Digital Ground, Malcolm McCullough, 2004

  • Preface
  • Introduction
  • Part I: Expectations
    • 1 Interactive Futures
    • 2 Embodied Predispositions
    • 3 Habitual Contexts
  • Part II: Technologies
    • 4 Embedded Gear
    • 5 Location Models
    • 6 Situated Types
      • Typology(of  situated interactions)
      • fig 6.2 One set of situational types
        • at work
          • 1. Deliberating (places for thinking)
          • 2. Presenting (places for speaking to groups)
          • 3. Collaborating (places for working within groups)
          • 4. Dealing (places for negotiating)
          • 5. Documenting (places for reference resources)
          • 6. Officiating (places for institutions to serve their constituencies)
          • 7. Crafting (places for skilled practice)
          • 8. Associating (places where businesses form ecologies)
          • 9. Learning (places for experiments and explanations)
          • 10. Cultivating (places for stewardship)
          • 11. Watching (places for monitoring)
        • at home
          • 12. Sheltering (places with comfortable climate)
          • 13. Recharging (places for maintaining the body)
          • 14. Idling (restful places for watching the world go by)
          • 15. Confining (places to be held in)
          • 16. Servicing (places with local support networks)
          • 17. Meeting (places where services flow incrementally)
        • on the town
          • 18. Eating, drinking, talking (places for socializing)
          • 19. Gathering (places to meet)
          • 20. Cruising (places for seeing and being seen)
          • 21. Belonging (places for insiders)
          • 22. Shopping (places for recreational retailing)
          • 23. Sporting (places for embodied play)
          • 24. Attending (places for cultural productions)
          • 25. Commemorating (places for ritual)
        • on the road
          • 26. Gazing/ touring (places to visit)
          • 27. Hoteling (places to be at home away from home)
          • 28. Adventuring (places for embodied challenge)
          • 29. Driving (car as place)
          • 30. Walking (places at human scale)
  • Part III: Practices
    • 7 Designing Interactions
    • 8 Grounding Places
      • Why Ground?
      • Place and Space pp175
        • Yi-Fu-Tuan: “Space is movement, place is rest”/ Space is the anxiety of global indifference; place is the comfort of local malleability
        • Architectural phenomenologist Norberg-Schulz “Space is alienation; place is identification
        • Urban planner Edward Relph “Space is an ordering of understanding; place is an ordering of experience
      • Place and Placelessness
      • Place and Community p181
        • 1
        • city walls
        • rusticated
        • 2
        • Edward Relph, place and placelessness. 1976
          • “Places are defined less by unique locations, landscape, and communities than by the focusing of experiences and intention onto particular settings”.p141
        • thus while we can speak of the identity of a place, we must also admit identification with a place.
        • Space lies outside the walls, or outside the social sphere, but the experiences of place occur inside these seen and unseen boundaries.

      • High-Tech Nomads
      • Service Ecologies p186
      • Getting into Place: Architecture, Interaction, and Ground
    • 9 Accumulating Value
      • Value Emerges from Interactions
      • Value Itself
      • Utilitarian Value
      • Economism and Placelessness
      • Expanding the Measures
      • Context as Capital
      • Value as Impetus
  • Part IV: Epilogue
    • 10 Going Native
  • Notes
  • Further Reading
  • References

Lawrence Halprin

Wikipedia

Halprin’s work is marked by his attention to human scale, user experience, and the social impact of his designs, in the egalitarian tradition of Frederick Law Olmsted. Halprin was the creative force behind the interactive, ‘playable’ civic fountains most common in the 1970s, an amenity which continues to greatly contribute to the pedestrian social experience in Portland Oregon, where “Ira’s Fountain” is loved and well-used, and which has been a chronic failure at the transient-ridden United Nations Plaza in San Francisco.

 

In his best work, he construed landscape architecture as narrative.

from

Rainey, Reuben M. (2001). “The Garden as Narrative: Lawrence Halprin’s Frankllin Delano Roosevelt Memorial,” in Places of Commemoration : Search for Identity and Landscape Design, pp. 377-413.

 

*

http://d.hatena.ne.jp/caesar-blanca/20101219/p1

http://blog.enviro-studio.net/?eid=85

Light for Cities, Urrike Brandi et al, 2007

AMAZON

  • Foreword
  • Introduction
  • 1. Process
    • Concept Development
    • Efficiency and Performance Profiles
    • Implementation
    • Lamps and Luminaires
  • 2. Typology
    • Traveling by Car
      • Main roads and side streets
      • Bridges
      • Roundabouts
      • Traffic signals
      • Multi-storey car parks
      • Car parks
      • Petrol(gas) stations
      • Stop and go
      • P70
    • On Foot
      • Squares
      • Footpaths and sidewalks
      • Trees
      • Facades and illuminated advertising
      • Shop windows
      • Underground stations
      • Boulevards
    • Design Principles and Technologies
  • 3. Completed Scheme
  • 4. Developments
    • Light and Shadow in the Public Realm: Past and Present
  • Appendix
  • Bibliography
  • Imprint

Urban Open Space: Table1: A Typology of Urban Open Spaces

  • P6 A Typology of Urban Open Spaces
Type/Subtype Characteristics

Public Parks

Public/Central Park Publicly developed and managed open space as part of zoned open space system of city; open space of city-wide importance; often larger than neighborhood park
Downtown Parks Green parks with grass and trees located in downtown areas; can be traditional, historic parks or newly developed open spaces.
Commons A large green area developed in order New England cities and towns; once pasture area for common use; now used for leisure activities.
Neighborhood Park Open space developed in residential environments; publicly developed and managed as part of the zoned open space of cities, or as private residential development; may include playgrounds, sport facilities, etc.
Mini/Vestpocket Park Small urban park bounded by buildings; may include fountain or water feature.

Squares and Plazas

Central Square Square or plaza; often part of historic development of city center; may be formally planed or exist as meeting places of streets; frequently publicly developed and managed.

Memorials

Public place that memorializes people or events of local and national importance.

Markets

Farmers Markets Open space or streets used for farmers markets or flea markets; often temporary or occur only during certain times in existing space such as parks, downtown streets or parking lots.

Streets

Pedestrian Sidewalks
Pedestrian Mall
Transit Mall
Traffic Restricted Streets
Town Trails

Playgrounds

Playground
School yard

Community Open Spaces

Community Garden/Park

Greenways and Linear Parkways

Urban Wilderness

Atrium / Indoor Marketplaces

Atrium
Marketplace / Downtown Shopping Center

Found / Neighborhood Spaces

Everyday Spaces
Neighborhood Spaces

Waterfronts

Waterfronts, Harbors, Beaches, Riverfronts, Piers, Lakefronts

Art, space and the city: public art and urban futures, Malcolm Miles, 1997

Preface?

  • A duality emerges between public art which is bound by the aesthetics of the object, and art as a continuous, participatory process of social criticism.
  • Two roles for art are suggested:
    • as decoration within a re-visioned field of urban design in which the needs of users are central,
    • and as a social process of criticism and engagement, defining the public realm not as public sites but as complex fields of public interest. The tension between these positions is creative.

Evaluation Mentioned

  • 4: The contradictions of Public Art
    • Page 59:
      • Selwood, The Benefits of Public Art, 1995
      • ref 25: A particular problem is the lack of a tested methodology for either qualitative or quantitative evaluation, though this could be developed from the skills of market researchers; more important is the definition of what constitutes a benefit to society.
    • Page 68:
      • (first mentioned The Strategy for Public Art in Cardiff Bay,1990) ..we could contrast Visual Dallas (Dallas, 1987), which begins with an evaluation of the city, and the importance for its ‘livability’ of good public space, citing W.H.Whyte (perhaps ‘The Social Life of Small Urban Spaces’,1980)
    • Page 76: Evaluation

Adéu, Barcelona!,Lucas Jatoba, 2011

Adéu, Barcelona!,Lucas Jatoba, 2011 GOODBYE, BARCELONA!
This is the way I found to say goodbye and thanks to the city that made me happy in the last 3 years. I also would like to say thanks to http://www.atrapalo.com for helping me make it true, and to Jessica Allossery for the wonderful song “Change the World”. A big hug, Lucas. http://lucasjatoba.com