P4] Thermal & Airflow
Variability [P9] Material Connection with Nature [P5]
Presence of Water
 and sometimes also: [P13] Mystery

43.  [P3]
 NON-RHYTHMIC
SENSORY STIMULI
**
 Non-Rhythmic
Sensory Stimuli are
stochastic and
ephemeral
connections with
nature that may be
analyzed statistically
but may not be
predicted precisely
 THE EXPERIENCE
 A space with good Non-Rhythmic Sensory Stimuli feels as if
one is momentarily privy to something special, something
fresh, interesting, stimulating and energizing. It is a brief but
welcome distraction.
 RELATION TO OTHER PATTERNS
 Non-Rhythmic Sensory Stimuli differs from [P2] Non-Visual
Connection with Nature in that it is inclusive of all sensory
systems and is most commonly experienced at a subconscious
level through momentary exposure that is not typically
sought out or anticipated; whereas Non-Visual Connection
may be deliberate, planned, and over longer more
predictable durations of time.
 Common overlaps: [P1] Visual Connection with Nature [P4]
Thermal & Airflow Variability [P5] Presence of Water [10]
Complexity & Order [P13] Mystery

44.  [P4]
 THERMAL &
AIRFLOW
VARIABILITY
 **
 Thermal & Airflow
Variability can be
characterized as
subtle changes in air
temperature,
relative humidity,
airflow across the
skin, and surface
temperatures that
mimic natural
environments.
 THE EXPERIENCE
 A space with good Thermal & Airflow Variability feels
refreshing, active, alive, invigorating and comfortable.
The space provides a feeling of both flexibility and a
sense of control.
 RELATION TO OTHER PATTERNS
 Common overlaps: [P6] Dynamic & Diffuse Light [P7]
Connection with Natural Systems
 and sometimes also: [P3] Non-Visual Connection with
Nature [P5] Presence of Water [P13] Mystery

45.  [P5]
 PRESENCE OF
WATER
 **
 Presence of Water
is a condition that
enhances the
experience of a
place through the
seeing, hearing or
touching of water.
 THE EXPERIENCE
 A space with a good Presence of Water condition feels
compelling and captivating. Fluidity, sound, lighting,
proximity and accessibility each contribute to whether a
space is stimulating, calming, or both.
 RELATION TO OTHER PATTERNS
 Commonly enhanced patterns: [P1] Visual Connection
with Nature [P2] Non-Visual Connection with Nature [P7]
Connection with Natural Systems [P11] Prospect [P14]
Risk/Peril

46.  [P6]
 DYNAMIC &
DIFFUSE LIGHT
 **
 Dynamic & Diffuse
Light leverages
varying intensities
of light and shadow
that change over
time to create
conditions that
occur in nature.
 THE EXPERIENCE
 A space with a good Dynamic & Diffuse Light condition
conveys expressions of time and movement to evoke
feelings of drama and intrigue, buffered with a sense of
calm.
 RELATION TO OTHER PATTERNS
 Common overlaps: [P1] Visual Connection with Nature
[P3] Non-Rhythmic Sensory Stimuli [P4] Thermal & Airflow
Variability [P13] Mystery
 and sometimes also: [P5] Presence of Water [P7]
Connection with Natural Systems [P8] Biomorphic Forms &
Patterns

47.  [P7]
 CONNECTION WITH
NATURAL SYSTEMS
 Connection with
Natural Systems is
the awareness of
natural processes,
especially seasonal
and temporal
changes
characteristic of a
healthy ecosystem.
 THE EXPERIENCE
 A space with a good Connection with Natural Systems
evokes a relationship to a greater whole, making one
aware of seasonality and the cycles of life. The
experience is often relaxing, nostalgic, profound or
enlightening, and frequently anticipated.
 RELATION TO OTHER PATTERNS
 Common overlaps: [P1] Visual Connection with Nature
[P2] Non-Visual Connection with Nature [P3] Non-
Rhythmic Sensory Stimuli [P5] Presence of Water
 and sometimes also: [P4] Thermal & Airflow Variability
[P6] Dynamic & Diffuse Light [13] Mystery

48.  [P8]
 BIOMORPHIC
FORMS &
PATTERNS
 *
 Biomorphic Forms &
Patterns are
symbolic references
to contoured,
patterned, textured
or numerical
arrangements that
persist in nature.
 THE EXPERIENCE
 A space with good Biomorphic Forms & Patterns feels
interesting and comfortable, possibly captivating,
contemplative or even absorptive.
 RELATION TO OTHER PATTERNS
 Common overlaps: [P1] Visual Connection with Nature
[P10] Complexity & Order

49.  [P10]
 COMPLEXITY &
ORDER
 **
 Complexity & Order
is rich sensory
information that
adheres to a spatial
hierarchy similar to
those encountered
in nature.
 THE EXPERIENCE
 A space with good Complexity & Order feels engaging and
information-rich, as an intriguing balance between boring
and overwhelming.
 RELATION TO OTHER PATTERNS
 Common overlaps: [P1] Visual Connection with Nature
[P2] Non-Visual Connection with Nature [P8] Biomorphic
Forms & Patterns [P9] Material Connection with Nature

50.  [P11]
 PROSPECT
 ***
 Prospect is an
unimpeded view
over a distance for
surveillance and
planning.
 THE EXPERIENCE
 A space with a good Prospect condition feels open and
freeing, yet imparts a sense of safety and control,
particularly when alone or in unfamiliar environments.
 RELATION TO OTHER PATTERNS
 Complementary patterns: [P1] Visual Connection with
Nature [P5] Presence of Water [P12] Refuge [P13] Mystery
[P14] Risk/Peril

51.  [P12]
 REFUGE
 ***
 Refuge is a place
for withdrawal,
from environmental
conditions or the
main flow of
activity, in which
the individual is
protected from
behind and
overhead.
 THE EXPERIENCE
 A space with a good Refuge condition feels safe, providing
a sense of retreat and withdrawal – for work, protection,
rest or healing – whether alone or in small groups. A good
refuge space feels separate or unique from its surrounding
environment; its spatial characteristics can feel
contemplative, embracing and protective, without
unnecessarily disengaging.
 RELATION TO OTHER PATTERNS
 Complementary patterns: [P4] Thermal & Airflow
Variability [P6] Dynamic & Diffuse Light [P11] Prospect
[P13] Mystery

52.  [P14]
 RISK/PERIL
 *
 Risk/Peril is an
identifiable threat
coupled with a
reliable safeguard.
 THE EXPERIENCE
 A space with a good Risk/Peril condition
feels exhilarating, and with an implied
threat, maybe even a little mischievous or
perverse. One feels that it might be
dangerous, but intriguing, worth exploring
and possibly even irresistible.
 RELATION TO OTHER PATTERNS
 Common overlaps: [P1] Visual Connection
with Nature [P5] Presence of Water [P11]
Prospect

53.  FINAL THOUGHTS
 The science supporting biophilic design is still emerging. In many ways, it could be
argued that the research is really just corroborating the rediscovery of the
intuitively obvious. Unfortunately, too much of our modern design is oblivious to
this profound knowledge.
o Deep down, we know that the connection
to nature is important.
o When asking people to think about their
favorite places for vacation, the majority
will describe some place outdoors; we use
the term ‘recreation’ and forget that
recreation is about recreating, restoring
ourselves.
o So while empirical evidence is
accumulating, we ought to go about
restoring the human-nature connection in
the built environment.

54.  And just to remind ourselves why biophilic design is so important, consider
that in the 12,000 years since humans began farming and other activities that
transformed the natural landscape (Smithsonian, 2014), only in the last 250
years have modern cities become common.
 Within the last few years we became urban dwellers, with more people living
in cities than in the countryside.
 In coming decades, it is projected that 70 percent of the world’s population
will live in cities.
 With this shift, the need for our designs to (re)connect people to an
experience of nature becomes ever more important, for our health and well-
being biophilic design is not a luxury, it’s a necessity.

55. Site Analysis Guidelines
 The following procedure is suggested as a
guide to systematic site analysis:
 Regional influences: the site analysis most
often begins with the location of the project
site on a regional map and a cursory
investigation of regional, vicinity and area
planning factors.
 From such documents as geological survey
maps, road maps, road maps and various
planning reports, much useful insight can be
gained about the surrounding topographic
features, Land uses, roadways and
transportation networks, recreational
opportunities, employment, commercial and
cultural centers.
 Together these establish the extensional
setting to which the proposed project will
relate.

56. Site Analysis Guidelines
 The Project Site: Before design
studies can be initiated, the planner must
be fully conversant with the specific
nature of the site--its constraints and
possibilities.
 This knowledge is obtained mainly by
means of a topographic survey and site
visitation.
 Topographic Survey: The basic
topographic survey is customarily prepared
by a registered surveyor at an engineering
scale

57. Site Analysis Guidelines
 Site planning map: one of the most
effective means of developing a keen
appreciation of the site and its nature
is the preparation of site analysis map.
 A print of the topographic survey is
taken into the field and from actual
site observation additional notes are
jotted down upon it in the planner’s own
symbols.
 These amplify the survey notations
describe all conditions on or related to
the site that are pertinent in it’s
planning.

58. Site Analysis Guidelines
 Such supplementary information might describe or
note:
 1. outstanding natural or man made features.
 2. tentative outline of proposed preservation,
conservation and development areas
 3. negative site features
 4. direction and relative volumes of traffic flow
on approach roads, points of connection to
pedestrian route, bikeways' and riding trails
 5. Logical points of site ingress or egress
 6. potential building locations, use areas, or
routes of movement

59. Site Analysis Guidelines
 7. commanding observation points, overlook
areas, and preferred viewing sector
 8. Best views to be featured, and
objectionable views to be screened,
together with a brief note describing each
 9. Direction of prevailing winter winds and
summer breezes
 10. Off-site attractions and nuisances
 11. An ecological and microclimatic analysis
of the site and environment
 12. Other factors of special significance in
the project planning

60. Site Analysis Guidelines
 The Conceptual Plan: A seed of use-a cell of function-wisely applied to a
receptive site will be allowed to develop organically, in harmonious adaptation to the
natural and the planned environment‘
Plan Concepts: If structure
and landscape development are
contemplated, it is impossible to
conceive one without the other,
for it is the relationship of
structure to site and site to
structure that gives meaning to
each and to both.

61. Site Analysis Guidelines
 Site-Structure diagram: When planning a
project or a structure in relation to a land area, we
first consider all the various uses to be fitted
together and accommodated.
 over a point of the topographic survey, we would
then indicate, use areas of logical size and shape in
studied relation to each other and to the natural and
built landscape features.
 Having thus roughed in the site use areas, we may at
last block in the architectural elements of the
project.
 The result is the site-structure diagram.

62. Site Analysis Guidelines
 Conceptual Site Plan: The balance of the planning
process is a matter of comparative analysis and
refinement of detail--a process of creative synthesis.
 A good plan, reduced to essentials, is no more than a
record of logical thought.
 A dull plan is a record of ineffectual thinking or of very
little thinking at all.
 A brilliant plan gives evidence of response to all site
factors, a clear perception of needs and relationships,
and a sensitive expression of all components working well
together.

63.  REFERENCES
 Alcock, I., M.P. White, B.W. Wheeler, L.E. Fleming, & M.H. Depledge. (2014).
Longitudinal Effects on Mental Health of Moving to Greener and Less Green
Urban Areas. Environmental Science & Technology, 48 (2), 1247-1255.
 Hildebrand, G. (1991). The Wright Space: Pattern & Meaning in Frank Lloyd
Wright’s Houses. Seattle: University of Washington.
 Olmsted, F.L. (1993). Introduction to Yosemite and the Mariposa Grove: A
Preliminary Report, 1865. Yosemite Association.
 JOHN ORMSBE SEIMONDS ,BARRYN STARKE,(2006). Landscape
Architecture,McGraw-hill