AC 513- ARCHITECTURE CORRELEATION – URBAN DESIGN
BULACAN STATE UNIVERSITY
COLLEGE OF ARCHITECTURE
AND FINE ARTS
AC 513
URBAN DESIGN
MODULE 9
URBAN DESIGN
Urban design is the process of designing
and shaping the physical features of cities, towns
and villages and planning for the provision of
municipal services to residents and visitors. In
contrast to architecture, which focuses on the
design of individual buildings, urban design
deals with the larger scale of groups of
buildings, streets and public spaces, whole
neighbourhoods and districts, and entire cities,
with the goal of making urban areas functional
and sustainable.
Urban design is an inter-disciplinary
field that utilizes elements of many built
environment professions, including landscape
architecture, urban planning, architecture, civil
engineering and municipal engineering. In more
recent times different sub-subfields of urban
design have emerged such as strategic urban
design, landscape urbanism, water-sensitive
urban design, and sustainable urbanism. Urban
design demands an understanding of a wide
range of subjects from physical geography to
social science, and an appreciation for
disciplines, such as real estate development,
urban economics, political economy and social
theory.
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. Urban design draws these
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and other strands together creating a vision for
an area and then deploying the resources and
skills needed to bring the vision to life.
• Urban Design is concerned with the
arrangement, appearance and function of our
suburbs, towns and cities.
• It is both a process and an outcome of
creating localities in which people live,
engage with each other, and engage with the
physical place around them.
• It involves the design and coordination of all
that markers up cities and towns.
URBAN SPACE
The urban space refers to several urban
areas and their related multicentric
municipalities forming a whole in a single
stretch. In the multicentric urban space, the
urban areas are either adjoining or linked
together by multicentric municipalities. This
space forms a connected whole. An urban space
comprising just a single urban area is said to be
monocentric.
• Urban Space are public spaces, created
through arrangement of buildings and other
built elements.
• Related to concept of 'Public Realm — Public
Spaces, available for free use.
• Focus of 'Urban Activity'
• Self contained Island
• Either related to neighboring spaces or may
be interconnected
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OPEN SPACE VS URBAN SPACE
• Open Space - Areas of greenery in or near the
city - Natural, park-like
• Urban Space - Public Spaces within cities,
created through arrangement of building and
other built elements.
TYPES OF PUBLIC SPACE
External Public Space - as pieces of land that
lie between private landholdings such as public
squares, streets, parks, stretches of coastline,
rivers. Open spaces lie between the private
landholdings.
Internal Public Space - or public institutions
such as libraries, museums, town halls, train or
bus stations, hospitals and post offices.
External and Internal Quasi-Public Space -
Places such as university campuses, sports
grounds, restaurants also from part of the public
realm, if only nominally, because their owners
ad operators retain rights to regulate access and
behavior there.
TYPES OF URBAN SPACES
Streets (Roads, Paths, Avenue, Lanes, Alleys) -
Corridors of Space, Channels (Paths) : A public
thoroughfare in the built environment, a public
parcel of land adjoining buildings in an urban
context, on which people may freely assemble,
interact and move about.
TYPES OF ‘URBAN SPACE’ :
STREETS,SQUARES,PRECINCTS
Squares / Piazza / Plaza / Place: Reservoirs of
Space, Rooms (Nodes)
Square--planned open area in a city, originally
rectangular in shape; ‘hardscapes’ suitable for
open markets, music concerts, community
gatherings, political rallies, and other events that
require firm ground.
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Plaza–a Spanish word describes an open urban
public space. At times of crisis or celebrations, it
was the space where a large crowd might gather.
Piazza -an open square in a city, found in Italy.
The term is roughly equivalent to the Spanish
Plaza.
Place– French equivalent of ‘plaza, piazza.
CLASSIFICATION OF SQUARES
Closed Square – Space self contained
Dominated Square – Space directed
Nuclear Square – Space formed around a centre
Grouped Squares – Space units combined
Amorphous Square – Space unlimited
Squares doesn't represent only one pure type, but
very often bears the characteristics of two of
these types
WHAT IS A ‘PRECINCT’ ?
General usage: Area around a place or a
building, which is enclosed by a wall
British usage: Area in a town/city, which is
closed to traffic
American usage: One of the districts into which
a city is divided for election purposes
A well-defined large urban zone that includes
several urban spaces but has certain consistent
visual or use characteristics
TYPES OF URBAN SPACE
“Spatial Structure "of city: Is given by the
hierarchy and connections between series of like
& unlike spaces.
Linkages between various urban spaces, and,
linkage of the space to a special building placed
within or around the space plays in establishing
the movement pattern within the space.
Urban thinker Kevin Lynch was able to establish
a notation of city elements that matched peoples
perception.
They are identified as:
• Districts
• Paths
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• Edges
• Nodes
• Landmarks Imporatance:
• Other elements those can be identified in
urban context are
• Landscapes and • to increase the perception of an active, urban
• Accessory features. corridor and to encourage more walking.
• Strengthen the emphasis on alternative mode
use in the corridor.
KEVIN LYNCH FIVE ELEMENTS OF
CITY PLANNING: • Contribute to the overall vibrancy, safety, and
desirability of the area.
PATHS

Definition: Characteristics of nodes:

• The streets, sidewalks, trails, and other
channels in which people travel.
• Spots in a city into which an observer can
enter, and which are the intensive foci from
which the person is travelling.
Importance:
• They organise the mobility.
• pattern of street network is what defines a city
and makes it unique.
• These nodes should occur where single uses
or a combination of
uses lead to higher levels of pedestrian
activity,
• Pedestrian nodes should include such
furnishings as drinking fountains, trash cans,
and benches to increase the users’ sense of
comfort. Seating should be arranged to
accommodate groups of people

Characteristics of Paths • Careful thought should be given to the

• They are defined by their physical dimension,
size ,shape and character of the buildings that
line them.
• They range from grand avenues to intimate
small paths.
NODES
Definition:
• A common point where two or more roads
meet to form a junction or square.
• The strategic focus points for orientations of
squares and junctions.
• spots in a city into which an observer can
enter, and which are the intensive foci from
which the person is travelling.
amount of seating provided because too much
unused seating may detract from the goal of
creating an active area
EDGES
Definition:
They are boundaries between two phases,
Bodies of water (such as an ocean, river, or lake)
Landforms (such as mountains and hills)
Manmade structures (such as buildings, railroad
tracks, walls, or highways)
Importance:
Functionality and usage of the spaces are clearly
defined by edges..
Characteristics of edges:
• Acts in a space by stopping it,more or less
penetrable,or they may be seams, lines
along which two regions are related and

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joined together. • Functionally prominent structures have a

major influence on the aesthetics of their
• Street edges need to be oriented and/or immediate urban landscape; location ,function
adjusted for maximum light on the space of open spaces and landscape furniture.
between buildings, and not just for interior
penetration, in order to encourage active Physical Characteristics:
street life
• some aspect that is unique or memorable in
the context.
DISTRICTS
ELEMENTS OF URBAN DESIGN
Definition:
• Areas characterized by common Urban Design involves the design and
characteristics, these are the medium to large coordination of all that makes up cities and
areas, which have some common identifying towns:
character.
• BUILDINGS
Characteristics: • PUBLIC SPACES • STREETS
• Distinctive physical characteristics might • TRANSPORT
include ‘thematic continuities’, such as • LANDSCAPE
texture, space, form, detail, symbol ,function
and building.
• The presence of these and other similar BUILDING IDENTIFICATION:
attributes reinforce a district’s fabric, • Buildings are the most pronounced
cohesiveness, and identity. elements of urban design.
• Good planning makes for liveable
neighbourhoods, a safe and healthy community, • They shape and articulate space by forming
and a sustainable economy the street walls of
the city.

IMPORTANCE OF ZONING • Well-designed buildings and groups of

• Zoning helps in creating identity to the place, buildings work together
security and enrich private and social behaviour. to create a sense of place.

LANDMARKS CHARACTERISTICS:

Definition: • Variation in building height, volume and

the way in which buildings are grouped
• external points of orientation,easily identified
together
objects– towers, spires, hills are distant and
are typically seen from many angles and from
distance, over the top of smaller elements. • Contour

• Facade Design-main doors

• Other landmarks – sculptures, signs and trees
are primarily local being visible only in
restricted localities and from certain
approaches.
Importance:
/openings, other fenestration, material, etc.
ROLE:
• Height & Contour define sense of enclosure
and visibility

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 AC 513- ARCHITECTURE CORRELEATION – URBAN DESIGN
• Openings lead to spatial structuring
• Facade Designs animate & personalize
urban space
• Building forms are guided by specific uses
of buildings.
• As they have an impact on the streetscape,
it is important that their forms respond to
their surroundings.
PUBLIC SPACES
IDENTIFICATION:
 Great public spaces are the
living room of the city - the
place where people come
together to enjoy the city and
each other.
 Public spaces make high quality
life in the city possible - they
form the stage and backdrop to
the drama of life.
 Public spaces range from grand
central plazas and squares, to
small, local neighborhood parks.
CHARACTERISTICS:
 Promotes human contact and
social activities.
 Is safe, welcoming, and
accommodating for all users.
 Has design and architectural
features that are visually
interesting.
 Promotes community
involvement.
 Reflects the local culture or
history.
 Relates well to bordering uses.
 Is well maintained.
 Has a unique or special
character.
ROLE:
 Open spaces can be grand
central plazas and squares, or
small, lush pocket parks. They
can also be soothing sanctuaries
amid the urban hurly-burly or
packed with people.
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 These spaces let you soak in the
sun, enjoy the lush greenery and
interact with fellow city
dwellers at these open spaces.
 These open spaces also act as
landmarks and unique setting
for events and celebrations.
Example: Parks like Gardens by the
Bay and the plaza in front of Cathay
Building and School of the Arts
(SOTA) provide respite in our high-
rise city environment.
STREETS
IDENTIFICATION:
 These are the connections
between spaces and places, as
well as being spaces themselves.
 Other pedestrian networks
include pedestrian malls,
promenades, covered walkways
and link-ways, through-block
links and overhead linkages.
ROLE:
 Well-connected pedestrian
networks to allow people to
move easily and comfortably
within the city, and facilitate the
use of public transportation.
 It connects open spaces, points
of interest and parks, and can be
at different levels, allowing you
to appreciate the city from
different perspectives.
Example: Walking to the
Esplanade from City Hall MRT
takes only about 15 minutes via
the City Link underground
pedestrian network. The link-
way is also lined with shopping
and dining options
TRANSPORT
IDENTIFICATION:
 Transport systems connect the
parts of cities and help shape
them, and enable movement
throughout the city.
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 They include road, rail, bicycle,
and pedestrian networks, and
together form the total
movement system of a city.
 The best cities are the ones that
elevate the experience of the
pedestrian while minimizing the
dominance of the private
automobile.
CHARACTERISTICS:
The balance of these various transport
systems is what helps define the quality
and character of cities, and makes them
either friendly or hostile to pedestrians.
ROLE:
 The location of car parks and
drop-off points affect the way
vehicles navigate their way
around the city.
 It also influences how
pedestrians experience the city.
 It is important to separate
pedestrians from vehicular
traffic to avoid causing danger
and conflict to pedestrians.
Example: The drop-off point at
Mandarin Gallery used to be located in
front of the buildings along the main
Orchard Road pedestrian mall. This mix
of vehicular and pedestrian traffic was
not ideal, and caused disruptions to
pedestrians. After Mandarin Gallery was
refurbished , the drop-off point was
relocated to the side, along Orchard
Link. This opened up the front of the
development for activity generating uses
and also provides pedestrians with a
safer and more pleasant environment.
LANDSCAPE
IDENTIFICATION:
 It is the green part of the city
that weaves throughout, in the
form of urban parks, street trees,
plants, flowers, and water in
many forms.
 Green spaces in cities range
from grand parks to small
intimate pocket parks.
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 The landscape helps define the
character and beauty of a city
and creates soft, contrasting
spaces and elements.
CHARACTERISTICS:
 Levels, Flat or Sloping
 Pattern
 Surface texture
ROLE:
 Level moulds scale, give
directionality, focus, emphasis.
 Texture suggests (supports /
prohibits) nature of activity –
pedestrian, vehicular / slow, fast
 Pattern moulds movement
paths, gives direction
 Landscape plays an important
role in our urban design, and
developments are encouraged to
provide greenery (on the ground
or skyrise) in the city.
 Other than its environmental
benefits— helping to clean the
air and mitigating the urban heat
island effect—greenery can help
shape the streetscape, reinforce
the character of a place, and
make the public spaces more
comfortable by providing shade
Example: The sky terraces at
Parkroyal Hotel at Pickering Street
allow hotel guests to enjoy greenery
at new ‘heights’
URBAN SPACE: CITIES
The phenomenon of urbanization is due
to the growth of cities, both because it has
increased the number of inhabitants and the new
economic activities conducted there.
URBAN SPACE: GREEK CITIES
Greek City Planning and Design
Planning and Design Principles
The ancient Greek civilization had established
principles for planning and designing cities.
 City form were of two types:
 Old cities such as Athens had irregular
street plans reflecting their gradual
organic development.
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 New cities, especially colonial cities
established during the Hellenistic
period, had a grid-iron street plan
 Certain things were common among
cities: The overall division of spaces in
3 parts: acropolis, agora and the town.
The fortification etc.
GREEK CITIES: THE ATHENS
Greek Cities:
 The greek city-state was called as a
‘Polis.’
 Syracuse and Akragas which had over
20,000 people.
 Most of the city grow around the citadel.
 The Greek City was usually divided into
three parts; the acropolis, the agora and
the town.
 Site planning and design was centered
on the appreciation of buildings from
the outside.
 The location of buildings was therefore
such that it could command a good
viewto it.
The Agora:
 The Agora was the most important
gathering place in a Greek city.
 It started as an open area where the
council of the city met to take decisions.
 It was usually located on a flat ground
for ease of communication
The acropolis:
 The acropolis in Athens was a religious
precinct located on one of the hills of
the city.
The Town:
 The town was where the people lived.
 This was the domain of women, who did
not have any public role.
 Early Greek towns had an irregular
street pattern, resulting from its organic
growth.
 Later Hellenistic towns such as
Priennehad a formal rectilinear pattern.
 The town was made up of only
residential houses
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The New Town (Miletos) Hippodamus:
 The new city of Milotos was designed
by Hippodamus.
 He was the first person to introduce the
grid-iron pattern of road system.
 The grid iron pattern road system
generally designed towards Peninsula
river rather than orienting into the
cardinal points.
 He divided the city into three distinct
zones- to the North was residential area,
Agora at the center, other residential
area towards the South of larger blocks.
 Only missing area is the Temples.
Characteristics of the Greek Cities:
 They haven’t a regular layout, and the
streets were narrow and winding.
 Later on, it was used a layout of streets
cutting off perpendicularly, with spaces
and public buildings (Agora)
URBAN SPACE: ROMAN CITIES
Characteristics of the Roman Cities:
 The typical Roman city had more public
places and a more obviously public
character than other cities.
 The Forum was the epicenter of intense
religious, economic political and social
activity
 The urban layout of Pompeii and
Herculaneum reflect , not only its
historical development but the central
role played by the Forum and the towns
relationship with the hinterland.
 They had a regular form, with two
principals streets.
 They had water pipes, bridges, buildings
for shows, roads.
ROMAN CITIES: PTIMGAD CITY
 The town of Thamugadi, now Timgad,
lay on the northern skirts of Mount
Aurès, halfway between Constantine
and Biskra and about a hundred miles
from the Mediterranean coast.
 The town grew. Soon after the middle of
the second century it was more than half
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a mile in width from east to west, and its
extent from north to south,
 The first settlement was smaller. So far
as it has been uncovered by French
archaeologists—sufficiently for our
purpose, though not completely—the
'colonia' of Trajan appears to have been
some 29 or 30 acres in extent within the
walls and almost square in outline (360
x 390 yds.).
 Diminished by the space needed for
public buildings, though it is not easy to
tell how great this space was in the
original town.
 The blocks themselves measured square
of 70 Roman feet (23 x 23 yards), and
may have contained one, two, three, or
even four houses apiece, but they have
undergone so many changes that their
original arrangements are not at all
clear.
 The streets which divided these blocks
were 15 to 16 ft. wide; the two main
streets, which ran to the principal gates,
were further widened by colonnades and
paved with superior flagging. All the
streets had well-built sewers beneath
them.
 It was entered by four principal gates,
three of which can still be traced quite
clearly, and which stood in the middle
of their respective sides; the position of
the south gate is doubtful.
STREET PATTERN
 The interior of the town was divided by
streets into a chess-board pattern of
small square house-blocks; from north
to south there were twelve such blocks
and from east to west eleven—not
twelve, as is often stated.
URBAN SPACE: MEDIEVAL CITIES
 Around 5th century AD Roman Empire
disintegrated because of show amd
luxury of its rulers.
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 Cities lost importance and socio-
economic disturbances followed.Cruel
rulers started establishing city-states.
 People increasingly depended upon
agriculture and their rulers for survival.
 A feudal system slowly emerged and
this period can be called as ‘dark ages.
Medieval cities in the European Middle
Ages. took many forms, Greatly in
central-northern Italy based on partial
democracy, while in Germany they
became free cities, independent from
local nobility.
TYPES OF LOCATIONS e.g. the hill
towns of southern France, southern
Germany, and of central Italy.
ORIENTATION topography.
SHAPE geometric shapes; yet simple,
geometric plans were adopted
CLASSIFICATION Medieval towns
can be classified according to function
e.g.:
Farm Towns - especially in Scandinavia
and Britain
Fortress Towns - Toledo, Edinburgh,
Tours, Warwick
Church Towns - York, Chartres
Merchant Prince Towns - Florence,
Siena
Merchant Guild Towns - Hanseatic
League town
URBAN SPACE: MEDIEVAL CITIES
 Strategic sites were selected for forts to
protect from enemy attacks.
 The church became strong during these
turbulent years.
 The forts were surrounded by its own
walls as final protection against
attacking enemy.
PLANNED TOWN
 It had laid out straight streets,
intersecting at right angles, and thus
enclosing rectangular blocks.
Piraeus
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 The planned european city was not
restricted to those that derived from the
greeks or the romans.
THE MULTI-FOCAL TOWN
 A small number of villages that had
previously crowned its hills.
 This pattern was to be replicated
 Differing institutional nuclei—a castle,
cathedral, monastery, or market—which
in time came to complement one
another.
THE WALLED TOWN
 Security was a major factor.
 Classical athens had protected itself
against its enemies and had built the
“long walls,”
 Hellenistic world, towns were walled,
towers were built
ORIGINS of MEDIEVAL ClTIES
1. Cathedral, Church, Cloister,
2. Monastery i.e. the bishop’s seat
3. Fortresses (royal castles, palaces;
4. princely courts)
5. The market place/staging points
6. The free settlements (i.e.
independent)
7. The historic towns (usually old
roman ones)
URBAN SPACE: CONTEMPORARY CITIES
Pre-independence period: (before 1947)
 When the Britishers first settled in India,
they found most of the towns are
unhygienic. So they built independent
colonies on the outskirts of existing
towns. These extensions were called
“Cantonments” and “Barracks” for
military occupied areas and “Civil lines”
for the residents of civilians. Hence,
they created these cantonments:
o Delhi cantonment known as
British colonies.
o Agra cantonment.
o Bangalore cantonment.
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o Ahmadabad cantonment.
 After this, they found that the climate of
India is so hot. So, they developed the
hill- stations in the nearby area of
cantonments. They were:
 In the first decade of 20th century, they
took up the work of building New Delhi.
Plan was prepared based on modern
town planning principle by eminent
town planner “Edwin Lutyens”.
 He also designed Rashtrapati Bhavan.
 The industrial buildings were separated
from the residential sector.
 Lutyen also contributed for making
“Canaught place” which is the common
area having circular plan.
Post-independence period: (after 1947)
o After independence, Jawaharlal Nehru
was appointed as the first prime minister
of India. He invited Le Corbusier to visit
India and develop cities. Hence,
Chandigarh was planned by him.
o “Rourkela” &” Jamshedpur” were also
planned by him.
o Towns planned and developed during
this period were:
o Steel towns- •Durgapur- West
Bengal • Bhilai- Madhya
Pradesh • Rourkela- Orissa
o Industrial towns- • Jamshedpur-
Bihar • Bhadravati- Karnataka •
Chittaranjan- West Bengal
o Capitals- • Gandhinagar-
Gujarat • Chandigarh- Punjab
CONTEMPORARY CITIES: DELHI
In order to understand the imagability of
Lutyens Delhi, it is imperative to know its
history and why the site was chosen.
Reasons for the shifting of the capital:
o Controversial partitioning of Bengal in
1905 – right to vote between Bengali
Hindus and Muslims. 
o Delhi’s geographical position at the
centre of north India (roughly
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equidistant from Bombay and Calcutta)
 rotaries, extended linear shapes or even
o Delhi’s historic importance (important
seat of the Mughal empire; for
HindusMahabharata-era city of
Indraprastha) 
o Perceived political need to rearticulate
british power.
INTENTIONS OF THE LAYOUT
o Lutynes’ Delhi was planned on the most
spacious garden city lines with great
avenues decorated with classical
buildings with lush landscape. 
o The Layout of Lutyens Delhi was
governed by three major visual
corridors, linking the government
complex with:
o Jama Masjid
o Indraprastha
o Sajdarjung Tomb
o The plan reflects Lutyens’ “transcendent
fervor for geometric symmetry”, which
is expressed through amazing sequences
of triangles and hexagons, through
sightlines and axes.
o Lutyens’ plan is also remarkable for the
generous green spaces, lawns,
watercourses, flower and fruitbearing
trees, and their integration with parks
developed around monuments.
o The attempt was to include all natural
and historical wonders in the new city.
Paths:
o Paths are channels along which an
observer customarily, occasionally or
potentially moves. Eg: streets, avenues,
walkways, canals etc. People observe
the city while moving through them; the
other elements are arranged and related
along these paths
Nodes:
o They are strategic spots in a city into
which an observer can enter, and which
are the intensive foci to and from which
he is traveling. Conceptually, they occur
as small points in a city image, but in
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reality they are large squares, traffic
entire central districts at the city level .
Landmarks:
o They are another type of point reference
(as nodes), however in this case the
observer can’t enter within them.
Usually they are simply defined physical
objects like statues, buildings, signs,
stores or even a mountain. They are
identified by singling them out from a
host of possibilities.
Districts:
• They are sections of the city,
conceived of having two dimensional
extents, which the observer can mentally
enter and which are recognizable as
having some common, identifying
character.
Edges:
• They are linear elements not used or
considered as paths. They maybe the
boundary between two phases, linear
breaks in continuity, an area or an
element. E.g. shores, railroad cuts, edges
of developed areas, walls.
Element inter relationships:
• No element exists in isolation;
elements are simply the raw material of
the city image. They must be patterned
together to provide a satisfying city
form
URBAN CONSERVATION
 is an approach to planning that seeks to
preserve and as often necessary
revitalize and transform the historic
elements of cities into hubs of urban life
and activity Piece-meal or “crisis
driven” and reactive
 Urban conservation is a long-term
commitment to maintain a city’s cultural
and historic identity while also
accommodating inevitable transition,
growth and new uses\
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Importance to the Community
Urban conservation is
important to the community in terms of
savings (in both money and energy) in
the re-use of older buildings as opposed
to the construction of equivalent new
structure, which a process of adaptive
re-use.
Benefits of urban conservation
Culture – Heritage
Economy
Culture – Heritage
• Cultural endowments -such as
traditional architecture, unique
streetscapes, and historic sites are
increasingly recognized as important
economic resources in both developed
and developing countries.
• Important focal point - because they
provide concentrations of heritage
assets, infrastructure services, private
sector activity, and human resources
. Identify and plan for the compatible and
• Create a unique sense of place -
heritage conservation has increased city
liveability by preserving streets and
neighbourhoods built at a human scale,
public areas that support positive
community interaction, and green spaces
that offer recreational activities. By
preserving their heritage, cities create a
unique sense of place.
• Improving a city’s self-image and
identity - through recognition of
heritage assets has been shown to
increase civic pride and energize
communities to actively address a wide
range of development and livelihood
issues
Economy
One of the most highly- visible and
dynamic links between heritage
conservation and local economic
development lies in the potential for
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cultural and natural assets to attract
tourism investment and spending.
CONSERVATION AREAS
are places of special architectural or
historic interest where it is desirable to preserve
and enhance the character and appearance of
such areas.
CONSERVATION PLANNING
Planning for conservation reas requires
an approach to ecosystem protection and
management that integrates the concept of
sustainable use with human needs and uses into
ecosystem management so that the needs and
aspirations of future generations are not
compromised by those of the present
COMPONENTS OF CONSERVATION
PLANNING
• Reconcile public use with
environmental concerns.
sustainable human use of an area within
the goals of conservation. Conservation
parks often suffer from the same abuse
as traditional parks with off-trail hiking,
illegal hunting, damage from wheeled
vehicles and speedboats, vandalism, and
dumping.
• Provide for public education and
awareness.
Conservation planning requires public
participation, education, and high levels
of communication with the community.
Conservation parks provide important
opportunities for research and education
programs at many levels: local schools
and universities, training classes and
workshops for young professionals,
practitioners and public officials, and
visitors to use these lands for long-term
investigations.
• Identify partners for collaboration.
Environmental issues, such as flood
control, water quality, coastal erosion
prevention, and biodiversity
conservation, are not confined to
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 AC 513- ARCHITECTURE CORRELEATION – URBAN DESIGN
property boundaries and are most
effectively addressed through
collaboration
Conservation Strategies
High-Priority Conservation/Acquisition
Areas
• Important watersheds associated with
protection of water quality and water supply
• Habitats or potential habitats of
endangered or declining species
• Riparian and coastal areas associated
with wildlife, water conservation, and
shoreline protection
• Wetlands associated with flooding
protection, wildlife, and water conservation
• Geologic features or soil types that
contain rare minerals or potential for unique
habitat
Medium-Priority Conservation/Acquisition
Areas
• Areas of less significant habitat or
natural features that can be managed for limited
public access for environmental education,
tourism, and low-impact recreational uses
• Areas that can be used to test
management prescriptions for higher-quality
areas.
Lower-Priority Conservation/Acquisition
Areas
• Areas that can be managed for
sustainable use to serve as buffer areas between
developed areas and conservation parks.
Examples of activities that might be permitted
include controlled hunting, organic agriculture
and pasturing, and sustainable harvesting.
IDENTIFYING AND EVALUATING
LANDS FOR CONSERVATION
• Protect undeveloped properties with
significant natural values within a
region.
• Conserve properties that could serve to
join together existing conserved
properties
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• Protect land alongside riparian
corridors to develop and maintain a
contiguous corridor
• Preserve or restore riparian
communities, and preclude development
in floodplains.
• Manage croplands and recreation areas
as buffer lands for conservation park.
• Maintain opportunities to create trail
links.
• Assess underutilized or abandoned
properties for conservation potential
OPPORTUNITIES AND CHALLENGES OF
URBAN CONSERVATION
Urbanization
Rapid urban growth is transforming the
face of urban historic areas. Global processes
have a deep impact on the integrity and
community values of urban areas and their
settings, and on the perceptions and realities of
inhabitants and users.
Development
Global economic processes offer ways
and means to alleviate urban poverty and to
promote social and human development. The
greater availability of innovations, such as
information technology and sustainable
planning, design and building practices, can
improve urban areas and their quality of life.
Environment
Human settlements have constantly adapted to
climatic and environmental changes. However,
the intensity and speed of present changes is
challenging our complex urban environments.
The Level of Conservation
Before approaching building
renovations or physical reconstruction— called
often the “restoration system”—it is essential
that there be a clear conservation policy. The
policy serves as the foundation on which other
systems, such as restoration, rehabilitation or
renovation (in this order) are based.
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 AC 513- ARCHITECTURE CORRELEATION – URBAN DESIGN
• The web and its external links
• The blocks within the local web
• The streets
• The pedestrian realm of walks,
squares, etc.
URBAN STRUCTURE
Defining the underlying physical
structure of a city (urban settlement) is prelude
to planning for urban conservation. The urban
conservation planner seeks to discern formative
phases in the development of ancient cities, as a
background to the formation of newer ones.
A. Urban web
The urban web is the most general view
of a settlement. The series of public passages
create a unique format or structure that is
physically and geometrically defined. The most
prominent of those passages (roads and streets)
can be seen as arteries that nourish the district,
including its various buildings.
B. The block
A block is a coherent formation
composed of smaller physical units, and a
predecessor of the ones discussed. The physical
continuity of parcels or lots, buildings and
divisions, i.e., the block, is surrounded and
defined, by public passages i.e., roads.
C. Division of the block
Block divisions create the smallest units
of land division (into parcels or plots) defining
building limits and often causing some repetition
of building form.
ASSESSING THE POTENTIAL
FOR URBAN CONSERVATION
To guide urban conservation
planning, a method for making
judgments, while subjective, gives a
basis of comparison to other, similar
sites, as well as some rationale for
aesthetic and historical value
assessment.
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5 CRITERIA
• Definite character of the urban
setting and clarity of the border of
the site
• Locality and sense of place
• Internal space, proportions and
relations
• Style and design
• Construction methods and materials
Community design centers: an alternative
practice
Community Design Centers
- Community Design Centers (CDCs)
provide planning, design and technical
assistance to low- and moderate-income
urban and rural communities, many of
which have limited resources. Those
involved with CDCs thus work for
social, economic and environmental
justice, particularly serving local
community-based development needs.
- CDCs also build local knowledge and
organizational capacity by assisting
communities in leveraging the resources
and tools necessary to meet a variety of
challenges. CDCs held to educate
community residents to participate
effectively in the process of directing
change. Community designers take on
as a professional the responsibility to
understand that communities are
complex social systems and that
physical design is only part of an
integrated solution.
-
Why is design important in CDC practice?
Design, as a process, is an effective way
for advancing the cause of social justice. It
facilitates a wider range of community concerns
and fosters a multidisciplinary approach.
Better decisions - are achieved by combining a
community’s experiential knowledge with
academic and professional knowledge.
Design solutions - are therefore, more
contextual, inclusive and appropriate resulting in
better use of resources.
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Process-oriented - design translates human
needs into achievable plans compared to
traditional design which is often product
oriented and devoted to institutional or corporate
goals (Francis 1983).
TECHNICAL ASSISTANCE
Helping - Technical assistance helps in
resolving the need or crisis but the person or
organization being helped may not be in any
position to avoid the same crisis in the future.
Enabling - The person or organization is
encouraged to help themselves by being
provided with the rudimentary tools, knowledge
and sometimes money to resolve an immediate
set of problems.
Empowering - The person or organization is
provided with the knowledge to understand why
they are in the situation that is contributing to
local disinvestment. This type of technical
assistance helps build local research, analytical
and development skills moving the community
toward organizing and taking responsibility for
themselves and their neighborhood and toward
developing their ability to change their
conditions (that is, achieving social change).
Community building
Recently, poverty alleviation in
community development is more focused on the
practices of community building, moving away
from models of dependency to local self-reliance
and responsibility. Community building is not
new to CDC practice. It is defined by seven
themes (Kingsley et al. 1999):
• Focused around specific improvement
initiatives in a manner that reinforces values and
builds social and human capital
• Community-driven with broad resident
involvement
• Comprehensive, strategic and entrepreneurial
• Asset-based
• Tailored to neighborhood scale and conditions
• Collaboratively linked to the broader society to
strengthen community institutions and enhance
outside opportunities for residents
• Consciously changing institutional barriers and
racism
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Participatory design and knowledge transfer
The inherent challenge is to move
beyond participation in design that is limited to
consultative processes or charrettes to building
local capacity. Detroit Collaborative Design
Center (DCDC) has been very effective in
developing local knowledge during their
participatory design process. Their former
Director, Terry Curry, developed a set of eight
workshops to assist participants in making
informed decisions about building quality,
project budget, programmatic requirements and
building character, and spatial experience.
3 Types of Community Design Centers
Many CDCs are located in large U.S.
cities and generally serve nonprofit community-
based organizations in distressed urban and rural
communities. In the United Kingdom, they are
referred to as “community technical aid centers.”
Planning and design activities dominate.
However some CDCs provide education and
training programs for organizational capacity
building, advocacy, referral and financial
services. Most CDCs have more architects than
planners on staff. Some have engineers,
landscape architects, interior designers, graphic
designers and other professionals, based on the
nature of activities and opportunities for
funding.
1. University Affiliated CDCs
The majority of university-affiliated
CDCs are operated either as part of a university
department or are nonprofits that have projects
providing training opportunities for students.
Some also have collaborative activities for
community involvement and extension services.
University affiliated CDCs are also involved in
direct publication of academic journals,
newsletters, or books. They may provide
services for free, or at minimum charge or have
a cost reimbursement policy based on available
funding. University affiliated CDCs often
evolved out of an individual staff person’s
initiative or are faculty- or university-wide
initiatives.
2. Independent Nonprofit CDCs
Independent nonprofit CDCs
have been able to sustain themselves
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longer than most university-affiliated
CDCs. They primarily do feeforservice
work based on ability to pay or direct
project costs. Asian Neighborhood
Design (AND), founded in 1973 as an
independent nonprofit by Asian-
American architecture students from the
University of California, Berkeley,
focused initially on providing design
services to non-profit organizations,
primarily serving the Chinese
community.
3. Volunteer Organizations
Volunteer organizations act as
resource centers that link professional
service providers and community-based
organizations, or coordinate activities of
various professionals who volunteer
their services to nonprofit community
projects. Volunteer organizations often
use a charrette process of intensive
engagement over a short period of time.
Community design charrettes
COMMUNITY INVOLVEMENT IN
PLANNING
The term “community planning” refers
to physical planning at the community scale,
e.g., neighborhoods, urban scale community
developments, and/or suburban communities,
through a process involving community citizens
and representatives.
Methods for involving communities in
the physical planning process have been
developed at least since the 1960s, sometimes
referred to as “participatory design,” and
characterized by different degrees of
involvement, or the “ladder of participation.”
The ladder of participation, a term that helps to
define differences in how and when community
stakeholders are invited to take part in the
planning process and the degree to which they
are part of the decision-making framework:
• low to modest involvement: Participation in
information and needs assessment.
Community members and representatives are
interviewed as part of “needs assessment” or a
“community area profile.” Visioning workshops
are an example, in which community members
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participate in describing needs and possible
idealized outcomes.
• modest involvement: Participation in
advisory decision-making.
Community members and representatives are
involved in an advisory role, providing input at
several points in information gathering and
assessment, including recommended courses of
actions and/or feedback advice on planning and
design proposals made by professionals. The
RUDAT (Regional and Urban Design
Assistance Team) process developed by the
American Institute of Architects is a
representative example, involving communities
in a short-term (usually one week) intensive
study of an urban area, with the results open to
comment by community representatives.
• high involvement: Participation in planning
and design.
Community members and representatives are
involved in the development of planning and
design proposals, most often by participation in
community design workshops or “charrettes.” In
a design workshop, community members
provide the key information to guide
professional designers, who in turn are asked to
help the community group visualize options for
future development. As community involvement
more closely approaches “high involvement,”
community members and representatives are
active not only in information and advisory
guidance, but also by deciding amongst
alternatives, thus providing the key value
judgments and design decisions through either a
consensusbased or a majority-voting process.
DESIGN CHARRETTES
The term “charrette” is adopted from the
storied practice of Ecole des Beaux Arts
architectural students in nineteenth century Paris
who reputedly could be seen still drawing their
projects until the last minute as they were
carried “on the cart” or en charrette on the way
to the academy’s jury.
In its modern-day adaptation, charrette
refers to an intensive design workshop involving
people working together under compressed
deadlines. In its use today, a “charrette” is a
design and planning workshop held in a two- to
three-day period in which architects and other
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design professionals, community leaders, public
officials and citizens work together to envision
alternatives for a local building program,
neighborhood or regional community project,
with an emphasis upon long-term economic,
social and environmental sustainability (Watson
1996, Wates 1996).
The charrette event in the context of
community development
The following guidelines indicate characteristics
that are recommended for successful community
development that builds upon design charrettes:
1. Listen and learn: The charrette process
provides for listening and
understanding, It works if it facilitates
mutual learning and capacity building
among community groups, rather than
perpetuating dependency upon outside
“experts” and resources.
2. Combine and focus: Create focus by
combining projects and programs within
“high impact” areas strategically
selected for demonstrable and replicable
results.
3. Create community participation:
Emphasize participatory decision-
making that enables collaborative
partnerships and encourages local
initiative, volunteerism and community-
based leadership.
4. Build upon local networking: Link
local initiatives (bottom-up) to broad
(horizontally-linked) networks, such as
citywide collaborations.
5. Create multidisciplinary linkages:
Link community- and universitybased
professionals from a range of disciplines
to represent economic, social and
community planning experience and
knowledge.
6. Emphasize sustainable development:
Emphasize the need to integrate
economic, social and environmentally
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sustainable approaches to planning,
programs and projects.
7. Invite scrutiny and evaluation:
Experiment with and document different
approaches, to report and disseminate
lessons learned about action-based
community development, establishing
the basis for continuous professional and
community learning.
8. Create youth initiatives: Include youth
in charrette organization roles, providing
“real-life” opportunities for youth
leadership.
Preparing for a charrette
Generally, a minimum of three
months (most typically six months) is
needed to prepare for a successful event,
with a longer time frame required for
more complex events. The months prior
to the charrette involve a series of key
actions:
1. Identify a significant project
Everyone who has been involved in
organizing charrettes usually has one
message: Don’t do it unless there is
evident local commitment to use the
charrette as part of a larger and longer
range commitment to take action. It is
important to choose a topic that will
engage both positive and substantive
community support. The initial proposal
need not be perfect. It should be open to
modification as discussions and
planning proceeds. It has to be a project
that is inspiring and at the same time
feasible, that is, it does not raise false
hopes.
2. Involve cosponsors who are
stakeholders in the results
There are two general guidelines to
involving stakeholders: The first
guideline is, “Get stakeholders involved
early on.” Approach key stakeholders in
a low-key way and in their terms, letting
them know who you are and what you
are about. Make their concerns yours. A
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second guideline is “Don’t leave anyone
out.” If the charrette project involves
different groups or communities
normally left out of the planning and
decision process, organizers may find
themselves from the outset dealing with
a potentially disruptive situation. The
advantage of a charrette is that the
visioning exercise can be “low risk,”
that is, it can limit itself to proposing
“unthought-of” alternatives and to
illustrate new options, leaving it to
others to evaluate and decide between
competing options.
3. Establish preevent meetings that
keep planning going forward
The overall questions in
organizing a charrette are WHO,
WHAT, WHEN, WHERE, WHY
and HOW. Of all of these, the HOW
is usually the most difficult question
at the beginning. That is, there is a
perceived need but the way to get
there is not clear. In such cases, a
broad-based and representative
discussion and input from
stakeholders is most helpful. A
series of small-scale organizing
meetings may be the best approach.
Once established as regular
meetings, they become “heartbeats”
to the organizing process.
It is essential to gain “buy-in” of
participants in the charrette goal.
One of the initial event [or preevent]
tasks is to develop a set of goals by
consensus discussion.
Communicating a clear goal is
essential.
4. Define the charrette program
There are at least two different
meeting formats to provide the basic
organization of groups participating
in the event. The one to choose or
the right combination depends upon
the task at hand.
The first is to organize into
generalized and integrated design
teams, typically five to six people
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on each team who work together to
develop a design, while “experts”
roam between teams consulting with
each team throughout the charrette.
This option is appropriate where
the predominant project goal is to
come up with new design and
planning An alternate is to organize
specialized expert teams, in which
case the number per team can be
typically six or more, who work
together to develop a set of
recommendations related to a
particular specialized topic, that is,
lighting, building envelope,
landscape, etc. This approach works
well where there is an existing
building or set of conditions that are
preexisting and otherwise already
designed that require a specialized
set of environmental
recommendations.
5. Charrette introductory
organizational meeting
The introductory meeting
provides a crucial “kick-off.” In
many cases this began with a dinner
followed by presentations intended
to inspire, to inform and to set the
stage for community creativity. The
kick-off is an event to which one
can invite local officials and others
who would like to be briefed. .
.some may be intrigued enough to
change their schedules and stay on
for the rest of the event, The kick-
off or opening session is also
typically used to provide the
technical briefing to set the teams in
place, get logistics out of the way
and prepare groups for action. In
cases where the site is large,
complex and not completely
familiar to all participants, a tour of
the site is appropriate and more
immediate and informative than a
slide show briefing.
6. Putting a funding strategy in
place
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Funding is required for a design
charrette, to cover costs typical of
space rental, food for participants,
travel, honoraria and lodging for
facilitators and group leaders, and
printing and publications. Sources
of such funds included local
foundations, utilities, banks,
businesses and Chambers of
Commerce, with “contributions in
kind” by restaurants, hotels,
newspapers, television stations and
art materials suppliers. A likely
source of funding support related to
energy and environmental design
goals are local utilities as well as
municipal planning authorities, Both
sources represent a vested interest in
energy conservation, pollution
prevention and waste elimination.
Local and regional community and
environmental agencies and
associations are additional likely
sources of endorsement and support
funding.
7. Establish a news and
communication plan
In most cases, the local press is
easily involved in public
communication and coverage,
provided that notice is given
(ideally, an informative and
interesting press release) so that
media reporters know about
significant meetings and the event
itself. Both the kick-off and the final
public presentation of the charrette
work can be organized to provide
media coverage. Local newspapers
are often a readily available means
by which to publish the results, such
as in a special “Sunday
Supplement” printed as a
community service.
8. Logistics
There are several
recommendations about the
charrette workshop location itself.
One recommendation is to hold the
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event at or near the actual project
site, or at least to provide easy
access so that site conditions can be
visited, seen and discussed. An
alternative recommendation is to
hold the charrette in a publicly
visible and accessible location. The
ideal location combines both
advantages, that is, proximity to the
project site and centrally located.
9. Materials and resources
Charrette materials and supplies
should include ample quantities of
flip charts and pads of paper,
removable masking tape, water-
based markers and paper. Architect
and engineering offices are a source
of blueprint paper to be reused.
Other presentation tools that may be
needed include overhead projectors,
which allows both group and
plenary presentations to be much
simpler and easier to project and
record. Convenient access to a
copier is helpful for presentations.
In some instances, availability of a
one-hour photo processing shop
may also be helpful, for example,
for slides of views of the site for
projection and enlargement to create
overlay perspective drawings of
design proposals.
10. Charrette events schedule
Although the charrette event is
relatively short, the overall process
is extended in both directions, that
is, from four- to six-months in
preparation and an equal or longer
time in implementation. The event
itself needs to be scheduled within
its allocated time, to capture the
interest and focused energy of the
participants.
Facilitation
The facilitator is given responsibility to
direct the group process. The following provides
a checklist of how a facilitator might best
prepare for a charrette:
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AC 513- ARCHITECTURE CORRELEATION – URBAN DESIGN
1. Audit existing conditions.
Make sure the room will work
and that all necessary materials and
support functions are in place.
2. Discuss expectations with the
organizing group in terms of goals
and outcomes.
Establish ways to measure
success and consider an evaluation form
to measure participant responses at the
end of the event to find out what went
well and what needs improvement.
3. Understand the nature of the group
and community.
The organizing group may or
may not be representative of the
community that is most impacted by the
project or program being envisioned in
the charrette. There is one rule of
thumb: LISTEN, but then ECHO: reflect
back what you have perceived to be the
nature of the community issues.
4. Organize around goal statements.
At any point in a group
discussion, people will disagree on any
and all points. An astute facilitator
doesn’t ask, “How do you feel?” but
instead asks, “What will you do? How
can we effect the outcome?” At the
same time, the scope of the issue or
problem area will expand or contract,
depending on different views and styles
of learning and action of those involved.
Some think of parts while others think
of wholes. Both are needed, but the best
way to get everyone “reading from the
same page” is to list goals and
outcomes, and then detail how to get
there.
5. Include all stakeholders.
A stakeholder can be defined as
anyone whose participation, energy,
agreement and volunteerism will
contribute to the success of the effort.
This creates the “quandary” of trying to
get some focus and action while
listening to all constituents and
stakeholders. Establish working
relationships among the stakeholders
early on in the charrette preparation and
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get the entire group to learn the habits of
listening and echoing.
6. Prepare a schedule that anticipates
variations in the discussion sequence.
An experienced facilitator learns
how to balance a fixed schedule with
time and alternatives “built in” for
discussions to take their own turn. At
different and to some extent
unpredictable times during a charrette,
there are times for a “plenary”
discussion and times for “break-out”
group discussions. A good agenda has
the flexibility to allow for both. A
prepared agenda is especially important
for the first half of a charrette by which
the facilitator has in mind a
“storyboard” of how the discussion
might be undertaken. A “storyboard—a
term used in filmmaking, to refer to a set
of steps that tell the story and show a
sequence of events—is useful for both
facilitator and organizing group to help
anticipate the steps in the charrette and
various checkpoints to be sure the event
keeps on schedule. A facilitator could
also set in place a “fastresponse” team
of advisors who are the “eyes and ears”
of the process and can quickly meet to
advise the facilitator on suggestions as
the event proceeds.
Ground rules of facilitation
The facilitator might explain the
following guidelines as “ground rules of
discourse.” The list is not
complete…you can ask the group to add
their own variations. Agreeing on
ground rules helps to establish the
setting for group discussion, listening
and learning.
1. All ideas are valid.
2. One at a time. Only one person
speaks at a time…listen to each
other.
3. Get to “yes!” Emphasize “yes,
and…” and discourage “no but…”
statements.
4. Observe time frames.
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5. Seek common group action, not

problems and conflict. A
facilitator’s task is made much
easier by using flip charts, which the
facilitator or a recorder (anyone who
writes or prints clearly) uses to take
notes of the discussion.

By recording all ideas, everyone

feels that they have been heard and
recognized, that their idea is part of the
record. An additional aid to
communication and creative thinking is
to use graphics, that is, to express ideas
in both verbal and graphic terms. Often
a capable cartoonist or graphic artist can
express ideas more succinctly through a
drawing and this helps visual imaging,
which becomes more important as a
charrette proceeds. The roles of
discussion leader, facilitator, record and
artist can be assumed by separate
individuals or combined.

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