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What Is Perceptual Dimension of Urban Design?
What Is Perceptual Dimension of Urban Design?
What Is Perceptual Dimension of Urban Design?
Perceptual Dimension
environmental perception.
construction of place in terms of place identity, sense of place and placelessness.
place differentiation and place-theming.
ENVIRONMENTAL PERCEPTION:
We affect the environment and are affected by it. We must perceive – that is, be stimulated by
sight, sound, smell or tactile information, which offer clues about the world around us. Perception
involves gathering, organising and making sense of information about the environment.
The four most valuable senses in interpreting and sensing the environments are vision; hearing;
smell; and touch.
Vision – The dominant sense, vision provides more information than the other senses combined.
Visual perception is also a highly complex phenomenon and relies on space, distance, colour,
shape, textural and contrast gradients, etc
Hearing – While visual space is sectoral – our arc of vision involves only what lies before us –
‘acoustic’ space is all-surrounding, has no obvious boundaries, and, in contrast to vision,
emphasises space rather than objects in space. While hearing is information-poor, it is
emotionally rich – screams, music, thunder arouse us; the flow of water or the wind in the
leaves soothes us.
Smell – The human sense of smell is not well-developed. While even more information-poor
than sound, smell is emotionally richer than sound.
Touch – Much of our experience of texture comes through our feet and through our buttocks
when we sit down rather than through our hands.
Place Images:
To make sense of their surroundings, people reduce ‘reality’ to a few selective impressions – that
is, they produce place images. Such images are partial (not covering the whole place); simplified
(omitting much information); idiosyncratic (each individual’s place image is unique); and distorted
(based on subjective, rather than real, distance and direction)
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All urban environments – or ‘landscapes’ – are repositories of symbols, meanings and values.
Different types of sign are usually identified:
Iconic signs – have a direct similarity with the object (e.g. a painting).
Indexical signs – have a material relationship with the object (e.g. smoke signifying fire).
Symbolic signs – have a more arbitrary relationship with the object and are essentially
constructed through social and cultural systems (e.g. classical columns representing grandeur)
(from Lane 2000: 111)
The ‘Las Vegas way’ – placing a ‘big sign’ in front of a ‘little building’.
The ‘decorated shed’ – designing a simple building form and then covering the facade with
signs.
The ‘duck’ – making the building’s overall form visually express or symbolise its function (a
deliberate strategy in attempts at iconic sign)
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Sense of Place:
It is often argued that people need a ‘sense of belonging’ to a specific territory or with a group of
people, who, in turn, may or may not occupy a specific territory.
Sense of a Place
Individual identity is associated with ‘personalisation’ – the putting of a distinctive stamp on one’s
environment. Although generally designed and built by someone else, individuals adapt and modify
the given environment – re-arranging furniture or changing decoration, external planting in a
garden, or front door colour.
Personal or group engagement with space gives it meaning as a ‘place’, at least to the extent of
being different from other places.
Placelessness:
The quality of being a distinctive and meaningful place – which, in the absence of a more elegant
term, could be called ‘placefulness’ – is a continuous quality, with real places existing on a
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Loss of (attachment to) territory: Placelessness is also a reaction to the loss, or absence, of
environments that people ‘care’ about because they do not feel that they belong and no longer
care for their environment.
PLACE DIFFERENTIATION:
A response to the standardisation of place and placelessness is the
deliberate creation (or invention) of place distinctiveness and
differentiation through design. Place marketing and city branding
have thus been seen as important dimensions of city development.
Urban design is often complicit in this, with iconic buildings and the
serial repetition of exemplary urban design projects.
place differentiation
Place Marketing:
Most architectural icons are landmarks in the sense of being physically distinctive and identifiable
within an urban landscape. Distinctive buildings symbolise their city and thus the lure of new iconic
buildings is to create similar distinctiveness quickly.
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Place Theming:
Theming acknowledges the significance of place and place values. Theme parks are perhaps the
epitome of invented places. Invented places and place-theming provide opportunities for urban
design and place-making issues.
Simulacrum and the real: There are situations when the public is unable to distinguish
between what is real and what is not.
1. Authenticity: Sense of place may be ‘authentic’ and ‘genuine’ or, equally, ‘inauthentic’,
‘contrived’ or ‘artificial’. Development that copies or draws explicit reference from historical
precedent as ‘false’ and lacking authenticity.
CONCLUSION:
The value of the perceptual dimension of urban design is the emphasis placed on people and how
they perceive, value and both draw meaning from and add meaning to the urban environment.
Places that are ‘real’ to people invite, require and reward involvement – both intellectual and
emotional – and provide a sense of psychological connectedness. Urban designers thus need to
learn how to make better people places by observing existing places and through dialogue with
their users and stakeholders.
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This is a Summary of the Dimensions of Urban Design from the Book “PUBLIC PLACES-
URBAN SPACES“ by Matthew Carmona, Tim Heath, Taner Oc and Steven Tiesdell, Architectural
Press
Arnav Saikia
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