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Visual Communication Design and Urban Design as Tool for Urban

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PROCEEDINGS
National Symposium on Sustainability and the Built Environment: Searching for Synergies
February 21-22, 2014, Bengal Engineering and Science University, Shibpur, India

VISUAL COMMUNICATION DESIGN & URBAN DESIGN AS TOOL FOR

URBAN REGENERATION: CASE STUDY OF KOLKATA
Mainak Ghosh1, Sanjib Nag2, and Satyaki Roy3
Abstract: Vision, most dominant of human senses, provides more information than other senses combined.
Visual Perception is the process of registering visual sensory stimuli as meaningful experience forming attitudes
and ideas. An urban place is constructed by physical form, activity and meaning. Meaning is associated with
individual’s internal psychological and social processes that generate perception. People create an urban place,
and then are influenced by the place that has been created. Urban Regeneration, Urban Development and
Management schemes often overlook the aspect Visual Perception of Urban Place. Where as strong arguments
exist related to this issue. In contemporary perspective, Visual Perception of an Urban Place has substantial
importance due to various aspects, ranging from image building attributes, restoring social sustainability to
positive commercial proponents. The paper makes an attempt to bridge a seamless connection between
disciplines of Visual Communication Design and Urban Design in context to urban regeneration. Which hitherto
had been often practiced independently. Both disciplines are nascent, only being coined in 195Os. The paper
addresses the strong need establishing a holistic methodology embracing the fact that urban intervention,
regeneration, development and management is yet to be woven with the elements or parameters of both Visual
Communication Design and Urban Design. The paper puts forward few case examples from Kolkata in support
to the analysis and discussion of the theme. Kolkata, like many other cities in developing countries, lacks a holistic
methodology of design for visual perception of urban places. Kolkata, is thriving to get a new perceptual quality
to establish itself at par with other developed metropolitan cities in the world.

1. INTRODUCTION It acts as a strong “image building” parameter; often

Visual Communication design (VCD) is both the
process and product, predominantly in visual media,
which conveys intended information comprehensively,
often it is produced through industrial means. It has
targeted audience to cater to effectively, as vision is the
most dominant sense for human beings. It provides more
information than the other senses combined. Visual
perception is the process of registering visual sensory
stimuli as meaningful experience. Along with various
other functions associated with human visual perception,
orientation in space is achieved visually.
Urban Design (UD) is the art of place making,
associated with its arrangement, appearance and function.
Like VCD, it is both the process and outcome.
Montgomery’s (2003) research precisely delves into
formations of urban places, according to him urban
places are constructed by the physical form, activity and
meaning; “Meaning is associated with individual’s
internal psychological and social processes (Stokol and
Shumaker, 1981; Steadman, 2002) that generate
perception.”
“People create an urban place, and then are
influenced by the place that has been created.” Weeks
(2010). In contemporary perspective, study of VCD and
UD in context to visual perception of urban place has
substantial importance due to the following 5 aspects:
serves as a continuum in restoring “historical,
cultural and community background” of the place.
Montgomery (2003).
It creates a specific character or trait of the place;
forms a recognizable feature of the place, makes it
“attractive or unattractive in comparison to another”.
Hidalgo (2006).
It is a proponent of commercial developments;
“higher rental levels, enhanced regeneration,
increased public support for development.”
Carmona et al. (2001).
It creates aesthetically “pleasing ambience” and
positive stress-free psychological effect, invites
“community interaction”, participation and
commerce . Gehl (1987).
It directly or indirectly affects “developments,
investments, occupancy levels, planning and
design”. Carmona et al. (2001).
It is evident that these aspects have direct correlation
with urban regeneration process. In biological context, it
is defined as, to recreate lost or damaged tissues, while in
geographical terms it means improvement of an area
which has experienced a period of decline. And when
regeneration is considered in the context of ‘urban,’ it
involves the rebirth or renewal of urban areas and
settlements. In words of Lee, Mak and Sher (2013), “urban
regeneration projects bring improvements in the social,
economic, physical, and environmental aspects of an

1 Visiting Assistant Professor, Department of Architecture & Regional Planning, Indian Institute of Technology, Kharagpur, India.

mg@arp.iitkgp.ernet.in, mainak.ghost@gmail.com
2 Associate Professor, Department of Architecture, Jadavpur University, India. snag@arch.jdvu.ac.in
3 Associate Professor, Department of Humanities and Social Sciences & Design Programme, Indian Institute of Technology, Kanpur,

India. satyaki@iitk.ac.in
urban area (Yu and Kwon, 2011).” These aspects comply
with portrayal by Groberg (1965), “Broadly defined,
urban renewal can encompass all public and private
efforts to improve city forms and life.”
Metropolitan Institute at Virginia Tech (2013) brings
forth the role of urban regeneration in today’s world and
various conventional tools in use: “Urban regeneration is
primarily concerned with regenerating cities and
early/inner ring suburbs facing periods of decline due to
compounding and intersecting pressures. Urban
regeneration research aims to build new knowledge and
shape policy confronting the pressures from major short-
or long-term economic problems, deindustrialization,
demographic changes, underinvestment, structural or
cyclical employment issues, political disenfranchisement,
racial or social tensions, physical deterioration, and
physical changes to urban areas.
Basic regeneration principles offer an integrated
framework to simultaneously develop people and places:
coordination between various sectors,
creating a holistic vision,
regenerating people rather than a place,
creating partnerships across all levels of
government,
building public sector capacity and leadership,
and
engaging the local community in the planning
process.”
While these tools for urban regeneration are
conventionally used widely across the globe. Tornaghi
(2007), in his paper clearly points out the ideal
regeneration tool is yet to be evolved. “What we would
like to stress here is the existence of different regeneration
models. First of all, it may be worthwhile to underline
that a lot of urban intervention projects under the
umbrella of “regeneration” are actually only
redevelopment initiatives, with a strong focus on the
physical infrastructures, new residences and facilities for
commerce. A proper regeneration programme should,
however, integrate specific social actions within these
physical features, such as educational training,
employment support or community building initiatives.
Given this definition of regeneration, our assumption,
here, is that culture-led regeneration should use culture as
a tool in all its strategic actions and, as a consequence, use
culture – and public art – as a vehicle to integrate the
social and the physical dimensions of regeneration,
namely contributing to place-making, education, job
creation, cultural participation and civic engagement.”
He further stressed on the “culture way” of treating
urban regeneration models for a robust outcome,
‘Relatively recent regeneration and redevelopment
policies, targeted at reducing economic decline, are
increasingly looking at the presumed power of art and
culture for leading the “urban renaissance”. The so-called
“cultural way” (whether it is culture-led regeneration or
cultural regeneration), is considered to be one of the most
successful strategies to counter the urban decay which
followed the post-Fordist turn in the western city’s
economy. Within this approach, advocates of public art
have claimed that art in public space can positively
contribute to regeneration policies especially in achieving
social benefits. However, many criticisms have been
raised, stressing the merely rhetorical use of this approach
to justify a shift towards policies less engaged with social
justice and designed around a softer model of “social
inclusion” expressed in the “third way” political
approach (Stevenson 2004).’
Many arguments exist regarding the failure of
conventional urban regeneration models across the world,
which is giving way to emerging need of alternative
approaches. Fasenfest (1984) best describes the situation
of failure of urban regeneration programs, citing Forrester,
“government policies only exacerbated urban conditions,
and created more problems than they solved. Urban
social systems are insensitive to policy tools, and
traditional ways of thinking about cities are not useful for
analyzing the situation (Forrester, 1969).”
“The conventional approach to urban regeneration
policy is best described as a 'command and control'
approach, which can be deployed in such a way as to
facilitate community involvement and participation. …
Interest in alternative approaches to urban regeneration
are now emerging.”Lloyd, McCarthy and Newlands
(1999).
It is becoming evident that conventional approaches
of urban regeneration lacks holistic approach concerning
the perception factor, which again is often seen
synchronous with public art only. ‘Quoting Marcuse,
much work remains in defining the results of urban
renewal "in other than physical terms, but the job is
tremendously important. Without it we are in danger of
shaping our national policy to achieve measurable goals
solely because they are measurable while ignoring the
much more important if less measurable goals of decent,
social, economic, esthetic and human environment that
we really want" (1971: 216).’ Fasenfest (1984). While
Marcuse hinted as early as in 1971, about the less
measurable attribute of ‘esthetic’ into the fabric of urban
regeneration. It is often treated in a trivial subjective
fashion. Works of Gjerde (2010) clearly indicates
importance of aesthetic factor in urban regeneration,
however it should not be conceived in form of art only,
“The appearance of the physical environment is not
simply an abstract aesthetic phenomenon, it does matter
and the perceived quality depends on the evaluations of
those who regularly experience it (Sanoff 1991, Nasar
1998). Yet when consulted, the people are united in their
dislike of the transformations that cities have undergone
in recent times (Bentley 1999).” A direct axiom to this is
the urban identity; it has been found that urban identity
alone serves as important criteria for urban regeneration.
‘Issue of managing urban identities is relevant to a wide
range of urban regeneration issues. ... It is regarded as an
important factor with which a city or region can create a
“corporate feeling” within their citizens and businesses
through civic pride, strengthening identification with the
town and place, emotionally binding them. It serves as
well to distinguish the city from other towns and regions
in the global competition by creating a distinct image, and
attracting skilled people and investments. … Including
the cases of Net TOPIC cities, there are several examples
of urban regeneration through integrated plans and
urban projects that have reinforced the urban identity and
residents’ sense of belonging to peripheral sites within
metropolitan areas.’ Scheffler, Kulikauskas and Barreiro
(2010).
In the preceding discussion, we understand that
there exists a gap in conventional approaches and tools of
urban regeneration. And attempts have been made to
integrate culture, arts and aesthetics into the general fabric
of urban regeneration projects. Though identity building
is often asymptotically treated with urban regeneration,
as has been sited for Net TOPIC cities, which are small
and medium cities of Europe, a holistic and more general
model of visual perception of urban place is yet to be
realized. However, these live projects are indicators to
benefits of this approach reaps and conforms five
important aspects discussed earlier with reference to the
study of VCD and UD in context to visual perception of
urban place. Though these approaches have been
motivational in developed nations, however for
developing nations like India, there are evidences of
drastic pit falls of urban regeneration models, with
minimum focus on visual factors. Ramachandran (2012)
reports on failure of major renewal mission in India,
“From basic guidelines to implementation and
subsequent monitoring of projects, the Union Ministry of
Urban Development’s flagship programme — the
Jawaharlal National Urban Renewal Mission — has failed
on all counts, says the Comptroller and Auditor General
in its latest report. Tabled in Parliament on Thursday, the
performance audit of the Mission shows huge
deficiencies. ”
Like many other cities in developing countries,
Kolkata lacks a holistic methodology of design for visual
perception of urban places. They often develop in a
sporadic and subjective manner, eventually taking up a
gruesome shape. McKinsey (2010) reports major
deficiency in Indian metropolitan and urban
developments, with “no mention of urban form or design
to create a unique visual feel and to build the city’s
character.” Kolkata is no exception. Now, Visual
Perception of Urban Places of Kolkata is getting
importance in the light of urban transformation and
changing political scenario. Kolkata Municipal
Corporation and West Bengal Government is set on
beautification drive and giving a new look to the city.
With respect to the five major aspects discussed in
previous section, Kolkata, is thriving to get a new
perceptual quality to establish itself at par with other
developed metropolitan cities in the world.
However there should be an appropriate
methodology in order, for an appreciable visual
perception of urban places which could be used as a tool
for newer developmental needs or regeneration
programs both. For good place making, the knowledge of
visual perception and urban place should be considered
simultaneous with various other conventional
approaches, few of which have already been discussed.
This paper attempts to establish the inter-relationship of
two subject matters pertaining to visual perception of
urban place, hitherto practiced independently, i.e. study
of VCD & UD, which could be effectively used as a tool
for urban development, regeneration and sustainability.
2. DISCUSSION
The preceding chapter gives a vivid understanding of the
importance of visual perception of urban place in context
to urban development and its vitality. Urban regeneration
models should imbibe this facet of literally subjective and
artistic notion. In the very beginning of the paper the basic
subject areas associated with visual perception and urban
place has been introduced, VCD and UD, respectively. In
this chapter a deeper understanding of VCD and UD and
their inter-relationship would be analyzed, which would
be finally evolved into a systematic methodology or tool
for urban regeneration and developments.
2.1 Visual Communication Design (VCD)
Frascara (2004) has meticulously worked
encompassing various important facets of VCD, he
defines the same as, “the process of conceiving,
programming, projecting and realizing visual
communications that are usually produced through
industrial means and are aimed at broadcasting specific
messages to specific sectors of the public. This is done
with a view towards creating an impact on the public’s
knowledge, attitudes, or behaviour in an intended
direction.”
Though this definition rounds off VCD in a nutshell,
Frascara (2004) nicely describes the confusion often
associated with the nomenclature, according to him, ‘The
term “visual communication design” is subject to a long
series of interpretations.’ VCD is both the process and the
product; often the product surpasses the activity behind it.
Moreover there is a frequent misconception of VCD being
identified as mere “ornaments,” “decorations,” or
“patterns.”
VCD arises from the need to communicate a
specific message, in predominantly visual form and to
obtain a desired response. Frascara (2004) hints that the
discipline “has evolved in the last fifty years, when the
notion of visual communication design as art gave way to
a growing interest in communicational issues, ranging
from cognitive psychology to marketing. It could be
argued that graphic communications with specific
objectives have been developing for 25,000 years.
Working methods, allied fields, and educational
requirements to practice the profession are such, however,
that one cannot identify the communication designer of
today with the caveman warlock from Altamira, the
sixteenth-century woodcutter, or the 1890s lithographer.”
Figure 1 Visual Communication Design. Source:
Internet
Until beginning of World War I, the conception of
visual communication was entrusted to artists or printers.
Often these professionals evolved from schools of art and
crafts and indulged in usage of artistic ornamentation,
playing with various forms of typefaces, styles and sizes.
The typography took a back seat and ornamentation was
of priority. However things started to change in
nineteenth century. With the advent of Art Novaeu, along
with strong complexity of design, stylistic blend with
higher visual order started evolving. VCD developed its
essential components in the 1920s (Art Novaeu, Bauhaus,
De Stilj). It then changed from artistic notions of creation
to effective communication in the 1950s, when new
developments in psychology, sociology, linguistics, and
marketing attracted the attention of designers. The
century saw a flood of technological advancements and
hence, its amalgamation into VCD. Starting from color
printing in Tokugawa Japan to photographic peepshows
and illuminated signages, VCD was getting diversified
and exploring various media for its design &
propagation.
“The idea of simplicity as a condition for good
design continued for many years… The search for visual
simplicity affected all communication areas in design
during the avant-garde era of the 1950s. This trend,
however, did not benefit design performance in some
areas, such as the design of teaching aids. … In the
mid-1950s, research in social sciences had a visible impact
on communication design. This may have been due to
research on human factors conducted during World War
II, aimed at maximizing human performance in the
military. Important areas connected to communication
design are experimental psychology (studies of
perception, learning, and behavior); social psychology
(studies in cultural trends, statistics, and behavior);
research on perception, communications, learning, and
behavior for the armed forces; marketing research for
advertising agencies and consumer products
manufacturers; and research in linguistics, rhetoric, and
semiotics.” Frascara (2004). This brings forth an essential
feature of VCD considering inter-disciplinary,
evolutionary nature of the same.
Now it is witnessing the next stage, based on
developments in technology, which enhances interaction
between the public and information along with various
interaction paradigms. Also with the rise of consumerism
and globalization, it is becoming more versatile and
appreciated. People are becoming aware of and
interactive to this easily discernable visual form into
almost everything they see or visually encounter.
2.2 Urban Design (UD)
“The term 'urban design' was coined in North
America in the late 1 950s, and replaced the narrower and
somewhat outmoded term 'civic design'. Typified by the
City Beautiful Movement, civic design focused largely on
the siting and design of major civic buildings - city halls,
opera houses, museums - and their relationship to open
spaces. Urban design denotes a more expansive approach.
Evolving from an initial, predominantly aesthetic,
concern with the distribution of building masses and the
space between buildings, it has become primarily
concerned with the quality of the public realm - both
physical and sociocultural - and the making of places for
people to enjoy and use. Containing two somewhat
problematical words, 'urban design' is an inherently
ambiguous term. Taken separately, 'urban' and 'design'
have clear meanings: 'urban' suggests the characteristics
of towns or cities, while 'design' refers to such activities as
sketching, planning, arranging, colouring and pattern
making. ... The Department of Transport, Environment
and the Regions (DTER, previously the DoE) and the
Commission for Architecture and the Built Environment
(CABE, formerly the Royal Fine Art Commission)
subsequently gave a more rounded definition, identifying
urban design as the 'art of making places for people':
It includes the way places work and matters such as
community safety, as well as how they look. II concerns the
connections between people and places, movement and urban
form, nature and the built fabric, and the processes for ensuring
successful villages, towns andcities. (DETR/CABE, By Design:
Urban Design in the Planning System: Towards Better Practice,
2000a, p. 8).” Carmona, Heath, Oc and Tiesdell (2003).
Various organizations in INFRA1219 (2011) clearly
indicates, “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 the physical place around them.
Urban design involves many different disciplines
including planning, development, architecture, landscape
architecture, engineering, law and finance.
Urban design operates from the macro scale of the
urban structure (planning, zoning, transport and
infrastructure networks) to the micro scale of street
furniture and lighting. When fully integrated into policy
and planning systems, urban design can inform land use
planning, infrastructure, built form and even the
socio-demographic mix of a place.
Urban design can significantly influence:
• the economic success and socio-economic
composition of a locality – whether it encourages
local businesses and entrepreneurship; whether
it attracts people to live there; whether the costs
of housing and travel are affordable; and
whether access to job opportunities, facilities and
services are equitable;
• the physical scale, space and ambience of a place.
As such, it affects the balance between natural
ecosystems and built environments, and their
sustainability;
• the social and cultural nature of a locality: how
people interact with each other, how they move
around, and how they use a place.”
Though the term ‘Urban Design’ as it is referred to as
of date ceased to exist before 1965, urbanization and
urban design has been an intrinsic part of human
civilization ever since its existence. “When Paleolithic
man moved from his cave into the shelters he constructed
of boughs and leaves, he was making the first step
toward urbanization. Then Neolithic man cultivated
plants, domesticated animals, and introduced agriculture.
He created possessions in the form of crops, animals, and
tools, and possessions bred rivalry, which in turn brought
the need for protection. Families collected into friendly
groups and formed villages in which the agrarian
population enjoyed the advantage of mutual protection.”
Gallion and Eisner (1965).
With civilizations passing by years after years, we
have witnessed building, growth of states and cities,
many a times its decline. However human civilization is
closely knit with urbanization. Villages, towns and cities
have been formed as a functional core to lavish
ostentations. From picturesque Barouque city to
congested industrial ghettos the tale of the cities has been
similar. Until George Pakins Marsh introduced the
concept of ‘ecology’. “Olmsted was one of the forerunners
to bring out the new thinking process into city design. He
was preceded by other urban park designers such as
Charles Elliot, George Kessler, Jens Jensen and Alphand,
Schreber.” Spreiregen (1965). In twentieth century motor
vehicles and their adverse effects primarily influenced
urban developments. It has embraced newer agenda in
21st century aligning to Inclusive design, Neo-Urbanism,
Sustainability and Technology. It is essentially an
integrative professional activity, interdisciplinary in
nature. Today due to vast number of disciplinary
specializations, urban design needs to be egalitarian and
holistic.
2.3 VCD, UD and Visual Perception of Urban Place
From the preceding discussion the subject areas of
VCD and UD could be understood in singularity. While
VCD delves itself into visual designs of various forms
around us, including urban visual paradigm, UD has one
of the core objectives pertaining to ‘appearance’ and
‘aesthetics’. Hence it is getting obvious that there exists an
inter-relationship between VCD and UD, so far as visual
perception of urban place is concerned, which directly or
indirectly affects urban development and good place
making. A schematic representation of various aspects
discussed so far, as shown in Figure 2, would set a
reference for further analysis.
Figure 2 VCD, UD and Visual Perception of
Urban Place. Source: Author
This paper unravels an interesting aspect in the
context of the inter-relationship of VCD and UD which
has not been documented before. The Rhizomatic map of
visual communication with various disciplines is shown
in the following Figure 3, from the seminal handbook on
Visual Communication Design by Smith et al. (Eds.) in
2005. The relationship of visual communication design
with various other disciplines are conspicuously
discernable, however, it is interesting to note that though
it clearly connects up with ‘Architecture’, ‘Engineering’
and ‘Art’ alike, however there is no existence of ‘Urban
Design’ in the diagram.
Figure 4 Urban Design as multidisciplinary
discipline. Source: Arida (2002).
of a place or city. These are influential features so far as
visual perception of urban place is concerned. However,
UD has still not been coupled with VCD. Hence so far as
visual perception of urban place is concerned, in view of
urban regeneration, development and policy making,
numerous products of VCD are integral part of the urban
fabric. However, very little has been done to create a
holistic approach in designing and comprehending these
two disciplines together in a parametric genre.

2.4 VCD, UD and Visual Perception of Urban Place as a

Tool for Urban Regeneration
The importance of visual perception of urban place
Figure 3 Rhizomatic map of visual communication and urban regeneration has been discussed in detail in
with various disciplines. Source: Smith et al. (Eds.) preceding chapter. Now, in context of visual perception
(2005). of urban place, a deep dive into study of disciplines of
VCD and UD would unravel the relationship amongst
the two. It is important to refer Speriregen (1965) here, ‘In
Quoting Carmona (2003) again drawing attention
1954 the Supreme Court decided that esthetics was a just
to the inter-disciplinary nature of UD, “Urban design is
public concern worthy of support by law. In Berman v.
typically defined in terms of architecture and town
Parker, an urban renewal case dealing with the first
planning - Gosling and Maitland (1984) describe it as the
Southwest urban renewal project in Washington, D.C.,
'common ground' between them, while the UK's Social
the Court ruled that “it was within the power of
Science Research Council located urban design at 'the
legislature to determine that the community should be
interface between architecture, landscape architecture and
beautiful as well as healthy, spacious as well as clean,
town planning, drawing on the design tradition of
well-balanced as well as carefully patrolled.”’ Having
architecture and landscape architecture, and the
established the direct connection, the paper comprehends
environmental management and social science tradition
the objective relationships amongst the subject areas
of contemporary planning' (from Bentley and Butina
associated with this, namely VCD and UD.
1991 ). Urban design is not, however, simply an interface.
It encompasses and sometimes subsumes a number of
Going by Frascara (2004), “Visual communication
disciplines and activities.” Hence it is expected that the
design covers four basic areas with somewhat blurred
relatively nascent discipline of UD should conjugate with
boundaries. The classification presented here is based on
various domains and disciplines in relation, however on
the idea that each area requires different skills and
scrutiny of Figure 4, would reveal VCD is far from being
different levels of education, and even, in some cases, the
incorporated in the mesh of inter-relationships, though
contribution of outside experts.” The four major areas are:
‘Art’ exists.
• Design for information,
• Design for persuasion,
In context to urban regeneration and development,
• Design for education, and
VCD plays a pivotal role for visual communication of
• Design for administration.
information, persuasion, administration and to some
extent education, with direct usage such as Signages,
Design for information primarily aims at categories
Maps, Outdoor Advertisements, Banners, Posters,
of design where dissipation of information is of prime
Graphics, Graphitti-Murals, Displays (print/ digital/
importance, examples includes, “publishing (books,
physical), Kiosks, Propaganda, Social Interest, Branding
magazines, newspapers); alphanumeric tables (timetables,
directories); the informational aspects of tickets and other
administrative instruments (theatre tickets, airline tickets,
stock documents, banknotes); graphs and diagrams
(visualization of abstract, quantitative, or topographic
information); some kinds of teaching aids (informational
wallcharts); instructions for use (manuals, game rules);
reports, programs, catalogues, informational displays;
control panels (sound systems, airplane cockpits, driving
instruments); signage (symbols, signs, systems); maps
and plans (without including cartography, or blueprints
for architecture or engineering that, although they fall
within the field of information design, are not tasks of
information designers); and navigational tools for
computer interfaces.” Frascara (2004). While information
design consists of two fold steps, organization of the
information, then planning of its visual manifestation,
design for persuasion is directed towards affecting
behavior. It could be further subdivided into three areas
namely, “advertising (commercial and non-commercial);
propaganda (political and ideological); and social interest
communications (health, hygiene, safety, etc).” Frascara
(2004). These designs strongly get influenced by trends of
globalization, consumerism unlike design for education
which also has an impact on behavior but in a subtle
manner. It is somewhere between information and
persuasion. The active participation of the user of
educational materials is central in this case. “Design for
administration is a category all its own. It does not
involve information, persuasion, or education, as the
previous cases do, but it contributes to the organization of
certain communications inside administrative systems.”
Frascara (2004).
Along with these broad categories, it is noteworthy
that essentially, visual communication design relies on
two elements: typography and image. Again, “Images
can be conceived as falling into two categories:
representational or abstract. Representational images
refer to real objects. Abstract images can be
ornamental—representing processes or relations— or
expressive.” Frascara (2004)
Now, coming to similar dissection of urban design,
Speriregen (1965) describes “There are two prominent
aspects of Urban Design, one that collectively construct
the Image of a city or its part and the other that together
constitute the Characteristics of a city or its parts.”
Šiđanin’s (2007) argument ‘On Lynch’s and
Post-Lynchians Theories’ endorses “Kevin Lynch (1918 −
1984) was the first author who focused his work on visual
elements and cognitive concepts of the urban
environment.” Lynch’s notion of mental image of the city
was a macro level classification based on following five
aspects: District, Edge, Pathway, Node and Landmark.
In a similar perspective, Godon Cullen developed
another concept of the mental image of a city, through
observation of various urban places and elements, these
are: Serial Vision, Place and Content. While Speriregen
constructed the skeletal framework at a greater granular
level comprising of: Landform and nature, Local climate,
Size, Shape, Pattern, Density, Grain and Texture, Districts,
Routes, Activity Structure, Urban Spaces and Open
Spaces, Built Form, Vista and Skyline, Orientation, Details
and Non-physical Aspects.
During discussion of these aspects of urban design,
in his book ‘The Architecture of Towns and Cities’, he has
referred elements and concepts several times, which
predominantly has its roots in the subject of VCD. These
have special connotation with regards to visual
perception of urban place. During envisaging on
appearance of ‘District’, which is essentially a visual
perceptual attribute of a place, he precisely talked about
signs, advertisements, paving, night lighting, materials,
greenery, colors along with building form and density.
He has further detailed in his findings, “a visual survey of
urban details should, therefore, include sign studies.
More broadly, it includes quality and conditions of park
benches, wastebaskets, streetlamps, pavements, curbs,
trees, fences, doorways, shopwindows, etc. – the street
furniture and hardware of the city.” In other places he has
aptly pointed out the usage of trees, displays, cafes,
kiosks, a place to seat, illumination as ‘untapped
reservoirs of modern urban possibility’, street furniture,
street hardware emphasizing on advertising, urban
sculpture and art as effective visual treatments or ‘scene’.
While Lynch, Cullen and other authors have talked about
macro visual concepts and imagibility, Speriregen,
narrated the micro-level aspects and organizations.
Hence, from the preceding discussions of both VCD
and UD, it is deciphered that there exists a strong
relationship between UD aspects such as signage,
advertising, street furniture, urban art & sculpture,
landscape, kiosks, colors etc. and areas of VCD in terms of
four main categories discussed earlier. Again, these four,
break down to elemental levels of typography and image.
Putting a parametric dimension to the findings, the
authors propose the dimensions of ‘people’s impression’
of a place in terms of attractiveness, organization and
novelty. Though Ernawati’s (2005) research in this area
has been targeted towards tourist-historic district, it could
be well adopted for urban place scenario, especially in
context to urban regeneration, since it has a blend of
historic, socio-cultural connotation and attraction attribute
to the regenerative audiences both. Figure 5 shows the
framework of the relationship between VCD and UD in
terms of visual perception of urban place. It is important
to note, that based on the discussion earlier such a
methodology or tool would come handy generating
non-conventional approaches of urban regeneration.
Urban regeneration is in dearth of effective instruments of
visual perception of urban place such as aesthetics,
identity building, artistic interventions etc. however such
a tool is yet to be incorporated, which is a holistic blend of
VCD and UD on one hand and parametric on
‘measurable’ grounds on the other. The deficiency of such
an approach has already been mentioned in 2.3. Along
with lack of such disciplinary cohesion, many of the
developing nations are often subjected to urban
regeneration models without proper tools and course of
action. McKinsey’s recent report has clearly pointed that
out in context to urban areas of India.
Figure 5 Inter-relationship of VCD and UD in
context of Visual Perception of Urban Place.
Source: Author
2.5 VCD, UD and Visual Perception of Urban
Place as a Tool for Urban Regeneration of Kolkata
Kolkata has evolved as a city over time, starting
from an agglomeration of villages unified into a trade
centric colonial town, thereafter growing to the stature of
the capital city of the nation. It has witnessed immense
mix of culture and trends. With prolific socio-economic
problems pouring in as well, the city triumphed in her
vibrancy and vividness. Today the city like many other
cities of the developing nation is balancing on effects of
globalization one side and the rich cultural, traditional
saga on the other. The urban places are formed, they start
taking shape, and people perceive them as is. Some urban
regeneration missions are on the go, however the
developments are sporadic. The effectiveness and the
thought process going behind these projects are subject to
argument. Probably visual perception factor is of last
priority in these cases. And even if, it is considered,
whether a holistic logical interpretation beyond notion of
‘art’ has been involved, is questionable. ‘Because this
outlook towards cities from the standpoint of “art,” it
stands on shaky ground. The concern for urban design,
therefore, must be both practically and realistically
broached.’ Speriregen (1965). This paper attempts to put
across objective parameters, to be adjudged for aesthetic
concerns so far visual perception of a place is concerned
through the study of VCD and UD as discussed in 2.4.
Just like any other city, Kolkata also has important
urban places, vibrant and bustling with diverse activities
such as Shyambazar, Esplanade, Hazra, Tollygunge etc.
Some of them show influence of prevalent urban design
principles. They are older areas of the city however with
the dawn of newer spurt of commerce and value shifts,
some of the regeneration schemes are on the go. Or it is
expected such schemes would be undertaken in near
future. However the aspect of visual perception is often
completely ignored. The urban places of the city deserve a
charming visual make-over against what exists today.
In this context the various issues of visual perception with
respect to some important urban places of Kolkata have
been discussed pictorially depicted in Figure 6. It could be
noted that the aspects discussed in 2.3, has been utilized
for such a study.
The yellow markers indicate the lack of Design for
Information. Important urban places lack visually
appropriate signage, indications, maps, information
kiosks etc. These are essential navigational aids.
Along with its functional necessity it would build
up a strong visual character typical of Kolkata. Also
there should be a hierarchy of visual information
drawing human attention along with a soothing
unification to its surroundings and settings. The
guidelines to procure the typography and images
for these elements for dissipation of visual
information need to comply with the visual setting
of the place. The various elements for design for
information need to be highly organized along with
being attractive and novel.
The green markers indicate the eyesore which
Design for Persuasion creates at present in almost all
the urban places. It is cluttered, confusing, visually
stressful and illegible. Also there exists no hierarchy
or understandable pattern between different
categories in this genre of VCD as discussed earlier,
namely, Advertising, Propaganda, Social Interest
Communications etc. The messages are not
conveyed clearly rather cause fatigue to viewers.
They do not create any recognition or recall factor
contrary to the very concept they exist. They make
the place clumsy and distasteful. This need to be
critically addressed as it would be beneficial for all
the stakeholders, the advertisers get a scope to get
full attention, the viewers gain visual clarity,
understanding and stressfree aesthetic ambience,
and the authority gains control and cleanliness of
urbanscape achieving commercial growth of the
place.
The orange markers bring forth the pitfalls of
Design for Administration, though there have been
some beautification attempts. However, its reason
and communication of the message behind it is not
understandable, the outcome lacks the branding
aspect. The development has been rather sporadic,
 without any proper specification of various
elements of design. Today design for administration
have started appearing sterile, unattractive and flat,
without any variation of hierarchy being established,
from road side railings to important buildings, all
look the same. Organization is a key attribute to be
considered. VCD involves much more than that, its
takes up a holistic approach and more importantly it
focuses on the message, and hence the art and
science behind what visually need to be
communicated with people. The various parametric
attributes discussed in Figure 5 need to be
considered for its implementation. 3.

The blue markers indicate where it needs

improvement so far as Design for Education is
concerned. Important urban places in Kolkata, pose
one with meagre scope for self-learnability visually.
A new visitor might almost find it blinding. An
urban place is a hub of information to novice visitors
and regular users. People grasp these information,
learn things, and hence gain knowledge or take
actions. Often places have historical or cultural
background behind, which seldom gets
transformed into a visual notion. There exists a
strong need to revitalize these modes of design for
education in terms of various media and awareness
programs. Educative visual aids need to be installed
which helps and educates a user see and take
relevant actions easily. It also ensures once learnt,
one can follow the pattern with visual clues almost
effortlessly.

Again, these broader four aspects could be

analyzed on singular cases, in terms of typography and
image complying with respect to the urban design and
basic visual design principles. Hence, an urban
regeneration model should effectively take benefit of this
tool while addressing the visual perception parameters of
an urban place. Further, a community level, data centric
approach to this hitherto subjective issue could be
derived based on parameters and sub-parameters, of
Attractiveness, Organization and Novelty. This tool
would find its usage two fold, firstly, if a new
regeneration scheme is being proposed this would
provide effective guidelines to look into the
visual-aesthetic aspects, to analyze what exists and what
to be proposed around these attributes. And secondly, for
an already existing urban regeneration project, to analyze
the outcome of the implementation and if further
intervention is required.
Figure 6 Issues Identified Using the Tool.
Source Author
CONCLUSION
“Beauty in cities is not an afterthought. It is a
necessity. Man cannot live long without beauty without
becoming distorted as a human being. Order and beauty
in man’s surroundings are as much a prerequisite to
human health as fresh air.” Speriregen (1965). In today’s
world aesthetic aspect is becoming crucial from various
perspectives. Hence, good place making calls for an
effective and systematic intervention.
Quoting Speriregen (1965) again “Thus far it has
been difficult for zoning ordinances or other regulatory
techniques operating through the law to effectuate
appearance controls. Courts are reluctant to get into
matters which they deem to be “esthetics.” Esthetics must
be shown to be a real community value, a real basis of
property value – a status it does not have yet.” This paper
is an endeavour to bridge this gap through study of
subject areas associated. It suggests that for good place
making, from a perspective of visual perception and
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