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HANDBOOK

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ISBN 978-0-393- 73368-6

Techniques and Working Methods
55500 > SECOND EDITION

9
$55.00 USA $58.00 CAN .
URBAN DESIGN ASSOCIATES
~ ~B N
DE~I N
HANDBOOK
Techniques and Working Methods
second edition
 LU
I
I- N
DE I N
HANDBOOK
URBAN DESIGN ASSOCIATES
AUTHORS

Ray Gindroz
Rob Robinson
Paul Ostergaard
Barry J. Long, Jr.
Maggie Connor
Eric Osth

l Adam Amrhein
Gail Armstrong
Dorinda Bugos
with contributions by
Donald Kaliszewski
Ivette Mongalo-
W inston
Joseph Nickol
Caitlin O'Hara
Megan O'Hara
Katelyn Shearer
Lori Sipes
Joe Skibba
David R. Csont James H. Morgan Susann Reimann Terry Welsh
Gintas Civinskas Canan Mutlu-Akin Jeffrey Schwaiger Ryan Yurcaba

PREFACE BY

David Lewis

EDITOR AND
CONTRIBUTING WRITER

Karen Levine

~
W. W. Norton & Company
New York • London
Copyright© 2013, 2003 by Urban Design Associates UDA and UDA Pattern Book are registered trade- contents
marks of Urban Design Associates. Urban Design
All rights reserved Associates is a registered trademark. UDA X-rays is a
Printed in the United States of America registered trademark of Urban Design Associates.
Preface 7
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Grappe; bottom© 2013 Mayhew & Peper CHAPTER I Principles for Urban Design
Photographers; 41 middle© 2008 LaQyatra Bonci
Associates, Edward Dumont; 43 top© 2013 Jeff CHAPTER 2 Urban Structure:
Miller; 50 middle, bottom© 2011 Joe Nickol; 51 top Frameworks and D evelopment Patterns
left© 2007 Lara Swimmer; top right© 2011 Adam
Hunter/LMN Architects; bottom© 2013 Keith CHAPTER _3 Designing the Process 59
Brofsky; 107 bottom right© 2012 Jeffrey Tumlin;
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Eric Schramm; 205 © 2010 Eric Schramm

All photographs, drawings, and illustrations not CHAPTER 5 The Urban D esign Process : Phase Two - Exploring
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Urban Design Associates.
CHAPTER 6 The Urban D esign Process :
Robinson, Rob, 1953-
The urban design handbook : techniques and working
Phase Three - Deciding What to Do 135
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0987654321
 preface

)- ver time, Urban Design Associates has developed

techniques and working methods for practicing
urban design that have proven to be successful for
our clients and have distinguished us as a firm.
While each project is unique and presents new
challenges, certain fundamentals have demon-
strated sustained value . Paradoxically, by stan-
dardizing our techniques and procedures, we have actually been able to
respond more effectively to the individual qualities of each project and
place.
This handbook presents those methodologies as a menu of tools and
techniques. They were first compiled in 1998 as part of the training we provide
for new members ofUDA. This effort became especially important as we
expanded our intern training program. With a steady influx of new talent into
our teams, it became clear that we needed to provide tools that would enable
newcomers to the firm to become effective quickly in all aspects of our urban
design practice.
The working method we describe is one of "uncovery," an approach that
helps us understand the impact of physical design on the health and stability of
a community. We return, often, to built projects to assess what has
worked - and what has not. We use that information in an ongoing way to
renew our design principles for buildings, streets, neighborhoods, districts, cit-
ies, and regions . For that reason, this document is not just a reference manual, it
is also a work in progress.
We were surprised - and gratified - by the reception the first edition
received, not only among our fellow professionals, but also from public agencies,
developers, and schools of architecture and urban design who found the tech-
niques and methods useful. We hope that this second edition with its extensive
PREFACE
new and updated material will continue to make an important contribution to
our profession and to excellence, livability, and sustainability in the design of
urb an environments.
To help readers understand our philosophical underpinning and approach to
urban design, we begin with a foreword from our founder, David L ewis, followed
by a brief introduction to UDA, our customary projects, and client types.
Subsequent chapters will walk you through our techniques and procedures for
creating urban designs, pattern books, and architectural design.
Whether you are a newcomer to the profession or an "old hand," we invite
you to become familiar with the handbook's content and to refer to it frequently
as your basic manual for methodology, techniques, and drawing standards.
R AY GINDROZ, Principal Emeritus
Urban D esign A ssociates
foreword
)
rban Design Associates began in the attic of a house
on Wallingford Street in the Oakland neighborhood
of Pittsburgh in February 1964. We were all pretty
young then. The civil rights movement was gather-
ing momentum. Segregation was a huge issue : seg-
regated schools, segregated buses, segregated lunch
counters, segregated bathrooms . The Supreme Court
ruled th at public education had to be integrated. Pittsburgh was one of the tar-
geted cities. Pit tsburgh - a city of h ills, valleys, and neighborhoods. How, in
such a configuration, do you integrate its schools?
In response to this question, we suggested: A sk the citizens. Talk to the par-
ents. A sk what kind of A merican city they would like their children to grow up in.
Funded by the E ducation Facilities Lab, a branch of the Ford Foundation,
a small group of us began one of the earliest citizen participation processes.
W e called ourselves Urban D esign A ssociates because we felt that every person
who took part was an associate in urban design.
Our work led us to seeing schools, particularly high schools, not as institu-
tions but as parts of a city. Schools had libraries, food services, recreation, work-
shops, and many other facilities that overlapped with existing public amenities .
So why couldn't we de-institutionalize schools and infuse the idea of education
as combined citizen- and society-building?
It wasn't long before we saw architecture not as the design of separate build-
ings but as components in the perpetual rebirth of cities .
By the mid- to late 1960s, we were convinced that cities are the richest and
most complex of all human self-expressions. They are always changing, always
evolving, and they are the only art form on which every citizen works. T his real-
ization also convinced us that, at least for ourselves, the traditional role of archi-
tects - as the designers of individual, one- off buildings - needed
to be rethought.
 FOREWORD

INTRODUCTION

We began to see architecture as the physical language of city- and

community-building. We saw the city as a living organism - with a past, which
we called contextual history, and a future in which new buildings acted as the
threads that could weave the city's living traditions into new and whole cloth.
How could such an agenda be achieved? The answer was, and is, through
urban design.
In the late 1960s, urban design was not as widely understood as it is today. But
at that time, the inner-city neighborhoods of several American cities erupted into
flames and mayhem as the lid flew off decades of suppression and frustration. The Firm
P arallel with these events, other important currents were flowing too .
One of these was the women's movement. Another - which grew out of the
nation's bicentennial - was a sense of urban history and, with it, a renewed pride Urban Design Associates is a firm composed of architects who design cities,

of place. Yet another, also in the late 1960s, was an initiative called Regional/ towns, and neighborhoods . Our goal is to create beautiful places with lasting

Urban Design Assistant Teams (R/UDATs) by the American Institute of value for the communities they serve.

Architects, which placed interdisciplinary teams of experts in the service of com- Design is the creative focus of our process - a participatory process in

munities. These were vital and passionate threads in the urban design cloth. which we bring together citizens, economists, engineers, architects, developers,

As a result, the participatory processes of urban design, as well as the design policy makers , government officials, and builders to construct humane and

recommendations that had public consensus built into them, began to be more appropriate visions for the future .

widely understood, community by community, city by city. Our designs build on the unique character and positive qualities inherent in

At the core of what we were doing was a sense of urban design as a language each place in which we are privileged to work. By working at many scales, we

of democracy, as a way of linking the individual and the family to the find ways of coordinating the design of individual buildings - the public spaces

city - house, porch, and street, neighborhood, city. they help create; the neighborhoods, towns, and cities of which they are a part;

All of these concerns are eloquent in our work in every dimension - from the and the regional culture they celebrate - into a vibrant, viable, and vital urban

scale and detail of a house on a neighborhood street to the scale and complexity of tapestry. We see that as the mission of urban designers .

metropolitan form. While every firm and every project has its own unique character, the con-

Needless to say, all of us can be proud, not only of the work we have done, cepts presented in this book should have broad applicability to those engaged in

but of the work you will do, as urban designers continue the quest for more urban design, regardless of their specific niche or role in the process. In this

livable cities. chapter, we include an overview of the services we provide, the types of projects
in which we are most often engaged, and the clients we serve as a framework

DAVID LEWIS, Founder within which to grasp how we go about doing what we do and how you might

Urban Design Associates apply those techniques to your particular practice .

•
 -
I N TRODUCTIO N The Firm

design services Pattern Books and Design Guidelines O nce a plan

UDA offers a wide range of design services within three primary categories :
or vision has been created, the next step is to
develop the tools that assist with implementation.
=----··•··". .,
PORCHES

urban design, pattern books and design guidelines, and architecture. Because a
. These tools may take the form of design codes,
key component of our role is to create three-dimensional visions for the future ,
design guidelines, or pattern books. UDA has found
we typically provide services from all three categories on every project we do .
pattern books to be extremely effective in creating
Urban Design Urban design projects are generally the most public ones.
neighborhoods . The process engages builders, devel-
Typically, they entail the creation of master plans, strategic plans, detailed site
opers, architects, and real estate professionals in a
plans, or visions. T he process almost always engages a large number of people
more technical process. Pattern books enable all
and includes sessions open to the general public. Most urban design projects
participants to understand, embrace, and build from
include one main charrette, preceded by a reconnaissance trip and followed by a
a shared perception of the desired outcomes. The same principles and sequence UDA Pattern Book™ is
series of meetings. The projects typically last anywhere from 4 to 12 months, a trademark of Urban
of events that are used for urban design projects are also used to conduct pattern
Design A ssociates.
although we have some contracts that continue for much longer periods - one
book projects.
for as long as 15 years!
UDA Pattern Books™ are modeled after those used by builders in the past to
The essence of our urban design services is the three-dimensional designs
establish the basic form of buildings and to provide key architectural elements and
that UDA prepares in participatory processes with our clients, their various con-
details. For residential neighborhoods, these may be quite detailed; for commercial
stituencies, and other concerned parties. Regardless of the specific form they take,
and downtown development, the guidelines may be more general.
these designs serve as the vision that guides public policy and investment strate-
Architecture Similarly, most of our architecture projects are part of implement-
gies for each project. The tangible products include plans, perspective drawings,
ing an urban design project and thus entail gathering insights and garnering sup-
models, and detailed drawings of key elements, particularly in the design of public
port from a broad-based constituency. When an architecture project is not part
space. These are the visual manifestations of the firm's design recommendations,
of an urban design, we still utilize our process but on a reduced scale, usually
and they may be published in illustrated reports, memoranda, handbooks, posters,
with only one major charrette to establish the basic concept and image for the
videos, and exhibits, as well as on web sites.
building. Once those are set, the majority of the work consists of the technical
A perspective illustration
of a proposed mixed- use, implementation.
village green designed for
a neighborhood in Chapel
In order to establish the character of a new development, UDA creates the
Hill, NC design image for key buildings within the plan. Our products include conceptual
New housing designed far
and schematic designs for a wide range of building types including civic or land- the redevelopment of the
Lafitte public housing proj-
mark buildings, mixed-use structures, and prototype houses. Construction-
ect in New Orleans, LA
oriented phases of the work take place in collaboration with local firms.
 INTRODUCTION The Firm

major project types Visions Because our design approach is holistic and multidisciplined, UDA is

UDA applies its urban design philosophy, creative vision, technical expertise, and often involved in developing large-scale visions for metropolitan areas and

practical know-how to four major types of projects: regions. We produce three-dimensional studies that explore specific issues such
as plans for parks and boulevards, empowerment zone planning, and heritage
Traditional Mixed-Income Neighborhoods UDA has a long history of projects
parks and trails . These visions inherently serve as both the focus for the creative
that have produced attractive, cohesive, and economically successful traditional
efforts of a wide range of professionals on the project and the spark for other
mixed-income neighborhoods in highly challenging urban environments. Our
related projects in the area.
work on these types of projects typically consists of:
➔ Strategies for existing neighborhoods as part of neighborhood-wide revital-
clients
ization. This often entails "patching and stitching" declining inner-city
Our clients tend to be individuals and organizations that can bring together and
neighborhoods through a combination of new construction and restoration.
coordinate diverse constituencies within a given urban environment to provide
➔ Designs for new neighborhoods in existing cities and towns .
essential input to the urban design process. Our clients are typically from:
➔ The transformation of public housing projects into stable, mixed-income
neighborhoods. The Public Sector Cities and Towns; Redevelopment and Housing Authorities;
Local Authorities; County, State, and Federal Agencies
Downtowns, Wateifronts, and Special Districts The firm is frequently engaged
to create visions for developing specific districts within a city, weaving these new The Private Sector Residential and Commercial Developers; Master
districts into the traditional form of the city to attract investment, development, Developers; Corporate Land Holders; Sports Teams; Entertainment Companies;
and people. Our work on projects of this type includes : Family Estates; and Financial Agencies
➔ Strategic plans for accommodating and interrelating new development in
Institutions Universities; Colleges; Churches; and Institutional Corporations
existing districts.
➔
Not-far-Profit Organizations Community Development Corporations;
Site location studies for specific uses such as a new stadium, arena, shopping
Public-Private Partnerships; Foundations; Heritage and Historic Preservation
center, highway, transit facility, or convention center.
Organizations; Downtown Partnerships; and Business Improvement Districts
➔ Design of key public spaces and the buildings that define them .

New Villages and Towns UDA also designs new developments in rural areas or
at the edge of metropolitan areas. T hese new developments are conceived as tra-
ditional towns with carefully designed systems of public open space to preserve
natural resources .
 C H A P T E R

I
Principles f or Urban D esign

Urban design is city-building. It brings together the many different pieces and
parts of an environment to create a place. At its core is design - an inventive
process that draws on the techniques of many different disciplines to generate
beautiful, felicitous environments. Therefore, urban designers must be gener-
alists capable of bringing together diverse specialists and technicians to
develop a unified vision .
Because urban design incorporates so many different disciplines, firms prac-
ticing it vary in their primary core competency. Like Urban Design Associates,
some are architectural firms; others are landscape architects, civil engineers , or
planners. Each of those different specialties influences the scope of services
provided by the respective firms. More and more, firms specializing in urban
design are comprising teams of architects, landscape architects, engineers, ecolo-
gists, and planners in order to address urbanization in a more comprehensive and
sustainable way.
Whatever the firm's composition in terms of professional discipline(s), the
underlying tenets we espouse in this book can be adapted and applied. Our work
as a firm of architects and planners practicing urban design embraces a wide
range of elements - from the details of individual buildings, streets, and public
spaces to the design of urban districts . We focus on the creation of urban space
in three dimensions, with a full understanding of the role that the architectural
CH A PTER I Principles for Urban Design
form and the details of buildings and streetscapes play in creating and reflecting
the values of diverse, viable, economically successful, human-scale, and ecologi-
cally respectful communities.
Since the firm's founding in 1964, UDA has worked diligently to develop
· many different planning and development trends and methodologies that have dic-
and continuously refine a set of urban design principles and methodologies that
form the foundation of our professional practice. We believe that our urban
design and planning work is successful because it reflects an understanding of
how architecture and built form relate to natural systems and can create good
urban spaces that support daily activities and social interaction.
We find that the architecture itself contributes to the sense of place when it
both responds to the context of a particular neighborhood or location in the city
and reinforces the form and intent of the urban design plan.
For each project, we collaborate with our clients, colleagues, community res-
idents, policy makers, and local leaders to develop a specific set of principles that
will guide the design process for that project. While these principles focus on
specific contexts and circumstances, our practice is predicated on the following
core set of urban design principles and beliefs that continue to evolve:
➔ Urban design must respond directly to the aspirations of local communities.
To be effective as designers, we must first understand the physical, eco-
nomic, and social contexts.
➔ The most enduring places have varied uses, diverse architecture, and a mix
of people with different economic and cultural backgrounds.
➔ Places should always be designed to help people connect in multiple ways to
services, amenities, places of employment, and the places they live -
employing a variety of modes from walking to using bikes, transit, and cars.
➔ Urban spaces should be designed as three-dimensional rooms that are scaled
and proportioned appropriately to accommodate anticipated uses, enhance
daily experiences, and inspire those who live and work there.
➔ Successful urban places celebrate local traditions, respond to climate,
enhance environmental systems, and provide opportunities for people to
engage with one another and feel secure and welcome.
INFLUENTIAL PLANNING AND
DESIGN MOVEMENTS
The evolution of cities and neighborhoods provides a physical reference for the
tated the built form over time. These planning principles and policies have histori-
cally shaped and continue to directly influence the character and sense of place as 01· ·111 1: NJ;W URBAN I S~·I
well as the way urban places function with respect to servicing and transportation.
W hile many towns and cities may have compact urban cores with a fine-grained
network of local streets that support walking, biking, public transit, service vehi-
cles, and private automobiles, many also have large-scale, high-volume highways The Charter of the
New Urbanism presents
and broad roadways that dominate the experience of working and living in the city
the 27 principles of the
districts and make them less humane and less accessible to pedestrians. N ew Urbanism, as delin-
eated by the Congress for
Over the past few decades, several movements within the design profession
the New Urbanism .
have focused on the way we design and build urban environments. These move-
ments, which are complementary to one another, have significantly shaped new ini-
tiatives and policies guiding ongoing urban development. Four such movements
@~~~~
include New Urbanism, Sustainable Design, Smart Growth, and Universal Design.
Each is an integral part of the way in which UDA approaches every client project.
NEIGHBORHOOD
New Urbanism promotes re-establishing compact, walkable neighborhoods, cit- DEVELOPMENT
ies, and towns; revitalizing urban centers; conserving regional natural assets; and
preserving a community's built legacy. This planning approach adapts the inher-
ited components of a city in ways that accommodate the evolving uses and ser- . _.,,.._., ___ ,,... (_, .......... ~j
U:l l > N - . , . _ l o , _ Do_
vicing requirements of that city today. Many New Urbanist principles grew out =-.. .::;;;,. .--"- - UEO-ND
of the observed and documented effectiveness of traditional urban form where LEED certification for new
neighborhoods that are built
block patterns were compact and easily accessible; urban places contained a broad
to USGB standards rein-
mix of uses; and the services needed to support local businesses and residents forces the importance and
value ofsustainable design.
were available, either within short distances or via readily accessible options for
public transit that connected to longer distances .
 CHAPTER I P r inciples fo r U r b an Design

The New Urbanist approach is interdisciplinary, bridging architecture, Sustainable Design applies the principles of economic, social, and ecological sus-
city planning, urban design, landscape architecture, real estate development, tainability to the design of buildings and communities at all scales of development.

housing and transportation policy, government, environmental protection, The approach aims to maintain natural and cultural resources for future generations.

and civic activism. . In 2009, the USGBC (United States Green Building Council) initiated the LEED
Some of the key tenets of New Urbanism include: (Leadership in Energy and Environmental Design) standards for neighborhood

➔ A well- connected network of streets that disperse traffic, promote greater choice development (LEED-ND). These standards were developed collaboratively by the

of routes, ease wayfinding, and support conveniently located transit service. Natural Resources D efense Council and the Congress for the New Urbanism.

➔ Human-scaled buildings and public spaces that work collectively to create a Among its primary tenets, Sustainable Design for neighborhoods emphasizes:

rich sense of place and invite private investment. ➔ Urban and rural planning that respects the landscape when laying out roads,

➔ A broad mix of housing to accommodate a widely diverse range of incomes streets, buildings, and other components of the built environment to protect
and ages . against stream stagnation, soil erosion, :flooding, and pollution.
➔ Walkable neighborhoods planned on a quarter-mile radius - a five -minute ➔ Use of Best M anagement Practices and Low-I mpact D esign to mitigate
walk - thus placing neighborhood amenities such as squares, parks, schools, stormwater and other development impacts.

and shops within a short walk of every residence. ➔ Use of scientific modeling to illuminate problems before construction and to
In Pittsburgh, the reclama-
➔ Opportunities, with proper design, for inclusion of large office, light indus- minimize damage to the natural environment.
tion of the city riverfronts
trial, and even "big box" retail buildings in walkable neighborhoods . ➔ Conservation of energy, water, and resources and the limiting of pollution as creates new opportunities for
parks, walking trails, and
key criteria in the development, operation, and maintenance of buildings
public spaces. This effort is
Many cities and towns are and infrastructure. part of a larger undertaking
developing alternative to enhance the city's urban
➔ Use of available resources, such as rainwater, solar power, wind turbines, and
modes of transportation such districts with green spaces
as bike paths, car-share pro- other alternative energy sources, to reduce dependency on fossil fuels and while protecting water qual-
grams, and light rail transit ity andfragile watersheds.
other resources and to increase energy self-sufficiency.
to create more efficient and
sustainable alternatives for ➔ Use of recycled and renewable materials as a means of reducing total energy
urban mobility. This photo-
requirements for construction as well as environ-
graph features the bike trail
in Washington's Landing, a mental impacts.
redevelopment of a former
➔ Agrarian reforms that enhance soil conservation
industrial site near down-
town Pittsburgh. Residents and protect topsoil and wildlife.
can walk or bike into down-
➔ Compact patterns of buildings and uses to
town along dedicated trails.
promote a better jobs/housing balance.
➔ Sufficient site density to allow for transit service
and supportive services.
➔ Efficient use of infrastructure .
•
 CHAPTER I Principles for Urban Design

Smart Growth seeks to shape growth and development patterns by establishing ➔ Promoting public health and healthy communities by creating transit-oriented
a set of policies governing transportation and land-use planning for urban areas . development that improves quality of life; encourages a healthier, pedestrian-
This planning approach aims to preserve the natural environment and enable all based lifestyle with fewer hours spent in traffic; and generates less pollution.
residents to benefit from the community's prosperity. Smart Growth emphasizes ➔ Valuing long-range, regional considerations of sustainability over short-
compact, transit-oriented, walkable, bicycle-friendly, mixed-use developments term profits.
with a range of housing choices. The key tenets of Smart Growth are:
Universal Design approaches the design of products, services, and environ-
➔ Preserving treasured landscapes, agriculture and other rural industries, natu-
ments with the goal that these be usable by people regardless of age, ability, or
ral open space, habitat, and cultural resources.
situation. Universal Design emphasizes broad solutions that serve everyone
➔ Reusing land; protecting water supplies and air quality.
while minimizing the risk of stigmatizing anyone . Key principles of Universal
➔ Developing transparent, predictable, equitable, and cost-effective rules for
Design include :
development that also fairly distribute the costs and benefits.
➔ Equitable use - does not disadvantage, stigmatize, or privilege any group
➔ Concentrating density in the center of a community to increase the effi-
or user.
ciency of existing infrastructure, reduce the cost of new infrastructure, and
➔ Flexibility in use - accommodates a wide range of individual user
combat sprawl.
preferences and varying functional abilities.
➔ Building neighborhoods that are safe and attractive, in which houses are
➔ Simple and intuitive - is easy to understand regardless of the users'
affordable and close to jobs, shopping, recreation, and other amenities.
experience, knowledge, language skills, or concentration level.
➔ Low physical effort - can be used efficiently, comfortably, and with
Formerly industrial or
minimal fatigue.
currently vacant wateifronts
provide excellent infill ➔ Perceptible information - communicates all necessary information to all
development opportunities,
users regardless of ambient conditions or the users' abilities.
especially when located in a
walkable, bikable, or even a ➔ Tolerance for error - minimizes hazards and adverse consequences of
paddle- able distance from
accidental or unintended actions .
the downtown core, such as
in this distinct mixed-use ➔ Size and space for approach and use - provides appropriate size and space
infill in Toledo, OH.
for approach and use regardless of body size, posture, or functional abilities.

While existing accessibility laws mandate a minimum level of accessibility,

Universal Design advocates for a higher level of access to community resources
for a broader population of users. Changing demographics in American commu-
nities, especially aging populations, point up the ever-growing need to apply
Universal Design principles to planning on a community-wide scale.
 PROJECT-SPECIFIC DESIGN PRINCIPLES Principles for Urban Design

PROJECT-SPECIFIC DESIGN PRINCIPLES

As strongly as we hold our core principles for urban design and apply them
to every project, we also assert that there can be no "cookie cutter" solu-
tions in good urban d esig n. Of necessity, every urban design solution must
be unique because each responds to the particular circumstances inherent
in the project.
For that reason, in addition to the foundation provid ed by adhering to
core urban design principles, those who p ractice urban design need to work
t~~. ltJ04
;;;,,r,f~ /i.4!.<',~ ;f ·r~,,

collaboratively with clients and all stakeholder groups to develop proje ct- 3 Overcome the barrier of 4 Provide parking/or the riverfront that serves
Fort Washington Way Expressway. downtown, the stadium, and new development.
specific design principles tha t evo lve from a combination of community-
defined needs and aspirations and natural and manmade frameworks.
(More will be said about these frameworks in Chapter 2.) When creating and
applying these project-specific principles, UDA regular ly refe rs back to ou r
core principles to ensure that the design ideas put forth remain faithful to
those larger intentions .
To illustrate what we mean by project-specific design principles, we
offer a look at those that UDA developed for the Cincinnati Riverfront.
These eight project-spec ific design principles became the basis for political,
financial, and design decisions made by that community.

Cincinnati Riverfront 5 Create a series offlexible development sites on 6 Encourage and accommodate transit.
properly scaled new city blocks.

1 Extend the streets and activity of 2 Extend Riverfront Park inland to downtown. 8 Locate large-scale (stadium} structures at
7 Create regional attractions in the form of a district.
downtown to the riverfront. the district's edge to preserve view corridors.
 PROJECT-SPECIFIC DESIGN PRINCIPLES Principles for Urban Design

The development of design principles can often facilitate consensus in

highly polarized political situations. This proved to be the case in Cincinnati.
Voters had approved the construction of two new stadiums - a football
stadium and a baseball stadium. Both teams wanted the same central site
adjacent to a historic suspension bridge designed by John Roebling. The
urban design process prior to the charrette had clearly indicated that Cincinnati
citizenry thought that a new riverfront mixed -use district and a riverfront park
connecting downtown to the waterfront were higher-priority, more appropriate
uses for that central site. This mandate from the public was reinforced during
the charrette, providing Roxanne Qualls, then mayor of Cincinnati, and project
leadership with access to a neutral public process to guide decision -making
on the siting of th e two stadiums. The process - not politicking or big -money
wheeling and dealing - led to the most beneficial solution for the city as a
whole: development of a new district book-ended by the new stadiums.

The final plan embodies all

eight design principles.
 CHAPTER

2
Urban Structu r e : Framew o rks
and D eve l op me nt Patt e rns

W e conceive each urban design plan through a creative process that considers
multiple elements of the environment simultaneously. For instance, we think about
what types of buildings are desirable and what form of open space surrounding
them will best achieve both our client's and the community's goals. To understand
the multifaceted nature of urban design and explain it clearly to others, we develop
plans that describe specific categories of information we call frameworks .
Frameworks should be regarded as the individual layers of development that
they are . Each is described and illustrated on the pages that follow:
1 M obility
2 Public Space
3 Block Types
4 Building Types
C ollectively, these serve as a "kit of parts," one framework fitting within the other.
T his way of thinking breaks cities into their pieces and parts, enabling designers
and their clients to see how urban elements function individually and together.
Frameworks emerge in parallel with design alternatives as we think about the
structure and function of the urban district. The illustrative plan - a plan that
illustrates all aspects of the design together - is pulled apart into its frameworks
to clearly describe the underlying logic of the plan and specific public and private
implementation initiatives.
 -
CHAPTER 2 U rb an S t ruc t ure : F r a me wor k s a n d D eve lop me n t Patterns

1. Mobi lity Framework

T he Mobility Framework draw -
ing shows the proposed network
ofstreets and t ransit routes. The
streets may be classified by typ e
and show n with difftre nt colors.

2. Pu blic Space Framew ork

The Public Space Framework
illustrates the variety ofproposed
open spaces that are integrated
,;:;;,,
into the urban design plan. These

~l$f~~
include parks, squares, landscaped
boulevards, institutional grounds,
natural habitats, stormwater
management areas, water bodies,
and trail systems.

3. Block Types Framework

This way of viewing the site
classifies each block by type, thus
identifying the distribution of uses,
densities, andfarm . The drawing
can serve as a tool to aid in the
calculation of development quan-
tities and to establish the design
controls necessary to meet the
objectives of the plan.

4. Building Types Framework Illustrative Plan

Urban districts are composed of
various building types. A frame-
work drawing shows the location
of buildings by type and in rela-
tion to open space and existing
developed areas. This plan shows
the transition in scale from single-
family neighborhoods to denser
centers with large-scale boulevards .
Once the four ji·amework drawings showing the various
components of the plan - the streets, parks, open spaces,
buildings, land uses, and services - have been developed,
we prepare an Illustrative Plan that communicates to the
client and the public how the various frameworks, when
assembled, willform a complete place.

•
 -
CH A PTE R 2 U r b a n S t ructu r e: Fr a mew o r k s and D eve lo pmen t Patterns

LO CA L B
16 0 ' RO W )
uses along them and also to the traffic- carrying function of each street type as
S ENTARA W AY
150 ' RO W ) part of the overall network.
M I XED-USE
- 17 0' ROW )
LOCAL A
- 150 ' RO W) Street Types
SOUTH PLA Z A TR AIL
- 190 ' ROW I In our experience, we have found that six or seven different cross-sections are
VI RG IN I A BEACH
- BOU LEVAR D 114 5' RO WI
enough to create a full inventory of public streets. However, this inventory must
RO S EMONT ROAD
- 11 50 ' RO W)
BO NNE Y ROA D
contain street types that are relevant to and correct for the specific place. To ensure
- 16 6 ' ROW)
that your proposals are contextually appropriate, you must research local models
-

before you describe a set of standards - here, a wide parkway; there, a small-

scale street.

THE MOBILITY FRAMEWORK

The M obility Framework includes the network of streets, transit, and trails .
A lmost every troubled area in cities suffers from inadequate access that may be
the result of a lack of streets, inadequate transit service, and/or poor pedestrian
access . T he Mobility Framework clearly describes improvements to existing
streets as well as proposed new streets, trails , and transit locations.
Residential Streets
Small-scale streets are designedfar residential areas. These
streets discourage high-speed traffic and are designed with
narrow cartways, on-street parking, tree lawns, and side-
walks. Typical street widths vary from 22'-0" to 30'-0" and
are sized to match the type and number of houses they serve.

==
, L___

Existing Street Network

T he street X-ray, prepared during the analysis phase (see Chapter 4), describes
the existing conditions and is an effective tool for diagnosing an inadequate net-
work of streets. T he X-ray drawing may identify areas that are disconnected from
the rest of the city and, as a result, suffer from isolation and disinvestment. Citizens
often complain of congested intersections, speeding, one-way street patterns, a
lack of sidewalks, and other safety concerns.
Commercial Streets
Streets designed for shopping districts and downtown areas
must accommodate higher volumes of vehicular and pedestrian
traffic and be organized to provide excellent mobility. Streets
are designed with slightly wider cartways, on-street parking,
generous sidewalks, safe crosswalks, and transit stops.

Proposed Framework of Streets

During the design phases , we create a new street X-ray that describes our pro-
posed changes to streets in the project area. T he new interconnected network
of streets will extend through all parts of the new development and connect to
adjacent districts . T he new street framework will improve access to and mobility
Boul evard s
Boulevards cany higher volumes of traffic and connect to sig-
nificant destinations. Designed as linear parks, boulevards
have deep setbacks for buildings, generous landscaping, and
adequate lane design to accommodate traffic volumes and
access to adjacent development.
Lebby

through the land, increasing its value and organizing new development oppor-
tunities . W e design a range of different streets that relate to the proposed land
CH A PTER 2 Ur b an Structure · Framew o rks and Deve lo pment Patterns
Transit Framework
Great cities offer a wide range of options for getting
around . Providing for forms of mobility other than
the automobile has become increasingly important
to a municipality's ability to remain competitive.
A fter all, residents' decisions on where to live and
work are often influe nced by the availability of transit.
Even the possibility of a new nearby transit station
ch anges the real estate dynamics of a proposed
neighborhood. Availability of commuter and light
rail as well as streetcars can dramatically influence
the design of a new neighborhood. Preparing a
Transit Framework Plan that locates proposed transit
stations, stops, and routes will demonstrate how
your proposed design responds to this concern.
Station and Stop Locations
New development around existing transit stations, or
the ability to influence the location of new stations,
enables the city and developers to plan new mixed-use
centers that will become the focus of new neighbor-
hoods and districts. It is critical that you provide good
access to stations for cars, feeder buses, bicyclists,
and pedestrians .
Walking Distances
O ne tool for measuring the effectiveness of a station
location is to diagram walking distances to the sta-
tion in increments of 5 minutes, up to 30 minutes .
Development within a 20-minute walking shed can
consider reduced parking requirements for new
development and can influence the location of
neighborhood centers and shared amenities.
r.
Trail Network
Trails designated for bicyclists and pedestrians can
dramatically improve the livability of towns and cities.
. Many cities already have trail plans , and any new
planning effort should integrate those recommendations
into the urban design of the proposed neighborhood
or district. Prepare a Trail Framework Plan that
illustrates the connectivity of trails to your proposed
neighborhoods . Trails may be designated lanes on
existing roadways, paths adjacent to streets, or inde-
pendent paths created from former rail alignments
or located in linear park systems.
On-Street Trails You should consider the design of
on-street bicycle trails as an integral part of a city-
wide trail strategy and network. Streets designed
with bicycle lanes are typically major thoroughfares
or boulevards that provide access to other parts of the
city and are used by commuters and serious cyclists.
T he design of bicycle lanes should be carefully coor-
dinated with city officials using design standards
that are accepted in that location.
Off-Street Trails O ff- street trails offer a more
relaxed recreational experience for the community.
T hey are usually designed for a wide range of users
including cyclists, joggers, roller skaters, dog walkers,
and hikers . T hey are a critical part of the open space
and park system of a community.
 MOBILITY CASE S T U DY Urban Structure : Frameworks and Development P atterns

Downtown Norfolk, Virginia

Street Framework
To encourage redevelopment in downtown Norfolk, the city
invested in street improvements to tame traffic and improve
walkability. High-speed, one-way streets were converted into
landscaped streets and boulevards. These public investments
became attractive addresses far new development.
In the 1980s, downtown Norfolk was an office
destination with an abandoned riverfront.
The city removed barriers to waterfront access
by transforming Boush Street and Waterside
Drive into attractive boulevards. Stimulated by
this change, new waterfront neighborhoods
rapidly developed. The city then created an
electric-powered urban circulator with specially
designed vehicles and stops that connected
Urban Circulator
downtown attractions with outlying parking
In 1995, Norfolk began
resources. The third step in downtown's operating an urban circula-
evolution was The Tide, a new light rail tor consisting ofspecially
designed electric vehicles and
service operated by Hampton Roads Transit
attractive stations on a fixed
that connects the downtown to many other route. This modest transit
communities in the city. The intention is that investment eliminated the
perceived need to add
this system will extend into Virginia Beach and
11,000 new parking spaces
become a regional transportation system. into the downtown.

Light Rail Service

The new light rail system
connecting the downtown to
outlying neighborhoods has
transformed the regional pat-
terns ofauto-only commuting.
The success of this system
includes light rail extensions
connecting adjacent cities.

-·
 ,USS
CHAPTER 2
THE PUBLIC SPACE FRAMEWORK
The Public Space Framework is created by augmenting the Street Framework with
public open space (e .g., parks, squares, playing fields, and greens) that provide
dignified settings for civic buildings such as schools, churches, and other public
structures. The framework also includes waterways, wetlands, and other natural
habitats and open areas .
Streets are the most predominant public spaces of the city. They should be
balanced in their design among the needs of vehicles , pedestrians, and landscap-
ing. Introducing variety in the design of streets as public space will increase the
richness of the city and neighborhood, adding variety and character to each
address and development.
While streets provide linear open space connectivity, squares and parks
should be thought of as unique places that add definition and character to the
surrounding development. Because squares and parks accommodate communal
gatherings, they add an essential dimension to life in a city or town. The Open
Space Framework shows how these spaces constitute a valuable part of the over-
all network of public spaces.
Additional open space is often required to restore watersheds and natural
habitats. Restoration of wetlands helps cleanse and manage stormwater runoff
and improve wildlife diversity in urban areas .
Urban Structure : Frameworks and Development Patterns
St reets and Trails
Streets and trails need to be designed as complete environments so that they
support and accommodate the activities along them :
Residential streets can range in character from single-family houses with porches,
deep front lawns, and full tree canopies to narrow streets with continuous town-
houses, stoops, and flower boxes. Despite the diversity of street types in your
plans, clear and consistent delineation of public and private space on each street
type is essential.
Commercial streets should be designed to support shopping, public gatherings,
delivery trucks, parking, parades, and a variety of other public activities .
Remember to consider carefully the relationships among moving vehicles,
landscaping, and pedestrian activity as part of your design process .
Boulevards should be designed to handle heavy traffic volumes and, where
possible, to offer wide rights- of-way that properly isolate traffic from pedestrians
and adjacent uses. Boulevards can be attractive and humanized when
conceived as linear parks with generous landscaping and trails.
The trail network, a critical component of the Open Space Framework, defines
the trails and paths that will connect the various neighborhoods and centers with
one another, creating pedestrian and bicycle links throughout the community for
commuting and recreational purposes.
 CHAP T ER 2
Open Space
Parks Consider including a range of different parks
including small pocket parks, parks with play equip-
ment for children, dog parks, larger neighborhood
greens for informal recreation and picnics, urban
gardens and agricultural areas, and large city parks
that offer a variety of environments and special
activities including major civic gatherings.
Squares Often located at major crossroads, squares
provide public spaces for commerce and distinguished
public buildings. Squares are highly specialized
spaces, usually well defined by surrounding buildings.
There may be multiple squares in a city - one a
marketplace, another a center of government, and
another at the entrance to a cathedral. They provide
venues for small to large public gatherings - informal
and formal - that are part of the heartbeat of a
community's civic and social interactions.
Institutions Schools and their campuses form major
public spaces for towns and cities. Public school
grounds provide recreation fields that serve the
community. College campuses often define the
essence of a town with beautifully landscaped quads
and distinguished buildings.
Waterways Once the location of industry and
railroads, many waterfronts are being transformed
into parks, trail corridors, and special destinations.
The best waterfronts are open for everyone to use.
' .
Urban Structure : Frameworks and Development Patterns
Diagramming Urban Ecology A balanced view of
urban redevelopment must consider restoration of
the natural ecology of the place to promote a healthy
· environment. In some parts of the country, restora-
tion of these natural areas is mandated by law and
must be considered in the design process. Parks,
waterways, and steep slopes can provide wildlife
habitats. A n Ecology Framework will enable you to
demonstrate how natural areas will be integrated
into your design for an urban district.
Environmental Constraints Environmental regula-
tions and court-ordered mandates go beyond the
restoration of natural areas. Many of these land-use
management requirements point to the restoration of
watersheds and wetlands and the creation of wildlife
corridors as effective methods for solving water lll i11f1/tratio11
quality issues, stormwater management problems,
and habitat preservation challenges. You might view
these challenges as hurdles to be overcome, but a
stronger, more strategic approach is to consider them
as great opportunities for improving the health of
the city - for indeed they are.
Strategic Partnerships Funding required for new
infrastructure projects (such as the separation of
combined sewers or the reconstruction of interstate
highways) can be leveraged toward the creation of
new open space systems and economic development.
Coordinating major infrastructure investments
t through careful planning and creative urban design
makes new solutions and strategic partnerships pos-
sible and attractive.
 P U B LI C S PA C E CASE S TUD Y
Diggs Town
Diggs Town (in Norfolk, Virginia) was a t roubled
public housing project rampant with crime,
drug trafficking, and shootings. Residents
lived in constant fear, reluctant to go outside
or even sit near a window. Police cars chased
undesi rable characters between the buildings.
The housing authority (which had received HUD
~. , ,., funding to improve the project) recognized that
! . just fixing the interiors would be the same as
i .
No•r o's laod throwing money away if nothing was done to
p,I
improve the overall quality of the community.
The urban design team recognized that
I'
__..c...J
there was no definition to the space around
the buildings and no ability for residents to
claim ownership of land outside their units.
The formlessness of the area was in stark
contrast to a normal American neighborhood.
By placing new streets between rows of
buildings, we defined front and back yards.
Installing low picket fences defined front
yards for each unit. Porches were added to
all units, providing additional living space
that connected residents and provided "eyes
on" the new streets. Each unit received a
storage shed in the back yard; dumpster
enclosures were built to hide those eyesores.
These strategies transformed the
appearance of the project into a traditional
neighborhood with clearly defined public
space and clearly defined private space. As
a result, the area was no longer attractive to
troublemakers and Diggs Town residents gained
ownership and a sense of community pride.
Urban Structure : F rameworks and D evelop men t P atterns
Pack Square
Fo r more tha n two centu ries, Pack Square
has been a histori c crossroads that defines
the center of downtown Asheville, North
Carolina . The public spaces have changed
shape and location as a se ries of successive
cou rthouses and commercial bu ildings have
come and gone. Th rough a public process that
involved hund reds of meetings and thousands
of citizens, Pack Square was reborn as the
heart of the town, visually beautiful and the
center of public festivities and celebrations.
For years, the pattern of streets and parking
lots confused and rendered useless the lower
area. The upper square was dominated by
a lifeless fountain. The urban design team
recommended the elimination of streets and
consolidation of land to form a large, multi-
purpose lawn and stage area, designed as a
permanent art installation, in front of the two
government buildings. The park now also
serves as a major venue for downtown festivals, Before After
and the upper square has been redesigned
to better accommodate daily activities.
The current configuration of buildings forms
a square at the top of the hill aligned with Patton
Avenue and centered with a tall monument.
A larger open space that slopes toward the City
Hall and County Courthouse - two distinguished
and unique buildings - completes the space.
 11

CHAPTER 2 Urban Structure: Frameworks and Development Patterns

TOWNHOUSE BLOCKS accommodate larger uses? What would the effect

MULT I- FA MILY BLOCKS.
SURFACE PARKED be of introducing alleys in an area that has no such
MIXED- USE BLOC KS,
SEPARATED. NATURALLY
VENTILATED GARAGES tradition, and should you consider that as an option?
- MULTI-FAM I LY BLOCKS.
INTEGRATED GARAGES
STAND-ALONE RETAIL High-Density Blocks
- BLO CK, SURFACE PARKED
MULTI-FAMILY BLOCKS.
- NATURALLY VE N T I LATED Blocks in urban cores usually contain a mix of uses.
GARAGES
- NON-RES IDE NTIAL BLOCK, The design of a high-density urban block must not
OFF -SI TE PARKING

- OPEN SPACE AND PARKS
BLOCK TYPES FRAMEWORK
By combining the framework of streets and open space, we are able to establish
the addresses for development sites. The streets define blocks for development;
then we target blocks for particular types of development - such as residential,
commercial, or mixed-use. Other distinctions exist as well. Some blocks may
have alleys; others may be serviced from the street. The frameworks also enable
us to identify appropriate dimensions for the blocks.
Understanding Local Block Patterns
Early in the design process, we draw the existing streets on the base plan and
be considered in isolation. Proposed uses must com-
plement existing blocks and surrounding streets.
Recent history is full of poorly conceived blocks of
buildings that turn their back on streets, destroying
the character of public space by internalizing their
activities. The most valuable location within a block
is the street-level frontage . Buildings should address
the street and contribute to the public life of the city.
Traditionally, urban blocks have been subdivided.
Each parcel is developed, and the resulting building
massing and facades contribute to the scale and
character of the neighborhood. The increment of
building is based on the width of lots and, in older
Developing a Whole Block
In many instances, urban development occurs at the scale rf an
entire block. To build on the visual richness created by nearby
smaller historic buildings, the massing andfacade composition rf
the new development should be modulated to break the massing
rf the development into smaller, more traditional increments.
Infill Development
These early-twentieth-century skyscrapers on 4th Street in
Pittsburgh were designed following similar rules rf composi-
tion but dijfirent architectural vocabularies. Facade design
guidelines for infill development were prepared to extend the
historic architectural patterns while allowing a variety rf
architectural language.

measure the resulting blocks. We determine whether we are expected to work cities, results in diverse and pleasant streets.
with the existing streets and blocks or have the freedom to change them to Often, lots are consolidated into one development
accommodate new development. It's essential to establish that from the outset, covering the entire block. Conceived as large build-
o,: I
IE (;!ls ED eil
although a powerful new vision clearly articulated can persuade stakeholders to ings, long uninterrupted facades and bulky masses I !El !ti! El 8 ell

open their minds and their wallets to support such changes.

1:::::
can destroy the character that made that particular Im E3 ~ 8 8
!El El El 8 £i3
I 18 8
!El !El Ell 8 8
EB £i3 18
location so desirable. To preserve the fine grain of l llil88iE!l!SI I
Working with Existing Blocks I Eil s as
8 8 E li3
1B
i9 ,
8 E!! i:: 113 18 I
built form, the massing and facade articulation of 8 Bl !i3 8 E3 '
The pattern of blocks and their dimensions are critical to the success of a project. '====='IE 15 !5113
large new developments should be designed as a
How will the existing block dimensions work for the proposed new uses? Are the
series of smaller facade compositions, which may
blocks too small? Too big? Will additional streets be required to create smaller
adopt the principles of adjacent buildings and con-
development blocks? Can you use mid-block passages instead of streets to
tinue the architectural integrity of the street wall.
improve porosity and good circulation? Should you eliminate some streets to
 ,....
CHAPTER 2 Urban Structure: Frameworks and Development Patterns
Mixed-Use Blocks: Different Frontages
D ense urban blocks typically front streets of different
character. One street may be a major thoroughfare
with the possibility of street-level retail; another street
around the corner may be narrow and quieter. The width
of streets, the level of traffic and commerce on them,
and the uses along them will influence the design of
the block. If residential uses are considered, which
street is desirable? Should offices be prominent and
easily identified from major streets? W hat should
happen at street level around the block? Where can
servicing and access to parking best occur?
The design of a block is a three-dimensional
exercise that requires modeling to test the impact of
the design on streets and adjacent blocks. The com-
puter model enables the design team to "occupy" the
streets and places around the block to test the form
of public space. The design of the block and the
design of the streets around them should take place
in tandem. Ground-level uses such as sidewalk cafes
and shopfronts influence the setback of buildings,
the width of sidewalks, and landscaping. Ground-
floor residential units must be properly separated
from sidewalks with a combination of front yards
and elevated floors. The computer model can project
shadows from existing and proposed buildings that
may influence the placement of street-level activities
benefiting from sunlight. For example, it is pointless
to consider outdoor dining in a northern climate if
the location will be constantly in shade.
Urban Blocks: Parking Strategies
One of the most challenging design tasks for dense
urban blocks is parking. If your city or town has an
overall parking management strategy, you may not
be required to provide any parking. Often, though,
lenders and tenants will demand some level of parking
within the block. Parking lots in downtowns provide
a form of land banking for the future when those lots
can be developed. To achieve urban vitality, parking
must be structured. There are four general structured
parking strategies for mixed-use blocks. These strat-
egies vary in cost and planning flexibility.
One approach is to build an on-street parking
garage, a building dedicated to parking. If the
garage will be visible from the streets, the facades
must be designed to the same level of quality as
other buildings. The street frontages should be
occupied with offices, shops, and other services that
benefit the city. O ther uses are sometimes combined
alongside or on top of the garage.
Mid-block parking is another strategy. These
may be freestanding, naturally ventilated garages not
visible from the street or embedded garages that are
engaged with the buildings. Garage dimensions
often influence the size of the block, and mid-block
garages typically limit opportunities for street-level
courtyards and paseos.
Underground parking provides the most planning
flexibility and preserves .t he value of the ground floor
for higher and better uses .
CH A PTER 2 Urban Structure : F rameworks and Development P atterns

Residential Blocks Residential Block Types

Residential blocks can range f rom low-density, single-family
Residential block sizes vary depending on the type development blocks to high-density apartment blocks.
of development they carry. Block sizes should be These examples ji·om a project near St. Petersburg, Russia,
are "typical" blocks that we adapted and modified to fit
compatible with the existing patterns in the commu- · the urban design plan during the design pi-ocess.
nity. M uch of the art of creating new residential
neighborhoods involves weaving the new streets and
blocks into the existing surrounding block patterns,
what we call urban stitching.
Block widths are usually determined by the
depth of the front yards, the depth of the residential
buildings, the depth of the back yards, and the
accommodation of parking. Residential blocks along
major boulevards may require deeper front yards
than blocks along quiet residential streets. If an alley
is desired, an additional 20 feet or so will be needed
and parking will occur off the alley in driveways or
garages. If you are working with apartment buildings,
mid-block parking lots will be needed, thus expanding
the required depth of those blocks.
Much of the art of neighborhood design is in
the design of blocks. Should you consider paseos and
pedestrian streets in lieu of streets for cars? Will there
be an opportunity to create an intimate residential
court surrounded by bungalows? Should apartment
buildings be given enough space to form street-facing
entry courtyards? Diversity enriches a neighborhood's
character, broadening market appeal.
Carefully consider the length of blocks you
design. In general, long blocks reduce mobility and
choices for pedestrians. The best neighborhoods have
small blocks with many streets of different character.
 BL O C K C A SE ST U DY
Chautauqua's Small Blocks
Founded in the late nineteent h century by
th e Methodists as a summer camp on Lake
Chautauqua in western New York, Chautauqua
Institution has evolved into a multifaceted
cultural destination . Although internation ally
known for its summer programs, much of
Chautauqua's unique identity stems from
the cha rming cha racte r of the village, which
is a delight for visitors to explore. Assembly
halls, concert pavilions, and amphitheaters
are arranged throughout the village and
are surrounded by cottages and rooming
houses. Ravines and tree cover provide a
shady canopy for warm summer days.
Chautauqua has a miniature feel. The st reets
are narrow, the blocks are small, and the lots
are tiny. The miniatu re size of the blocks creates
a walker's paradise. The place is filled with
unique architecture, porch -lined streets, parks,
pavilions, ravines, and a beautiful lakefront. Cars
are not permitted on the grounds and would
look out of place if they were. Chautauqua is
truly designed for pedestrians. When animated
with the extraordinary array of events and
programs held there, it becomes magical.
1.
,,
•
Urban St ructure : Fr ameworks and D e v elopmen t P atterns
South Lake Union
South Lake Union, a neighborhood north
of downtown Seattle, was for many years
a light industrial district with little growth.
Vulcan, a Seattle-based developer, began
investing in property and prepared strategies
for revitalizing the neighborhood.
The street framework had become
dysfunctional, limiting access to the district
and cutting off the South Lake Union
neighborhood from the lake. Modifications
to the streets and the addition of a st reetca r
improved access and connectivity to
downtown and nearby neighborhoods.
The existing long development blocks
were limiting mobility. As Vulcan redeveloped
various parcels into research, office, and
residential uses, the company created mid-
block passages to interconnect streets for
pedestrians. These passages, designed as
generous spaces, now create a campus -like
environment for corporate and university
tenants. New buildings designed with street- level
restaurants and other services have activated
street life, and South Lake Union has evolved
into a dynamic center of creativity in Seattle.
 -
CHAPTER 2 U rban Structure : Frameworks an d De v elop ment P atter ns

S I NGL E-FAM I LY
R ESIDENT IAL
Residential Buildings Building Types for a
MULTI-FAMILY
Development Code
RESIDENT IAL
Single-Family Detached The smallest and most prevalent building type is the These building types were
• RETAIL createdfar use in afarm-based
• MI X ED-US E
single-family house . The majority of neighborhoods in the United States are built develop ment code far a new
with this building type, a long tradition that has origins in the earliest settlements community in Windsor, CT
• INS TITUTIONAL
I. Each building type has a set
in North America. Single-family detached houses usually occupy their own lot,
l
• O FFI CE
of massing and composition
PU BLI C PARKS AN D
• OP EN S PAC E and their size and form are influenced to a great extent by the size of the lot and rules, site placement rules,
PARK I NG L OT and a range ofpossible uses.
design controls in force in that community.
• PA RK I NG GARAG E

Duplex and Triplex Combining two or three single-family units in one building
is a common building type in slightly more dense urban neighborhoods. These
BUILDING TYPES FRAMEWORK buildings are ofte n designed to resemble large houses, but each unit has its own

A s urban designers, we must make sure that the characteristics of buildings we front door, yard space, and private back yard.

propose in our development plans are familiar to and understood not only by
other design professionals, but also by developers, government leaders, and the
marketplace. Buildings can be compared and classified by use and form.
Structures that are thus grouped together as a building type should be similar in
their arrangement of uses, the number of floors, general massing, construction
type, and cost. When developers and builders classify the buildings they wish to
build by type, they can determine early in the design process how feasible it will
be to develop in a given location and market.
Building types vary from one project to another, and cities and towns may
classify buildings differently. Recent zoning regulations are designed to better
control the form of development by relying less on written descriptions, densities,
I_
and ratios and more on visual guidelines. Building types for form-based codes
are prepared to control the outward physical characteristics of buildings, the way
Townhouses Several single-family units can be attached together to form a long
building with a continuous street wall. W hile each unit has its own yard space
and entrances, the composition of the public facade can have a powerful effect
on public space. T he unit facades of some townhouse rows are different, each
emphasizing individuality. O thers are composed as a single building to present
a monumental expression, but always at the expense of individuality.
Walk-Up Apartments Two- and three-story apartment buildings are also a very
common building type . Usually designed as walk-ups, each floor typically has
two to four units arranged around a shared stair and hallway. Small apartment
buildings sometimes resemble large houses and provide a richness of scale and
character to a neighborhood.
Large Apartment Buildings D ense urban areas are often built with multi-story

they fit on the lot, and the way they address the street. One building type may apartment buildings accessed by a common lobby and elevator core. Each floor will

accommodate a large range of uses . have several apartment units and share a common hallway. Apartment slabs or
"blocks" often fill out development blocks by fronting streets. Internal private open
spaces and courtyards are often formed by the building mass to provide light and
air to interior units and create amenity spaces for tenants. T his is the predominant
form of housing in many European cities. A relatively new residential building
CHAPTER 2 r
type is the point tower, made possible by high-speed elevators and modern con-
struction techniques . In markets that can support this expensive type, three to
eight residential units are arranged on each floor and are grouped around an elevator
core and small hallway that wraps the core elements. The cores are designed as sheer
walls to provide lateral stability to the towers. The massing and composition of the
facades can contribute to the elegance oflarge apartment buildings.
Town Center Buildings
One-Story Commercial Many main streets and commercial areas in neighbor-
hoods are built with one-story retail and office buildings. Most grocery stores,
pharmacies, and chain retail stores are one-story buildings with varying floor
areas. Many main streets are lined with small, independently built retail stores
with inviting shop fronts . You can achieve architectural variety and make such
buildings engaging to the public through the design of the street facade.
Office Buildings Office buildings range in size and complexity, from one-story,
small floor plate formats to large skyscrapers. It is reasonable to divide this cate-
gory into low-rise, mid-rise, and high-rise office buildings.
Multi-tenant buildings typically have floor plate sizes of about 20,000 sf,
although floor area and configuration is dictated by tenant requirements and lot
sizes. The elevator and service cores are often located in the center of the floor
surrounded by leasable space, 35' to 45' in depth. A typical building depth is
100' to 120'. Architects try to create column-free space between the core and the
perimeter wall for maximum planning flexibility. Shallower office floors of 80' or
so are often built along commercial streets. The service cores are typically located
along the back wall of the building with leasable floor areas facing the street.
Floor-to-floor heights (typically 12' to 14') must be sized to accommodate the
l located in prominent places, civic buildings become highly visible destinations in
structure and its mechanical and lighting systems.
Urban S tructure : F rameworks and D evelopment P atterns
Mixed-Use Buildings Many main streets and town squares are built with two-
story commercial buildings that combine retail and office uses, creating space fo r
convenience retail along the sidewalk and offices upstairs for the dentist, doctor,
accountant, lawyer, real estate office, and so on ..This type is very common in
neighborhood centers.
Modern multi-story, mixed-use buildings are sometimes quite large, filling
out whole blocks in new developments. The facade design should preserve the
integrity and scale of the surrounding town. Sometimes these long facades are
designed to resemble several independent buildings.
Residential above retail is a highly desirable building type in urban areas,
combining residential density with convenience retail, restaurants, and other
street-level services. This building type is more complex, requiring fire separation
between the first-floor commercial uses and the upper-floor residential units .
Separate building lobbies and parking areas should be provided for the residential
units whenever possible. The ground floor is built with a high floor-to-floor height
to accommodate retail stores and restaurants.
Civic Buildings Civic buildings include government buildings, theaters, libraries,
schools, universities, religious buildings, and other highly specialized facilities . Building Types
These UDA perspectives of
While they are important hubs of activity in the community, they are difficult to
proposed building types and
create typologies for because each building has a unique location and mix of uses . patterns reflect specific massing,
setback, and architectural
When locating civic buildings in an urban design plan, it is important that you
treatments to create a distinct
ascribe performance characteristics to them, such as their required parcel size, character of urban spaces.
relationship to public space, general massing, and character. Because they are often
the community and thus present great opportunities for place-making.
BUI L DI NG T YPE CASE STUDY
The Richness of Philadelphia
Older cities in the United States have been
built over many generations and through
different economic cycles. Philadelphia has
evolved through several development eras,
from its pre-revolutionary colonial roots to its
current status as a major East Coast city.
Building types from each era were suited to
the economic and social characteristics of their
time and place . Walking in the downtown from
one district to the next is like walking through
time. The city evolved from tiny 20-feet-wide
parcels with slender townhouses and mercantile
buildings in the oldest quarters (Society Hill and
the Old City) to larger parcels in Rittenhouse
Square built in the mid-nineteenth century.
Larger mercantile buildings and multi-story loft
buildings constructed during the late nineteenth
and early twentieth centuries for commercial
uses are now being reused for housing and
office space. The twentieth century brought the
elevator and skyscrapers, initially with small
floor plates and now with very large ones.
Diverse building types add richness to the
urban fabric. For this reason, these types should
be preserved and the buildings reused whenever
possible. It is tragic to see older quarters with
historic architecture demolished to make way for
large new developments. The result is a loss of
history that can never be replicated. Fortunately,
Philadelphia's historic role as the birthplace of
our nation is still palpable within the urban heart
of the city.
Urban Structure : Frameworks and Development Patterns
Charlotte's First Ward
Charlotte's First Ward, located adjacent to
downtown, was for years an empty quarter
. of the city, except for some run-down public
housing. UDA designed a new street and open
space framework to form distinct districts,
each planned with a specific set of building
types. For instance, the Garden District was
conceived as a small, single-family enclave while
another area was designed as an apartment
district. The development blocks were sized
in anticipation of specific building types.
The district developed quickly and was
so successful that the developers increased
density, replacing single-family detached lots
with townhouses and stacked townhouses.
As a result, some blocks were smaller than
we would have preferred, but the density and
walkability that these small blocks afforded
give the district an intensity and variety that
is very appealing. The latest buildings are
high-rise residential buildings that were never
anticipated in the original urban design process.
 C H A P T E R

Designing the Pr ocess

It may sound strange to say, but the first step in the process - and the most
important task for every project - is actually to design the design process you
will use. At UDA, each project begins when we receive an invitation to submit a
proposal from a client who has identified a need and is searching for a solution.
Sometimes this request is prepared in great detail, includes a specific process, and
is distributed to many firms for competitive proposals. These proposals require
significant research, preparation, and a thorough understanding of the scope and
nature of the project. Typically, UDA forms a team of multiple consultants (which
frequently includes specialists such as economists, ecologists, engineers, etc.) to
respond to the many dimensions and requirements set forth in the request.
Such requests (generally referred to as an RFP - Request for Proposal)
typically come either from public agencies (such as city planning departments or
redevelopment agencies) or from institutions and non-profit groups (such as uni-
versities or private community development corpor~tions). Just as frequently, we
as a firm receive requests to submit a proposal to private development companies.
The design of the process must respond to the type of client, the circumstances
under which the project will be conducted, and the role it will play in the life of the
community. There can be substantial differences in the design of the process for
public versus private clients. For private clients, there is often a need to under-
stand the market, the projected uses, and building types, as well as the financial
 CHAPTER 3
aspects of the project. We must consider whether or not it is appropriate or even
desirable to conduct a full public process and collective visioning before the
private development entity has had an opportunity to understand some of the
anticipated consequences and consider these carefully before moving ahead with
the effort. It is important to understand the context for the services a client is
requesting, including what has occurred leading up to the request and the specific
goals for the design process. Urban design should produce a clear vision and
intention for building and development. As designers, we never want to put a
client in a position of promising a vision and investment that is beyond their
capacity to deliver, that is outside of what key stakeholders are willing to support,
or that circumstances affecting implementation will make unfeasible or inadvisable.
For urban design projects, we carefully assess the primary role we will be expected
to play in each effort. While there are variations from project to project, here is
what we are typically responsible for:
Forging Visions
Urban designers are often asked to provide a vision for a site or improvements to
a community that will attract investment and help coordinate the efforts of many
disparate and even discordant interests. By providing such a vision, it is possible to
bring individual efforts together to create a whole far greater in what they achieve
for their city or community than the sum of discrete initiatives could ever produce
on their own.
A carefully coordinated public process is needed that reaches out and engages
relevant constituencies so that their interests are seriously considered and accom-
modated in the vision, thus cultivating widespread support. This process tends to
be the same for both public and private clients, particularly when a transformative
vision is needed to generate broad political support and forge public and private
partnerships. We often refer to this type of process as building a bandwagon.
Success is measured by how crowded it gets.
I e
Designing the Process
Creating Good Locations
Many projects in cities begin their lives with sites that were once developed with
uses that are no longer viable or are out of character with the way the city has
evolved. Such sites are often deteriorated, environmentally contaminated, or simply
thought of as not good locations.
Yet clients have ambitions for these sites, enthusiastic ideas for what they can
become through focused effort. That means that a key part of the job is to create a
good location, to visualize an achievable new image for the site, one that will attract
customers, businesses, home buyers, and investors to that location. The process Downtown Norfolk
Following the demolition of
involves market research; discussions with focus groups such as local business
halfof a 1970s parking
owners, property owners, or residents; and the involvement of others who have a structure, Freemason Street
was reopened to link the
stake in the site. Such processes are sometimes open and public; in other cases,
long-vacant properties of the
they may be less public but strive, nevertheless, to be strategic and inclusive. Granby area with the revi-
talized Freemason District
For example, there may be adjacent property or buildings that need to be incorpo-
and Wateifront.
rated into the planning to achieve the desired results . This may be possible, but it
requires the client to work through options of partnering, acquisition, or some
other alliance that enables the process to move forward with an achievable plan.
Devising Strategies
PORTSMOUTH
When asked, as we most often are, to develop a strategic plan, our course of
action is to focus the process on short-term initiatives - yet we must always
keep in mind both a comprehensive view of the context and an appreciation for
future possibilities. When devising strategies, we focus on how to achieve the
desired outcomes. How can we make an idea work? What are the right steps to
achieve the client's objectives? While design itself is an important component,
other issues (such as the proposed uses, land acquisition, financing mechanisms,
Marketing Materials
policy permissions, and phased investments) drive the process of design - a Portsmouth, Virginia's invi-
tation-to-builders package
process that requires a clear vision, funding and development strategies for specific
provided marketing support
initiatives, action plans, and, finally, actual implementation. for the development ofa new
Participants in these projects consist not only of those who are stakeholders mixed-income neighborhood.
in the specific project under consideration, but also those who are concerned with
 CH A PTER 3 De signi n g th e Pro ces s
how the effort will affect the broader area and its citizens . For example, UDA's
planning process for urban neighborhoods in Petersburg, Virginia, included several
key initiatives that would create an opportunity to attract additional private invest-
ment once these improvements were complete. Without a focused approach in the
right place, the UDA team counseled our client and community stakeholders that it
would be extremely difficult to change the patterns of disinvestment that h ad been
affecting many of the city's neighborhoods since the 1960s. A steering committee
was formed to provide strategic oversight of the separate task forces guiding the
individual initiatives.
Forming Trea t ies
Urban design efforts are often born in conflict. In these situations, the urban
design document can serve as a treaty that brings about a truce among warring
parties and facilitates important investments in the future of the community.
Because the design process has such a critical role in establishing that truce ,
the process must be structured to enable each side to feel that it has been
heard adequately.
Urban Design A ssociates often employs a combination of individual meetings
with each faction in addition to public meetings in which everyone participates to
facilitate a truce. By focusing on the issues, presenting thoughtful analyses, and
creating a supportive process within which people can come forward with both
their concerns and their ideas, the design process can bring people together to solve
!
problems in a non-confrontational way.
For example, in a project UDA undertook to redesign a public housing project
in Philadelphia, over 300 people from all walks of life gathered in a church hall
to discuss the area's problems, express their hopes for the future , and react to some
preliminary design proposals. Years of conflict among residents of the project,
the adjacent working-class neighborhood, the nearby affluent community, and a
business district had left many people feeling hostile and isolated. At the end of
the meeting, a young man who had lived in the neighborhood next to the public
housing project said, "The plan is already working. I have lived all my life without
ever setting foot in the project or talking with someone who lived there. I found
myself sitting next to a woman from the project and agreed with some of her ideas.
I was surprised that she had a sense of humor and she was someone I really liked
· as a person. The process is bringing people together."
Marketing Sites or Areas
Urban design efforts are often a central component of a broader marketing cam-
paign intended to generate interest and invest ment in a proposed development.
W hether the effort is fo cused on revitalizing downtowns as a cultural destination
fo r the suburban population, on developing a design fo r higher- density, mixed-
use districts around transit stations, or on transforming public housing projects
into mixed-income neighborhoods , robust marketing programs are required.
The urban design documents, as well as the publicity around the design process,
become part of the overall marketing effort.
T he process begins with gathering input and critical local support, then
moves into overt marketing activities once consensus has been achieved on the
design. By making the marketing of a site or an area the primary goal of the
design process, you can often gain support from a wide range of constituencies,
many of whom you would never expect to forge common ground with one another.
In practice, our process often entails a mix of the five roles described above.
For example, a neighborhood revitalization program may serve as both a means
of achieving a treaty among competing interests and a way to create a good
address in a deteriorated inner-city neighborhood . UDA often produces a broad
array of materials to use in such efforts (e.g., pattern books , web sites, story
books, and presentations) . These products are specifically designed to create
interest and help people quickly understand the project or initiative. W e often
continue to work with clients to design key public spaces and initial architecture
projects (discussed in Chapter 9) that are consistent with the vision and that
stimulate the reinvestment process.
CHAPTER 3 D esignin g the P rocess
CREATING THE STRUCTURE FOR THE PROCESS
Each type and scale of project will likely require a different organizational
structure - some simple, others more complex. W hatever structure is selected,
certain key questions must be addressed.
Who's in charge?
You must always remember that urban designers are advisors to the process, not
the policy makers or implementers of programs. Therefore, it is essential that a
person or organization or group of people be clearly "in charge" and responsible
for making decisions. Sometimes this is a governing body, such as a city council,
that deliberates in public sessions and is accountable to the public. In other cases,
it can be a community organization with a less formal structure, or a private
developer, or a corporation that must invest its resources and be true to its mis-
sion. It may be a foundation with a specific social purpose or an institution with
its own leadership and accountability structure.
In all cases, it is essential that the project have a clear mandate and that those
who are responsible for the ultimate decisions that move a project forward be
actively involved in the process in a leadership role. As design consultants, we have
to understand what is required in each project in order to achieve a successful out-
come. Often, clients seek advice from UDA on how best to structure the leadership
roles for a project in order to leverage effectively the results of the process.
The organizational structure, no matter how it is ultimately configured,
must enable us as urban designers to bring information, ideas, and concepts to
the policy makers in a form they can deal with effectively. Without clear and
· strong leadership, the urban designer may feel somewhat adrift and inadvertently
slip into the role of policy maker - or, at least, be perceived as having become
the policy maker. Avoid this at all costs!
What is the best approach?
While the fundamentals required of a design process to yield the best results are
what we are conveying conceptually in this book, do recognize that each situation
will be different and will require that you understand and carefully calibrate
what's needed to move a specific effort forward . For example, design charrettes,
intensive week-long workshops where designs are developed and participants
provide their feedback, have become the hallmark of many public processes.
This represents a major shift in both the expectation of the client and the
organization and process for the design team.
UDA has always believed that direct public engagement is the best way to
resolve policy issues, generate community support, and move a process forward.
Often, a single design charrette will engage the public in a dynamic and productive
conversation about a particular initiative, but will fail to create enough consensus
among all the stakeholders to move through the steps to successful implementa- UDA uses drawings to engage
citizens in a conversation about
tion. W e like to call this 'one and done.' Our experience has led us to understand
their community. This helps to
that to be successful, we must engage stakeholders in an iterative conversation and break down the conventional
barriers between professional
,, be willing to take on the nitty-gritty issues and lingering questions that can derail
planners or architects and the
a great project. In this regard, several key questions must be asked and answered to communities they serve.
construct the appropriate approach for a given assignment:
Is the project about changing development policy? If the answer is yes, the
process needs to respond to the way in which policy changes move through the
organization, whether it is a city, an institution, or a private development organi-
zation. Sometimes the process must be formal with specific public notices, staff
and planning commission reviews, and public meetings. There may be key input
 CHAPTER 3
Il
and review required by state or federal agencies that have a direct influence on
adoption of a plan or the details of how the plan information must be submitted.
These factors should both influence and correlate directly with how you (a)
design the process for success and (b) structure the form and content of the plan
to meet the local criteria. It is important that you understand what is expected
and how the steps and deliverables fit into the policy adoption process.
What is the measure far success? For each project, you must understand how the
client defines success. What specific outcome(s) does the client expect from the
work for which you've been engaged? While this might, at first, seem somewhat
vague, it is critical that you and the client share a clearly articulated set of expec-
tations regarding your role and your deliverables. While it is understandable that
designers might easily fall into the trap of thinking that it is all about the design
solution and incremental process to reach consensus, this would be a serious mistake.
That sort of tunnel vision is extremely risky. You may, for example, find out too
late that what the client really needs are development approvals within a six-month
timeframe in order to meet a business plan that calls for land disposition in the
first quarter of the following year. Or, for a non-profit housing coalition, it may
be the requirement to submit a detailed funding request to a tax credit agency
that only reviews submittals once a year - and the deadline is in 60 days. Yikes!!
Is the project about testing a development program and site capacity? Often,
we are working with private clients or public agencies to formulate a design and
approach that accommodate the anticipated uses and program identified by the
client. This kind of process may require detailed testing of specific building types,
parking strategies, infrastructure components, project phasing, and cost implica-
tions . While UDA's basic steps for producing effective and elegant urban design
solutions are the same for such projects, our approach to working out the detailed
working method we'll use, as well as deciding on the most appropriate design
products, may be completely different from the approach we take for broader
planning initiatives with multiple participants and extensive public engagement.
••
D esigning t h e P rocess
Typically, these processes are more vision-oriented and may identify key initiatives
but do not go into specifics of detailed programming and site planning.
Who participates in the process?
We see urban design as a collaborative effort that creatively engages all constituents
no matter the scale or type of project. Typically, recommendations and decisions
need to be made at the multiple scales of analysis that were presented in Chapter 2.
Each of these different scales of design has an impact on the quality of the public
realm and on the lives of the people within it. For example, streets carrying
regional traffic movements might require modification in locations outside of the
project area in order to improve the local environment and enhance the opportunity
for success of a new mixed-use project. For that reason, it is essential to encourage
the many different constituents who claim ownership of the area (and who bear the
responsibility for both creating and maintaining it), as well as stakeholders who live
or operate businesses in the target area, to actively engage in the urban design process
with the urban design team and the client.
Again, it is important to discuss with the client the requirements for achieving
the stated goals for a particular initiative. This conversation is part of the process
of understanding the context (Phase One in our three-phased design process,
which we lay out in some detail in Chapters 4, 5, and 6). Whose interests are at
stake in addition to the client's? What existing relationships need to be included
in the approach? What organizations or individuals are key to the success of this
process? What can and are they willing to contribute? Where is the opposition,
and what are the issues?
[ These insights help us understand options for approaching and engaging
the participants. They also shape how we structure a process to include people
in a manner that they will experience as meaningful, respectful, productive,
and worthy of their time.
CHAPTER 3 Designing the Proc ess
ORGANIZING THE TEAM
The Project Team
We never work alone. Urban design requires a mix of disciplines and contribu-
tions to work effectively. Because we hold this as a core belief, we assemble a
team of consultants who collaborate with us in responding to proposal requests
(RFPs). Often, clients ask for market data about residential demand and types of
housing or the depth of retail and office markets in a specific region or location.
We may be asked to address environmental remediation for a former industrial
site, or to design transportation systems, or to provide detailed design criteria to
establish a green infrastructure network to manage stormwater and recycle waste.
Each project requires thoughtful evaluation of the kinds of information or
expertise required to produce a cohesive and achievable design. Sometimes the
client is not fully aware of what is needed to arrive at a feasible and workable
design. The approach and requirements for data and expertise must be discussed
with the client before the process, fee negotiation, and contract are finalized with
the client and signed. To complete an urban design without specific market or
site data may be acceptable for a broader vision plan, but it is not a good idea for
a plan that will result in implementation as the next step. There is nothing like
finding out that the actual survey of site boundaries is very different from the
map given to you to use as the design base. Or that the building types you used
to prepare the design are not viable in the project's location, given market prefer-
ences and construction costs. So it is always a good idea to review the expectations
for the project and identify any data gaps and missing contributors prior to forming
your team to ensure that you have all the necessary disciplines covered.
Typically, we serve as team leader and are expected to organize the work of
the full consultant team, manage performance, negotiate subcontracts, integrate
work products, and review and pay subconsultants' invoices.
UDA's Urban Design Teams
UDA is organized into core teams of three to five individuals per team.
Typically, a team includes a project manager, senior urban designer, and one or
. more urban designers. Our teams have adopted_colors as identities within the
office - Orange, Purple, Gold, Aqua, and Yellow. Teams stay together and work
[ collectively on a group of projects. They manage their own filing systems, drawing
storage areas, charrette equipment, and location in the studio. They are responsible
for four to eight projects at any given time. On large projects, two teams may work
together, with one team having primary responsibility to the client for the work.
The project manager works with the principals of the firm to schedule work
for each week, month, and six-month period. In addition to design and production,
project managers are responsible for billing, distribution of work, and scheduling.
Internally, teams assign various members the leadership roles on different projects.
On each project, the team is augmented by one or more principals and by
studio specialists including a perspectivist, architectural design advisor, graphic
designer, or process strategist. Most teams are guided by a principal-in-charge
whose role varies by the scale and type of the project as well as by his or her
professional relationship with the client group. Some variation on this general
approach to project teams should work for most firms regardless of their size.
Because urban design is so complex, it requires creative dialogue and collabo-
ration among members of the urban design firm as well as with public participants,
consultants, and clients. By establishing permanent teams, we facilitate strong
communication among team members and can better tailor and continuously refine
our working methods as the need arises. Each team develops its own techniques and
[ personality within the general standardized techniques described in this handbook.
CHAPTER 3
UDA Team Member Roles and Responsibilit ies
UDA h as developed specific roles for various team members that help to keep the
process fl.owing smoothly. The principal-in- charge is expected to:
➔ Attend every client meeting, all focus group meetings, and all public meetings
➔ Participate in the analysis and design working sessions
➔ Provide senior direction to the process
A second princip al may provide a complementary role including:
➔ Act as senior advisor (often, the client group relies on this
individual fo r overall philosophical or political advice)
➔ P rovide design leadership both in the studio and on charrettes
➔ C ontribute specialized skills to areas of the project not covered by other
members of the team
The project manager is responsible for:
➔ C arrying out design development
➔ M anaging subconsultants
➔ O verseeing the budget
➔ I nvoicing
➔ M anaging process logistics and schedule
➔ Producing the interim and final product
T he senior urban designer is responsible for:
➔ O rganizing the design tasks
➔
➔
Serving as the lead designer on the project
Presenting key concepts and elements
➔ Setting the character and techniques for producing the work
Urban designers are responsible for :
➔ Performing the full range of work items during a project, including prepar-
ing base materials, UDA X-rays™, design sketches, perspectives, elevations,
report production, computer modeling, and physical modeling
f D es ig nin g t h e P ro cess
➔ M anaging photographic and documentation work including reconnaissance
materials, organizing and producing materials for presentations, and organizing
team files for retrieval and office-wide reference
T he perspectivist is responsible for :
➔ Meeting with the team to determine perspective needs as well as identify the
desired views and required base materials
➔ Providing perspective bases prior to working sessions and charrettes
➔ Participating in the charrettes so that the drawings are created within the
context of the process
Graphic designers are responsible for:
➔ Designing digital, print, and web-based products
f ➔ Formatting print and digital documents
➔ Maintaining continuity and setting standards
➔ P ublishing and editing UDA products (e .g., master plans, pattern books,
architectural designs)
➔ C ataloguing and archiving electronic materials
The Client
A s we noted in the Introduction, UDA serves a variety of clients. W hile clients
may come from many different quarters, most often urban design clients are
public agencies, institutions, non-profit agencies , or private developers . A lthough
these organizations may have several people actively engaged in the project, it is
[ preferable that the client assign one project manager who will be the primary
contact for the design firm's project manager on a day-to-day basis. Qyite often,
.l the client may have a board of directors or executive group that must approve the
approach and urban design for the project. T his internal approval process must
be clear to the design team in order to understand the proper sequence for how
information is distributed and discussed in public.
 CH A PTER 3
Designing t he P ro cess

The Steering Comm ittee

As we discuss each of the specific steps in our process (see Chapters 4- 6),
Typically, in policy-oriented projects or broad-based community initiatives, a steer-
you will notice that we create ample opportunities for constituency representa-
ing committee may also be in place to guide the project. The steering committee's
tives to have a significant voice in shaping the project. In some cases, the input of
role is to provide an overview of the process and take a position on policy decisions.
broad-based constituencies takes place solely at the early stages of the process and
An optimum size for a steering committee is 12 to 15 members.
may be limited to the collection of information and clarification of stakeholder
It is crucial that the steering committee be representative of the individuals
needs, preferences, and concerns. In other projects, participation occurs at specif-
and interest groups who h ave a stake in the project. For a neighborhood, this
ically designated critical points in the process - for instance, at a public design
usually includes residents, business people, social service providers, cultural
charrette. In still other projects, participation is more discretionary and continues
group s, institutions , school officials, elected officials , and key government
throughout the design process.
administrators. For a D owntown M aster Plan, the steering com mittee may be
Participants vary from one project type to another. In neighborhood redevel-
chaired by the mayor of the city with appointed members who represent all of
opment efforts, it is the residents, local businesses, and neighborhood institutions,
the downtown constituencies, including residents, merchants, bankers, founda-
including religious organizations or schools , who have the most knowledge about
tions, public agencies, institutions, and some public officials.
their community. They are also the people who will be affected most directly by
I n some circumstances, steering committees may find it useful to form
any action recommended in a plan. Therefore, you must find ways to ensure that
subcommittees to consider each district or interest area. Ideas can then emerge
they are involved in the process. W ithout their participation, the likelihood that
and be tested at the subcommittee level and, after review and refinement, be
a plan will succeed is severely diminished. Residents are not, however, the only
taken first to the steering committee and then on to the city council.
essential participants, especially in troubled neighborhoods. D irect connections

Constituency Representatives must be established between the residents of a neighborhood and the power

For each project, the client and design team should identify the broad spectrum structure of the city. W e always strive to actively engage political leaders in order

of participants who should also be included as part of the design process. These to foster this necessary dialogue.

individuals typically come from a cross-section of: For projects that involve infill development or major urban design initiatives

➔ Those who know the area best, such as local real estate professionals, staff of in downtowns , the participants will be different. H ere they are more likely to

local institutions, local business leaders , and design professionals include a broad spectrum of representatives from the m ajor corporations , retail

➔ T hose who are capable of implementing and financing the effort merchants , cultural attractions , real estate developers and leasing agents, govern-

➔ A djacent property owners ment officials, the city's urban planners (if they are not, in fact, the client), and

➔ Those who control the political and bureaucratic processes concerned citizens who have an occupational and/or personal interest in the

➔ Those who will experience the greatest impact from any changes that occur vitality of their city's downtown district.

➔ The general public Whoever the participants may be - and they are often an intriguing cast of

➔ Those who are often disenfranchised : the poor, minorities, and immigrants characters - the basic premise to employ is one of inclusion. T he aim is to
obtain and incorporate as many points of view as possible so that you can create
the richest, most responsive designs possible.
 CH A PTER 3
Des i gni n g t h e Pro ce ss

ENSURING BROAD-BASED PARTICIPATION to make and implement decisions, there can be frustration and anger that cause
AND INPUT BEYOND THE TEAM the process to unravel and, ultimately, to fail.

There are several methods for encouraging broad-based participation and input:
Focus Group Meetings and Individual Interviews
advisory committees, focus groups, individual interviews, online outreach, social
Less formal participation can be achieved through focus group meetings and
media, workshops, and design charrettes. When you are trying to reach a broad
individual interviews. These groups must be identified and contacted beforehand
audience beyond what is possible with attendance at a public forum or workshop,
in order to set a schedule for when the input is needed, as well as the specific
media options such as local cable television and online streaming of workshop and
goals and content the team will expect to cover so that people are prepared.
charrette presentations provide an opportunity for greater participation. W hatever
Typically, this might include specific property owners in a targeted area; civic
mechanisms you use to obtain broad-based participation and input, the process
leadership such as a school principal, a church leader, or the mayor; local real
must also include mechanisms for delivering written records of each encounter.
estate and design professionals; and developers.
Subsequent meetings should begin with a recap of the previous session to rein-
Usually, we establish a technical review group (or groups) to help us better
force the understanding that you are building on the input provided.
understand the opportunities and constraints regarding physical considerations
For projects that require broad consensus among different constituencies,
such as traffic, environmental considerations, and utilities, as well as policy
we typically work with clients to establish a coordinated structure for citizen
frameworks such as zoning and planning policy. Other key contributors such as
participation to receive, evaluate, and provide feedback to the team at each step
social service providers, medical institutions, and educational providers are
of the process. The specific roles, responsibilities, and purpose for each group
important constituents to include in the process.
must be clearly articulated prior to the start of the process so that everyone has
It is the urban design firm's responsibility to record and synthesize this
an understanding of how decisions will be made and how their participation fits
information for the advisory and steering committees.
into the process. These groups may include the following:
Public workshop for the
Adv isory Committees Treme/Lafitte & Tulane/
Gavier Homebuilding Plan
For public policy initiatives or broader community redevelopment efforts, the in New Orleans, LA
organizational structure must contain a clearly understood mechanism for broad-
based participation among all stakeholders. In some cases, this is best accomplished
with one or more advisory committees, often organized around specific areas of
expertise such as a technical review group composed of public works, environmental

management, fire and safety, and so on, that provide information to the design
team, review our work, and make recommendations that are then submitted to
the client and the leadership group.

It is essential that each participant clearly understand his or her role . For
example, if those serving on an advisory committee believe they have the power
 CHAPTER 3 Designing the Process

Charrettes
PROJECT START-UP
D esign charrettes are an integral part of many urban design processes. For UDA,
Once we have defined clearly with our client the design process that will be
charrettes most often span three to five days of intensive, on-site working sessions
used and what products and tools the design team will deliver and when, we're
that bring the larger project team together with the designers and a wide range
ready to move to Project Start-up. Sound project start-up is extremely impor-
of participants to share, develop, and test ideas. W hen we (and you) as designers f

tant and for this reason we normally create a specific communication strategy
work in the place to be designed, rather than in our own studios, we are able to [ '
for the design team, subconsultants, and the client that will last throughout the
open the design process to a much wider array of possibilities and influences.
life of the contract phases. Participants are categorized into email groups, and a
When other participants - residents, politicians, developers - sit with you as
project web site is established for exchanging data. The communication strategy
you sketch, and often start sketching themselves , they see new possibilities for
may include weekly or bi-weekly conference calls, assignment of responsibility
resolving old conflicts and developing new forms . This is exhilarating and worth
for documentation, critical path coordination for deliverables and meetings ,
the effort and patience it may require.
organization and management of file and data sharing, specific software and
A project may entail one or more charrettes. We will describe how a
production requirements to facilitate sharing of documents, and travel and
charrette is organized and conducted in more detail in Chapter 4.
meeting coordination.

Public workshop far the

Typically, the project manager and principal-in-charge are responsible for
East Huntersville Area creating the project management approach and the assignment of responsibilities
Development Plan in
as part of our start-up activities. Often, much of this will have been outlined
Huntersville, NC
already in the proposal we submitted to the client. As the project team leader,
UDA will sign the primary contract with the client. Once that is executed, there
are often a series of subconsultant agreements that must be in place before the
team begins the work. It is especially important to work through the process of
invoicing and task documentation with the client, the UDA administrative team,
and the subconsultants before the project starts so that the process runs smoothly.
 CHAPTER 3 D esignin g the Process
THE URBAN DESIGN PROCESS
THREE PHASES
No matter how simple or complex a project may be, and regardless of whether
the timeframe is two months or two years, UDA's urban design process typically
consists of start-up activities followed by three distinct project phases to establish
the overall plan and vision:
➔ Phase One: Understanding - Figuring Out What's Going On
➔ Phase Two: Exploring - Trying Out Ideas, Exploring Alternatives
➔ P hase Three: Deciding What to Do - Developing the Plan
The objective is to have the client group and the key stakeholders reach consen-
sus on the critical frameworks, urban character, and approach to implementation.
In our experience, this three-phased approach provides for the widest range of
participation, the greatest opportunities for consensus-building, the strongest
likelihood of success, and the best possibility for moving a project into implemen-
tation. We have found that applying this phased approach also ensures that even
the most complex projects can be managed via a clearly articulated, systematic
process that produces the best results for our clients (these phases are described
in Chapters 4-6) .
We will present examples from multiple projects to illustrate the methods we
use, the types of drawings we produce to convey our design ideas and solutions,
and the information we gather and synthesize that guides and informs our work
at each step in the process. In addition, we will include a few case studies to help
you see more clearly the interrelationships among the various types of drawings
we create and how these drawings, focused on a specific place, are powerful tools
for helping our clients and stakeholders to envision the nature and character of
the intended built result.
It is important to note that the quality of data and base materials varies
widely from place to place and project to project. For some locations, excellent
digital data and accurate mapping are readily available. In others, only fragmented
information and generalized documentation of the site or its surrounding context
exist. Regardless, we have to fashion the right approach (as well as manage
expectations for results and level of detail) based on the circumstances and quality
of information available on a project-specific basis.
Over the years, UDA has developed specific tools and techniques that are an
integral part of our process for urban design. These are constantly evolving as we
take advantage of the ever- advancing tide of technology and the many ways in
which that affects not only our daily practices but also our clients' desires and GIS map of the project
area
expectations for how they receive and use our work to accomplish their goals. As
To locate base map materials,
we describe each step in the process in the next few chapters, City Hall planning depart-
ments and historical societies
we will introduce the relevant tools and techniques at the point in the sequence
are the best places to start.
when the need for them typically first arises. Data companies such as Esri
often have good GIS and
Helpful Hint: For your first reading of this handbook, we recommend that you aerial mapping that can pro-
vide some base data. Aerial
read the step-by-step information that follows in the order in which it is pre-
photographs from online
sented. This will enable you to become familiar with UDA's process by working resources such as Google™
or Bing™ are also useful.
through it conceptually, in sequence, seeing how each step builds on the previous
ones. Then, when you refer back to a specific step or activity in the future, you'll
understand how it fits within its broader context and the ramifications that the
things you do at any given moment may have on subsequent aspects of a project.
Having framed the discussion, we're now ready to walk you through each
phase of our process, describing specifically what it is we do at each step, why
we do it, and how.
l
 CHAPTER

The Urban De s ign Process:

Phase One - Understanding

Phase One is all about understanding the context as fully as possible. As you
would expect, this includes the physical realm and location, but equally impor-
tant are the social, political, and economic forces that must be factored into the
decisions. This requires a lot oflistening and learning from multiple sources and
viewpoints. Until we have done that, we have no basis for doing any meaningful
design work. Phase One requires that we synthesize our technical analysis, face-
to-face discussions with participants, and hands-on experience of the site to
develop a clear understanding of (1) the physical issues of the design, (2) the
market dynamics in the local community or region, and (3) the perceptions and
aspirations of the client and key stakeholders as well as the broader community,
public administration, and elected officials. Each member of the consultant team
gathers the data specific to his or her focus area. For example, market analysts try
to understand the potential for residential or commercial uses in the current and
future contexts. Transportation specialists try to understand the way the current
systems are operating and how the site relates to current and planned improvements.
Ecologists look at specific natural systems and how the design can respond and to
enhance existing systems or provide solutions to existing issues.
It is important that everyone on the team be present when the client and
stakeholders articulate their vision and aspirations and discuss opportunities,
constraints, and past events so that we can understand all of these factors. We all
 CHAPTER 4 T he U r b an D esig n Pro cess : Pha se O ne -
need to hear these stories and observations firsthand, as they will surely (and should)
influence our approach to offering options that respond to this specific community.
Phase One consists of:
➔ Pre-Trip Preparation
➔ Trip One
➔ M eeting with the Client (and Steering Committee)
➔ Meeting with Focus Groups
➔ Interviews
➔ P ublic M eeting (optional)
➔ Data- Gathering/Photo Reconnaissance
➔ A nalysis of Existing Conditions
Pre-Trip Preparation
After we have received a signed agreement/contract or a letter to proceed, it's
time to schedule our first trip . Because the success of this trip sets the tone for
the entire process, it is essential that Trip One be exceptionally well organized
and carefully orchestrated. It is better to delay the trip than embark on it without
proper arrangements.
The client must be intimately involved in setting up Trip One, including:
➔ Confirming the client organizational structure for the process, including
decision-making responsibilities and required stakeholder input
➔ Arranging for data collection specific to the subject areas required
➔ Scheduling all of the formal activities of Trip One (the initial meeting with
client representatives and the steering committee, focus group meetings,
public meetings, etc.)
The UDA team also has a number of things to do to prepare for Trip One.
Everyone on the team must become as familiar as possible with the general
features of the area in which we will be working before the trip. This means
we need to gather and acquaint ourselves with:
Und er sta ndin g
➔ Local history
➔ Previous planning and development activities in the local community
➔ Current land-use and development policies and regulatory frameworks
•➔ Regional context - physical, economic, political
➔ Local media documentation of relevant discussions regarding development
or policy associated with the area or the site
➔ Available mapping - online aerials, GIS (Geographic Information
Systems), historic maps, regional maps, building surveys, zoning maps, parks
and open space network maps, transit maps, etc.
➔ All materials supplied by the client
The team will prepare a Reconnaissance Workbook that summarizes the
physical context of the site, both regionally and locally. This provides all team
members with a common reference on which to base our work and also serves to
document field notes and measurements acquired during fieldwork and site visits.
The workbook may also include candidate precedent places in the region (identi-
fied by the client or discovered by us during reconnaissance) that may serve as
I good references for the team. Typically, these are confirmed and sometimes
expanded during our interviews.
r
' This advance preparation enables us to be knowledgeable enough to ask
meaningful questions and to understand, in context, the information, goals, and
objectives of each of the project's constituencies. Nothing instills confidence in a
client and their constituents faster than a team that has done its homework.
This positive tone and perception, established at the beginning of the process,
can become very important as the project progresses.
Trip One
W hen we, and our client, have finished preparing, it's time for Trip One. T his
trip usually entails two to three full days and involves the principal-in-charge,
the project manager, and the designers . O ften , one or more of the subconsultants
will join us , especially the market consultant.
 CH A PTER 4
T h e U r b an D es ig n P r oce ss: P hase O ne - U nderstanding

Meeting with the Client The initial meeting with the client serves as the
official kickoff of the project. T he meeting should be the first scheduled event on
Day One of Trip One. T he agenda for that initial meeting consists of:
➔
Review of the overall planning process, scope of work, and schedule
➔
C onfirmation of the week's program and agenda for Trip One
➔
Discussion of the make-up of additional focus groups or stakeholders
➔
Direction on collecting h ard data (zoning, historic, traffic, topographic, etc.)
➔
Client presentation of the project goals, key issues, background context, and
important considerations for design
➔
D iscussion of overall strategy for development, disposition, financing, and
implementation
➔
Identification of important milestones for the client
➔
➔ D iscussion of precedent places that may inform the design team
D iscussion of precedent places that may inform the design team
➔
➔ A rticulation of a vision statement and criteria for determining success
A rticulation of a vision statement and criteria for determining success
Meeting with Focus Groups Focus groups are often the key to collecting
Meeting with the Steering Committee If the process has been organized around
important data about the project. It is not unusual to hold several different focus
a broader public initiative that requires consensus-building and public support,
group meetings (typically between four and six) during T rip O ne. Each meeting
then a steering committee is often extremely helpful in achieving that consensus
generally lasts between 1½ and 2 hours. The objective of these
within the community. A lthough we've mentioned it earlier in the book, we
sessions is to obtain initial input from as broad an array of constituents as
want to emphasize again here how important it is in garnering support to have
possible. To accomplish that, the groups are typically formed from :
representatives of the key constituencies and the community's leadership on the
➔ Residents and neighborhood organizations
steering committee.
➔ City staff (including zoning, public safety, public works, parks)
The meeting with the steering committee will take place on D ay One,
➔ Business owners and property owners
sometime after we have met with the client and have gained a firm understanding
➔ Institutions (including schools, social service agencies, cultural groups)
of their perspective. W e cover much of the same information with the steering
➔ H istoric preservation groups
committee that we did with our client's representatives, including:
➔ Real estate brokers and developers
➔ Review of the overall planning process, scope of work, and schedule
➔ Local design organizations (AIA, A SLA)
➔ Confirmation of the week's program and agenda for Trip One
➔
➔ E lected officials (mayor, council, etc.)
Discussion of the make-up of additional focus groups or stakeholders
➔
Discussion of the project goals, key issues, background context, and Because focus group meetings need to be conducted at times that are the most

important considerations for design convenient for the attendees, it is best to schedule them as breakfast, lunch, and
➔
Identification of important milestones evening meetings .
 CHAPTER 4
The Urban Design P rocess: Phase One - Understanding

At the start of each focus group session, the participants receive a description
and schedule of the planning process, the purpose of the plan, and their role in
providing input. Each group may have its own specific focus, such as historic
preservation or parks and open space development. Specific questions and infor-
mation requests are developed for each group prior to the session so that we are
prepared to gather relevant input while remaining open to other input that may
arise during the session. Our prepared questions and information requests are not
limited to specific technical issues, but are also designed to solicit participants'
broader perceptions about the proposed initiative or the neighborhood context.
When we are engaged in community-wide planning and design initiatives,
we present a straightforward series of three questions to the citizen focus groups
participating in the process. All participants are asked these three questions, and
their individual responses are recorded on maps and summarized in written
documentation. The three questions are:

1 What do you like best about your neighborhood?

Best Places Worst Places
(strengths, good things, assets)

2 What do you like least about your neighborhood? Each participant in a public pro-
cess is given three green dots to
(weaknesses, bad things, liabilities) locate best places, three red dots to
identify worst places, and three
3 What is your vision for the future of your neighborhood? blue dots to identify where they
wouldfocus investment. The
results are compiled to create a
"good things" (in green)/"bad
things" (in red) diagram and a
vision (in blue) far the future.

Focus Investment Vision for the Future

 CH A PTER 4 The Urban D esign P rocess: Phase One -
The last question is designed to invite "blue sky" dreaming among the
participants. It encourages each one to imagine his or her ideal version of the
neighborhood five or ten years in the future. It invites them to envision it as if
it already exists. What does it look like? What is there? Who is there? We ask
them to describe places that they have visited - or know of - that are like
their vision for their own neighborhood. And we record all of these - every
wish, every hope, every dream - for it is from these aspirations that we can
begin to form a collective vision.
Typically, UDA prepares a base drawing with the boundaries of the project
area shown for orientation and discussion. We also ask participants what they
think are the best and worst places in the area, and then we note them on maps
using colored dots . During these focus group meetings, our function is to ask
questions, not provide answers. Our goal is to promote collaboration and facilitate
a discussion among participants so that we begin to understand the many different
perspectives they embody. Introducing potential solutions this early in the process
tends to shut that participation down, sending people into a reactive mode that
undermines our goal of fostering as much inclusiveness and collaboration as possible.
Interviews It may be desirable to conduct individual interviews with key leaders
in various constituent groups as well as with elected officials, planning directors,
property owners, and so on. Active listening is required if these interviews are to
be worthwhile. That means that the individuals doing the questioning must do
more than work from a prepared list of questions. They must be skillful enough
to probe for levels of meaning in the interviewee's responses, evoking as much
depth as possible from each individual interviewed. The ability to read between
the lines, perceive an underlying meaning, and elicit more information is essential
to obtaining maximum value from each and every interview.
Public Meeting (optional) Sometimes, due to local politics or at the request of
the client or steering committee, it is beneficial or necessary to have a public
meeting in addition to the focus groups. We handle the public meeting like a
large focus group, first describing why we are all assembled and the process we
..• •
Understanding
will use, then asking the same three questions we asked of the focus group par-
ticipants. If the turnout at the public meeting exceeds 25 people, we introduce
ourselves and describe the process, then break into smaller groups to handle the
· three questions . Many of these meetings are recorded on local cable television for
broader dissemination. Web-based programming with a feedback response built
into the survey tool often serves to solicit input from participants who are unable
to attend a meeting. The team will work with the client to create a project web
site that contains all of the process details, documented public input, schedule, and
ongoing comment opportunities, thereby providing an up-to-date communication
tool for the project.
Data-Gathering Data-gathering is a crucial part of Trip One. In addition to the
soft data we acquire through interviews and focus groups, there are other types
of information we need to gather during Trip One:
➔ Existing mapping and background reports
➔ Photo reconnaissance (or recon) of the site, its urban context, and precedent areas
➔ Field measurements and drawings of key urban components: streets and
rights-of-way, building setbacks, typical lot and block dimensions, etc.
Imagine a van carrying UDA's project team (and, perhaps, other representative
participants) driving around town, pulling up curbside, people spilling out of all
the doors with cameras and tape measures and measuring wheels, taking photos,
making sketches, estimating heights, and taking measurements from all different
angles. Then, as suddenly as we appeared, we disappear back into the van, driving
on to the next place, where this frenetic activity repeats itself. From top: An example if a
team's recon notes, a location
Keep in mind when you gather hard data for one of your projects that it is essential map to help document the
site, and a UDAer measur-
to get input at the appropriate scales so that you can create a regional base map, a ing a right-of-way.
city-wide base map, and a neighborhood (or project area) base map. The existing
hard data we collect includes:
➔ Base maps (land use, buildings, building conditions, streets and highways,
topography, zoning, parks and open space, wetlands, flood mapping,
hazardous/contaminated sites, etc.). Base maps are the most important form
 CHAPTER 4 The Urban Design Process: Phase One - Understanding

of hard data we gather on the first trip. We must be resourceful, be detectives.

It's important to make the base maps as accurate as possible, to do that, we
need to compare aerial photographs with the base maps, checking for what's
on the ground now to confirm actual usage. Be aware that the maps you collect
from other sources are often not up to date.
➔ Master plans and proposed development plans
➔ Zoning ordinances
➔ Historic surveys and written histories
➔ Market studies, including demographic data, parcel ownership, property
condition evaluations, etc.
➔ Traffic studies and environmental reports
➔ Aerial photos (planimetric and oblique)
➔ Others as relevant to the project

Photo Reconnaissance The goal of photo reconnaissance is to document the

conditions at the site as well as those for any adjacent areas that affect the site.
In addition, photos should be taken of other neighborhoods in the city or region
that are considered exemplary by the client and other stakeholders. It is important
to compose photographs so that they communicate the character and quality of
urban spaces and the architecture from the day-to-day vantage point of the person
experiencing that space. These images are essential to our ability to effectively
communicate the important qualities of the place in which we are working and
In order to capture the character
how our design proposals respond to that inherited fabric. You must think like a
ofa district,
neighborhood, or
photographer and work to get good light and shadow balance; you must also town in which we work, we
photograph not only the architec-
capture images of people using the spaces. This sense- of-place documentation is
ture of the place but also its
in addition to the photos you take to catalog local and regional building types, spirit. And don't forget to get a
ftw pictures ofthe team on reconl
signs, materials, and so on. Every photo, whether it is intended to be evocative or
representational, should be wellcomposed and tell a story.
If you believe, as we do, that each new act of city-building must respond to
the culture and traditions of its town and region, then you'll also likely agree that
finding exemplars is an important component of the data-gathering process.

••
 CHAPTER 4 T h e U rban Design Proces s: Phase O ne - Understanding

These buildings, public spaces, and environments represent more than just excellent ➔ Building widths and heights

specimens by the standards of the citizens of that place. They also begin to form a ➔ Spaces between buildings

collective "DNN' of the uniquely local sense of place that must be considered during ➔ Lot widths
the design process. ·➔ Vertical heights of terraces, finished floor to grade, etc.

Because we find each factor to be important to our design process, we are Analysis ofExisting Conditions To optimize efficiency, the team needs to make
diligent about gathering a set of images that contains all of the following: some fundamental decisions at the beginning of the analysis process. These con-
➔ Streets and sidewalks
siderations include:
➔ Park spaces and details
➔ The scale to be used for base maps
➔ Building elevations and massing ➔ T he inventory and scale of potential UDA X-rays (diagnostic drawings that
➔ Key architectural details
show key aspects of existing and proposed future conditions) before the
➔ Landscape elements actual drawings are prepared. (UDA X-rays are described in more detail
➔ Public spaces and monuments
later in this chapter.)
➔ Schools and university campuses ➔ The scale of the physical model (with thought given to its portability for air
➔ Others as warranted
travel or overnight delivery service)

The most convenient time to take measurements is when you are out doing your ➔ Selection of the aerial perspective view MlJri-UscTrail,
Gremway,&
Park System
photo reconnaissance. Just as we photograph in precedent neighborhoods as well ➔ The potential multiple uses of the base maps and drawings for digital pre-

as at our site, we also measure in all of these locations. Measurements are taken sentations, large-format exhibits, and the final report. (The goal is to do

with measuring wheels or tape measures and, often, digital programs such as them well and do them only once!)

Google Earth™ or a GIS program, both of which we access through our cell The analysis done during Phase One is really rather straightforward.

phones and tablets. These tools provide a good way for the team to understand While we do not necessarily do all of the following tasks for every project, Top: A typical base map
preparedfor a project
the scale of an area or the distances to key services and amenities. Experience has the list below presents a fairly comprehensive view of what we are likely to

taught us that accurate measurements are important to getting the design right. do at this stage of the project. Generally speaking, our tasks now are to: Bottom: An example of
background material that is
Among the things we measure are: 1 Read and summarize key reports and previous studies. collected and read by the team
➔ Street widths, curb-to-curb 2 Create a list of the base data collected and any data still required. befare beginning any project

➔ Intersections 3 Send a copy of this list to the client.

➔ Right-of-way widths 4 Label and organize digital images.

➔ Medians and tree lawn widths 5 Write a summary of the focus group meetings.
Several examples of recon
photos. ➔ Sidewalk widths The summary should be an accurate, balanced, and unbiased summation of

➔ Street travel lanes and parking lane widths the information gathered during the focus groups. Our role is strictly to

➔ Building setbacks ,, report the findings, not to put spin on their meaning.
 CHAPTER 4 The Urban D esign P rocess : P has e One - U nderstanding

Analysis of Existing 6 Prepare accurate base maps (examples appear on the next few pages) showing:
Conditions Checklist
Ii'] List created of base
data collected; identify
data still required
Ii'] Base data list sent to
client
Ii'] All images labeled
and organized
Ii'] Focus group meetings
summarized
➔ The site within its regional context
➔ The site within its city-wide context
➔ The site within its impact area
➔ The site within its immediate area
We view these drawings as a kind of encyclopedia that provides consid-
erable information of various kinds without interpretation. Creating these
base maps is neither a simple nor a mechanical process. We construct base
maps that show streets as spaces bounded by individual buildings; these,
7 Prepare street and site sections.
8 Prepare UDA X-ray drawings of existing conditions.
UDA has developed a series of proprietary graphic analyses that we
call UDA X-rays. Using the base maps (desc::ribed previously), we take each
category of information and place it on a drawing all by itself. The site is
always placed in the middle of the sheet regardless of the size of the area
represented in the overall scope of the drawing. How large an area will be
covered in each X-ray is determined by the team and the principal-in-charge.
At this stage, we are preparing drawings of existing conditions.

Ii'] Accurate base maps

when taken together with all the other details within the public realm, (During Phase Two, we will develop UDA X-rays that depict proposed
prepared create a place. Because each element of the city is administered by a separate 1. future conditions.) Existing conditions are shown at each of the different
Ii'] Key reports/previous department and frequently the content we need exists in different formats scales of the base map. For example, we may create individual UDA X-rays
studies summarized
(CADD street details, GIS generalized building patterns, aerial photos of that show highways and arterial roads at the regional scale, expressways and
0 Street and site sections
tree coverage, etc.), more often than not this array of information has not highways at the city-wide scale, and street patterns at the neighborhood
prepared
already been collected from a single program or format that can serve to scale. Each X-ray, at each scale, provides its own clues to the form of the site
0 Existing conditions
X-rays prepared communicate either existing conditions or proposed changes. and ways in which its future can be influenced by what we do on it.

Ii'] Existing conditions Consequently, our task is one of patiently searching for and compiling Although the UDA X-ray preparation process can be time-consuming
eye-level perspectives
the information we require. Finding street maps is usually fairly easy, but and tedious if information has to be compiled from different sources, the
prepared
rarely do they include the details of sidewalk and planting strips, or correct first step may be simply a series of quick sketches, created in a team working
0 Existing conditions
aerial perspective building configurations, or property lines. Never underestimate the time or
prepared This analysis drawing
ingenuity it will take to gather the source material or, for that matter, the :.· -.,·.-:"!··
prepared from GIS data
Ii'] Scale model prepared creative energy you will need to combine the maps at the four scales required . <~:1 shows the intensity of
(optional) employment centers in the
to understand the site's relationship to its contexts. Baltimore-Washington
Ii'] Summary analysis of
Geographic Information Systems (GIS) maps have largely replaced the Metropolitan Area.
existing conditions
written
surveyed city mapping for planning purposes. Each city or town will have f ,;--?"",. . :
Ii'] Rendered land-use different quality and layers of information. Frequently, we have to augment
plan prepared
the GIS bases with information we have added from sources like Google
Ii'] Portrait prepared
Earth™ and our own reconnaisance at the site.
The map preparation process typically takes between one and two weeks .

.
'
 CHAPTER 4 The Urban D esign P rocess : P hase One - Understanding

Regional X-Rays
Settlement patterns
Highways and arterial roads
Open space and natural features
session, to identify some of the patterns and emerging issues of the project.
These sketches help identify the UDA X-rays that are most critical. Keep in
mind, though, that both the accuracy and the graphic quality of the finished

City-Wide X-Rays UDA X-rays are important, as these drawings will be used later on for
Typical scale: presentations, board-mounted exhibitions, digital media (e.g., a web site or
1" = 400' to 2000'
Residential settlement patterns social networking applications), and the final report.
Expressways and highways
UDA X-rays are subjective; interpreting them requires experience. It is
Street grids
Open space and institutions helpful to have a group review process in-house before presenting these
Railroad and industrial uses drawings to clients and their constituents.
Commercial land uses
We have found that our clients value highly our unique UDA X-ray
Neighborhood •
analysis sequences. A typical set for a project might include the list of
X-Rays
Typical scale: UDA X-rays at left.
1" = 200' to 1000'
The graphic techniques we have developed for producing UDA X-rays
District drawing
Historic patterns are key to their success as an analytical tool. Beginning on page 105, you
~.
Street patterns
will find examples of these drawings and information about the various
\.
Topography/natural features
Open space and institutions methods we use to illustrate existing conditions.
Land-use portrait Type of Map:
Our drawing style for UDA X-rays is neither too detailed nor too loose.
Buildings (figure-ground) Regional Base Map - Site
Parcels The examples we've provided in this chapter illustrate our recommended within its regional context
Portrait of conditions
drawing style and are accompanied by an explanation of each layer we
Identifies:
Site X-Rays examine during this phase of our design process. To give you a sense of the Highways, transit, air-
Typical scale: 1" = 100' to 400'
ports, major natural fea-
Area drawing
range of illustration techniques we use, the UDA X-rays we've included have
tures, settlement patterns,
Historic patterns been selected from a number of different UDA projects. Other types of population densities, and
Street patterns
UDA X-rays may be desirable depending on individual project requirements . employment centers
Topography/natural features
Open space and institutions The most efficient way to produce these drawings is to complete them Purpose:
Land-use portrait
as an in-house charrette in a specified, concentrated time period that has a Provide context for
Buildings (figure-ground)
regional growth and
Parcels definite deadline. The team is then able to compare drawings and discuss
development patterns
Vacant land/buildings
their implications, as well as their content and the techniques we've used, in
Surface/structured parking
Portrait of conditions order to ensure consistency in graphic portrayal and to help identify the best
ways to communicate a specific pattern or message. Before the X-ray charrette
begins, accurate and complete base maps must be prepared and a set of
anticipated drawings identified by the UDA project team.
••
 CHAPTER 4 The Urban Design Process: Phase One - Understanding

Type of Map:
Type of Map:
City-Wide Base Map -
Neighborhood and Site
Site within its city-wide Base Maps - Site within
context
its impact zone
Typical Scale:
Typical Scale:
l" = 400' to 2000'
l" = 200 ' to 1000'
Identifies:
Identifies:
Streets, cartways, land-
All buildings, property
marks, institutions, open lines, streets and side-
space, and major natural walks, and topography
features
Purpose :
Purpose :
Provides all information
Provides an understand-
needed to develop a
ing of the overall form of
design for the site that
the city and its impact on will ensure that it becomes
the site
an integral part of the
neighborhood
 CHAPTER 4 T he U rban D esign P rocess : P hase O ne - Understanding

The first step in creating the drawings is to identify the orientation
points at each scale. Typically, these include an outline of the site itself as
well as a major landmark or two (e.g., a river valley, mountain, significant
building, or complex of buildings).
From time to time, we may also prepare sketch UDA X-rays in public
working sessions to uncover problems and identify opportunities for
improvement. As the design process progresses, these drawings become
more detailed and accurate, refining our understanding of the challenges to
be addressed in our recommended design solutions.
9 Prepare existing conditions eye-level perspective drawings or reference
photographs of streets and public spaces that are likely to be transformed
as part of the proposed project.
Typically, these photographs and drawings contain landmarks that serve
as reference points for the general public and the development team. It is
important that these reference images be developed from the typical vantage
point of a pedestrian walking through or using the urban space.
10 Prepare an existing conditions aerial perspective or three-dimensional
computer model to use as a reference for developing perspective views of
proposed interventions.
We customarily prepare an existing conditions aerial perspective of the
project area. This drawing serves as another tool to help people visualize the
current condition of the project area and its immediate environs. We use an
oblique photographic source (such as Google Earth™) as a reference for
creating a base map in a three-dimensional modeling program (such as
Google SketchUp™). The result is an existing conditions aerial perspective
that illustrates the larger-scale impact of a proposal and helps stimulate
discussion during the charrettes, working sessions, or presentations that take
place during Phase Two. This drawing, in subsequent phases of the project,
serves as a base drawing on which design proposals are inserted for testing.
11 Prepare a scale model (not always required).
The scale model is helpful to the analysis because it presents the context
in three-dimensional form. In preparing the model, we use layers of foamcore
sheets to depict topography. The color plan is laminated onto the foamcore
base, and then wooden blocks are placed on it to depict the buildings.
Typical scales are 1" = 50' and 1" = 20 ' or 1:250 metric.
12 Prepare a summary analysis.
In the summary analysis, we describe the assets, opportunities, constraints,
and challenges identified by the client and participants in the initial process.

Type of Drawing:
If the process included broad-based public participation, we summarize what
Existing conditions participants identified as the good things and the bad things, the best places
View: and the worst places within the project area. These guide us in the development
Eye-level perspective
of a portrait of the site and provide an agenda for the overall design effort,
Description: including the issues we must resolve and the visions for the future that our
The selection of these
views is made during
client and the stakeholders are counting on us to make palpable for them
both the initial site visit through our work.
and the charrette. Views
13 Prepare a rendered land-use plan for the project area.
are chosen based on how
well they represent the A rendered land-use plan is an objective representation of the facts - an
problems of the site that encyclopedia of all the information about the site gathered on one drawing.
will be addressed in the
Uses for each building are indicated on the drawing through a standardized
design solutions.
color palette. This drawing, in subsequent phases of the project, serves as a
base drawing on which design proposals are inserted for testing.
CH A PTER 4 The Urban D es ign P rocess : Phase One - Understanding

14 Prepare a portrait.

The portrait drawing enables us to see the "good" and "bad" things in
relationship to one another. Although it is similar to the rendered land-use
plan, in the portrait we render the good things in warm, friendly colors and
the bad things in dreary grays and browns. Overlays containing special features
or some of our preliminary design ideas are rendered with extra-bright colors.
This serves as our first draft of a framework within which we can begin to
develop design alternatives. We find it essential to develop sketch design
concepts on this basis because it forces us to consider the impact of every design
idea on its overall context. This drawing, in subsequent phases of the project,
serves as a base drawing on which design proposals are inserted for testing.
15 Prepare a precedent analysis and documentation.

Precedent projects or neighborhoods that were identified and documented

during the interview phase and the site documentation trip are organized into
two primary categories: specific place and urban spatial type. The documenta-
tion may consist of dimensioned drawings, photos, plans, and descriptive text.

Type of Drawing:
Existing conditions
View:
Aerial perspective
Description:
The project area is in the
center of the drawing,
which extends to cover
most of the immediate
impact area. Adjacent
open space, topographic
change, and nearby neigh-
borhoods are indicated
realistically and provide a
context for illustrating
how the proposed designs
connect and respond to
the broader community.
 CHAPTER 4

Precedent Analysis and

Documentation
We produce a range cfdraw-
ings, physical models, and
three-dimensional compute1·
models as well as photographic
documentation cflocal condi-
tions and potential precedents
that can serve as models for
future development.

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 UDA X -RAY EXAMPLES The Urban Design Process: Phase One - Understanding

REGIONAL

Type of UDA X-Ray: This UDA X-ray provides

Existing conditions a reference for a series of
detailed focus areas along
Typical Scale:
a river corridor that con-
l" = 2000' to 4000'
stitutes a detailed plan for
the city's riverfront.
These UDA X-rays illus- (Asheville, NC)
trate regional patterns of
existing settlements, street
networks linking local
communities, general land-
use patterns, and waterways
with irrigation channels
and wetlands in the region
south of New Orleans.

These UDA X-rays illus-

trate the regional pattern
Nll'fORM'IIMDll,/,llSHMCI -
.IJIN.T
WIS())'NmmLllSIATllll
C
.
of transit service areas
w.tlf!DWJ,_SIAlllll 0
ll l'I IIAAOOAW that constitute the system
llfGOIW.ltAll llUB @
Xf'f TIWISHRSlmott • servicing two separate
Metro regions. Pittsburgh,
PA, on left; Moscow,
Russia, on right.
 UDA X -RAY EXAMPLES
The Urban Design Process: Phase One - Understanding

C I T Y - WI D E

Type of UDA X-Ray:

Existing conditions Description:
Settlement patterns and Upper left: Image illustrates
natural features the topographic features
of the river valley and the
View: Plan higher elevations in yellow.

Typical Scale: Upper right: This diagram

1" "400' to 2000' interprets the urban form
by identifying contiguous
Description: neighborhood fabric (in
Upper left: This figure- yellow) and the existing
ground shows the general commercial frontages of the
pattern of buildings in the main street district in gray.
community. These often
Bottom left: This UDA
indicate the intensity and
X-ray overlays the neigh-

•
scale of the area.
borhood designations on
Upper right: This UDA the existing street pattern
X-ray of local street patterns in an attempt to understand
shows a single crossing of the impact of individual
the river indicating possible grids on the connectivity
issues with circulation and among neighborhoods.
distribution of service uses.
Bottom right: This
Bottom left: Residential diagram summarizes the
settlement patterns are strengths (green) and the
outlined in general form weaknesses (red) of differ-
by tracing over the edges ent properties within the
of residential areas as town, based on the X-ray
indicated on either a GIS analysis and the team's
~

map, an aerial photograph, "',,'i •• reconnaissance efforts .

or a land-use map.
.
Bottom right: The pattern ' •,,
of commercial sites and
buildings within the study
area are illustrated.
,,
'1'
•
,:t
_If
f:J.~:,.
-;,.,
'\I
 p

UDA X - RA Y E XAMP L ES
The Urban D esign P rocess: Phase One - U nders t anding

NEIGHBORHOOD
S I TE

Type of UDA X-Ray:

Existing conditions Type of UDA X-Ray:
Existing conditions
View: Plan V iew: Plan

Typical Scale: Typical Scale:

l" = 200' to 400' 1" = 200' to_400'
Description:
Description:
At this scale, we begin to The UDA X-ray at the
see more localized patterns top illustrates the existing
of natural systems and pattern of buildings, park-
built systems that have ing areas, streets, and
influence on the built open space.
form. In this series for a The local street patterns
site located in downtown vary in different areas
White Plains, NY, the around the site and include
evolution of the changing curvilinear streets, small-
street patterns over time scale interconnected block
yielded a large site without patterns, and irregular grids.
any internal streets. This
The site is in the center of
created difficult access
the most fragmented grid
conditions and a "super
pattern. It has only one
block" form that makes it
east-west through connec-
harder to design defensible
tion and is not linked to
public space and a walk-
the adjacent areas in any
able neighborhood.
direction, making circula-
The UDA X-ray on the tion and access difficult.
bottom right indicates a site
in the lowest reaches of the
watershed. This will have
implications for stormwater
management.
 CASE STUDY
Th e Urban Design Process: Phase On e - Understanding

Cincinnati 1-75
stakeholders within each area to allow a clear voice that represented Analysis Drawings
Over an eight-month-long process, UDA led a multidisciplinary planning the citizens and businesses most affected by the proposed changes UDA created a display wall
team consisting of urban designers, landscape architects, transportation of all the analysis drawings
to emerge. These sessions were documented and communicated
of the city and the specific
engineers, and market analysts. Our assignment was to develop a to the broader population of the city through public presentations, neighborhoods. We discussed
city-wide strategy in response to proposed modifications to 1-75 and cable television, online documentation, and local radio coverage. the observations we made
its connections to neighborhoods through the heart of Cincinnati. based on the drawing and
The teams worked at three scales in parallel - regional, city-wide,
site documentation . Using
Our efforts were focused on five target areas that would be directly and impact area - to understand the context and potential impacts to these drawings as a tool to
affected by changes to access points and interchange configurations. those living in the affected communities as well as those who access facilitate discussion with
UDA conducted a three-phase process consisting of: Data Collection local participants about
the city through regional highways and arterials. The UDA X-rays their perceptions and the
and Analysis, Alternatives Exploration, and Development of the
and on-the-ground documentation proved essential to understanding context enables us to learn
Preferred Plan. The process included extensive focus group meetings the complex web of linkages and barriers that were affecting the more about participants'
with residents and civic leaders, institutions, city government specific concerns and the
quality of life and efficiency of transportation within the city.
issues they face.
representatives, area businesses, and other key stakeholders. The
process created a consensus about the overall approach for improving
each of the targeted neighborhoods in tandem with the large-scale
transportation changes proposed by the state and federal agencies.
UDA organized dedicated teams of multiple disciplines for each of
the five target areas. Meetings and interviews were held with individual

City Focus Groups:

Strategic Program for

Urban Redevelopment
(SPUR) Team

Park Board and

Recreation Commission

ODOT Project Managers

MSD Project Managers

DOTE Project Managers

Economic Development
Project Managers

City Planning Project

Managers
 CASE S TU DY Th e Urb a n D esign Pro ce ss: Ph a se On e - Und erst a nding

Stakeholder and Public Description

Interest Groups : Precedent boards of the
N eighborhood Gateways neighborhoods often help
residents "see" their places
and Public A rt
in a diffe rent way. As we
·u ptown discovered, the Cincinnati
Process M eet ings neighborhoods within the
The Cincinnati project M itchell Avenue/
planning area were dra-
required multiple teams led St. Bernard Stakeholders
matically different from
by UDA staff Our typical one another.
Northside Business
method is to establish an
Association
on-site studio in a central
location accessible to the Cincinnati Northside
public. We conducted multiple Community Urban
interviews andfocus group Redevelopment
sessions in the central studio Corporation
as well as in each of the Mitchell & Vine

neighborhoods to increase Developers and Brokers

participation and reduce the
Camp Washington
needfar local stakeholders to
Residents and Businesses
travel to these events.
US Green Building
Council (USGBC)/
American Institute of
Architects Committee on
the Environment (AIA
Project Schedule COTE) IAmerican
Project Schedule Chart
Society of Landscape C I N C l r - . N .\. TI 1 - 75 S T l i l ) \'

Phase Tasks Months

Architects (ASLA)

4 6 9 10 11 12 13 14 15 16 17 18 Museum Center at
Phase I Task 1: Site Invest iga tion and Co m munity Meeti ngs
Union Terminal Northside

Investigation Task 2: A nalysis and Synthesis

Mill Creek Restoration
Task 3: Team Work Sess ion
Project Board Members
Phase II Task 4 : Fra mework Alternati ves Cha rret te
Exploring Task 5: Plan Refinement City Planning
Task 6: Preferred Plan Charre tte
Commission
Phase 11 1 Task 7: Technical Refi nement
Developing t he Task 8: Draft Plan Historic Preservation
Pla n
Task 9: Final Plan
South Cumminsville/
Key
Milestones
Charrettes and Public M eetings

Steering Co mmittee M eetings: M onthly

• - >- -
• ~
-
•- •- -
• Working in Neighborhoods
(WIN)/ Communities
Sub Steerin g Comm ittee M eetings :
Scheduled w ith Tea m as Needed --- --- ---- - - - -- --- - -- --- United for Action (CUFA)

<2!,ieensgate Stakeholders

Cincinnati USA Chamber

CASE STUDY
The Urban Design Process: Phase One - Understanding

Strengths of Northside/South Cumminsville: Good Things/

Thriving commerical core in Northside that has a Bad Things:
bohemian/hip quality and feel We used a grayscale map
showing each of the neighbor-
A mix of industrial and urban feel to the neighborhods
hoods affected by the planning
D iverse community effort as a reference base.

Strong social organizations and outreach programs Focus groups consisting of

local residents and businesses
Affordable housing; high ownership to rental ratio were asked to identify the best
Enhanced by architecturally pleasing building stock places and worst places on the
maps using transparent dots.
Accessible to the interstate with close proximity to down-
We repeated this exercise for
town Cincinnati
each of the jive target areas
within the plan. This process
helped us understand some of
the underlying issues and
opportunities and also facili-
tated an open discussion among
participants who live and
Weaknesses of Northside /South Cumminsville: work in the affected areas.
Channelized M ill Creek

No coherent connections between recreational parks

Divided highway between Northside and South
Cumminsville and inefficient access to I-74 West

Imbalance of investment, recognition, and growth

between Northside and South Cumminsville
Lack of signage and wayfinding

Street network is poor with disproportionate street ROWs

and too many one-way streets

Educational institutions are poor in quality

Ludlow Viaduct is unattractive

Cell phone towers are an eyesore

 C H A P T E R

Th e Urban D esign Pr oce ss:

Pha se T wo - E xp l ori ng

P hase Two is the part of the process devoted to trying out ideas, investigating
options, and exploring alternatives. Phase Two consists of four parts :
➔ D eveloping core urban design principles from client/stakeholder input
➔ Beginning to test alternative approaches to the physical frameworks
➔ Preparing for and conducting a three- to four-day, on-site charrette
(T rip Two)
➔ D ocumenting the charrette process and outcomes and filing the materials

If the term charrette is new to you, you may find it interesting to know that it means
"little cart" in French. The reference is thought to harken back to the nineteenth-
century Ecole des Beaux-A rts in Paris, where it is said that proctors circulated at
the end of final exams collecting student drawings on little carts. Students, frantic
to finish , would jump onto the charrette, putting the final flourishes on their
projects as they rolled toward the deadline. T he meaning of charrette has evolved
over time and has come to refer to the intense brainstorming process that leads to
a finished design. W hile we no longer literally leap onto carts as they roll down
the aisles , the charrette process is central to creating the boisterously enthusiastic
and successful bandwagon we mentioned previously in this handbook.
CHAPTER 5 The Urban D esig n P rocess: Phase Two -
Synthesis and Test ing Ideas
Our synthesis of the physical analysis, market components, and strategic
elements that influence implementation is critical to the successful development
of creative and effective options for the plan. While many urban design projects
may have an on-site charrette to engage the client team and key stakeholders in a
dialogue about the pros and cons of various options, all projects require that the
team fully understand the input provided and the data analysis.
With Phase O ne activities completed - base materials collected, UDA
X-rays of existing conditions and other drawings prepared, and a summary report
of our initial interviews and site visit written - we can now begin the process of
synthesizing all that information and testing ideas by creating UDA X-rays of
possible future conditions. Either before or in parallel with our analysis, the
other consultants and subconsultants on the design team are preparing their
analyses of various components (e.g., market trends, building types, financial
performance, traffic analysis, environmental analysis).
It is important that the entire team have an opportunity to share information
with one another and that we discuss the opportunities and direction that the
various topic areas suggest. To facilitate this, when our budget and timeframe
permit, UDA hosts a one-day working session in which our subconsultants and
client representatives come together with us to review the emerging findings
from all of the contributing perspectives. This helps "set the table" before we
generate and refine alternative approaches to the urban design plan and allows a
creative exchange of ideas and input. This session identifies areas of consensus
and clarifies key opportunities and approaches that might be tested.
To prepare for this working session, the UDA team works in an intensive in-house
charrette that normally takes approximately one week of team time. The team
typically moves to a larger space in UDA's studio where we have extensive pin-up
areas that enable review and active discussion over the course of the week.
Refining the Content How, typically, do we conduct an in-house charrette?
First, we array the drawings around the room, then we look at them, one by one.
Exploring
We talk about the effectiveness of the UDA X-rays. What clues do we find in
the pattern of streets on the grids X-ray? What areas seem to have an appropri-
ately scaled, interconnected grid of streets? Which areas are disconnected and
fragmented? How does the block pattern affect connectivity and a sense of
community? How is the neighborhood connected to the rest of the city? What
changes have occurred in the street pattern over time? What are people's favorite
places? How do the patterns on the drawings relate to those places? Where are
problem areas the client or stakeholders have identified? Are these problem areas
visible and apparent on the X-rays? This questioning continues from X-ray to X-ray.
D uring this process, we are careful to document the key points we've discerned
from each X-ray. With so much information present, it is easy to get lost in details
and tangents. Consequently, we use this process to winnow out those X-rays that
do not add new information. T he ones that contain the most pertinent information
are collated and prepared for public presentation and publication.
Once we have chosen a set of drawings, we ask two key questions to guide
us in our exploration of alternatives:
1 In view of the goals of this effort, what are the five or six most important
positive qualities or opportunities we have seen in the X-rays?
2 W hat are the five or six most serious problems and issues to overcome?
These observations become key points of discussion as we test alternative
approaches to the urban design components . Typically, quick sketch designs for
new streets, block patterns, parks and open spaces, and sometimes building
patterns are developed to address the key findings and respond to the design
principles. We then use these analysis drawings and alternative sketches to
explore impacts and more options with the broader team.
Specific Team Tasks far the In-House Charrette We use the in-house charrette
to accomplish the following :
➔ Review the base map and portrait drawings for accuracy, readability, and
graphic sharpness.
➔ Review and revise the street and site sections.
 CH A PTER 5
➔ Review, revise, and augment the UDA X-ray drawings.
➔ Review the focus group summaries.
➔ Review the photos and digital images for completeness, catalog the images
by location and attributes, and identify any gaps to be filled .
➔ Produce precedent boards with photos and details.
➔ Develop a preliminary series of urban design principles (usually, five to ten)
that seem to be emerging from the analysis and that will be used to guide
the development of design alternatives.
➔ Develop preliminary design alternatives to test the urban design principles
and to get a feel for the dynamics of the site.
➔ Produce an inventory of building types and street types for reference.
➔ Review preliminary findings from team consultants (market analysis,
traffic, etc.)
Structure far the Project Team Working Session Once the above content has
been developed, the working session is scheduled in the studio space where the
project is pinned up. Participants in this working session typically include the
UDA team, client representatives, and some or all of the subconsultants - which
may include market analysts, traffic engineers, environmental designers and
engineers, development specialists, planning staff, and so on. Although ideally
1 charrette to review the analysis and emerging options.
1
The Urban D esig n P rocess : Phase Two - E xploring
we convene this working session in our studio, we can, if necessary, conduct the
charrette as an online conference.
This session enables the design team to understand and respond to preliminary
findings from each of the disciplines represented .by the subconsultants. Each sub-
consultant presents an analysis and emerging findings for discussion and clarification.
The UDA team presents the X-ray and analytical drawings as well as precedent
documentation. Often, we structure this as both a digital presentation and a
drawing/sketching session over the base drawings and UDA X-rays .
The interaction fosters lively discussion about virtually every aspect of the
project - market responsiveness, adjacencies of different uses, scale and character,
infrastructure requirements, impacts, phasing, land ownership, and so on. This
discussion is extremely helpful to begin to refine the approaches and understand
the potential effectiveness. Alternatives are developed as a series of patches that
can be pinned up over a big drawing for everyone to discuss. We modify these as
appropriate in response to feedback and then discuss again. This iterative process
helps the team align findings around common themes . We take this opportunity
to explore with the client any major issues that remain either unaddressed or
insufficiently addressed by the options proposed. This is the best time to do that,
while design concepts are still in their early formative stages. We expect as we
move through this process that we will discover changes or additions that need
to be made to the preliminary design concepts in order to meet client and com-
munity objectives.
Follow-up Assignments Immediately following the working session, the project
manager, the principal-in-charge, and the team meet to assign the following tasks:
➔ Make revisions to the base data, alternatives, and analysis drawings.
➔ Prepare digital images of the base drawings, documentation, UDA X-rays,
key findings from Phase One, and alternative frameworks.
➔ Revise the urban design principles.
➔ Make final preparations for the client/stakeholder meetings or design
 CHAPTER 5 Th e U rban D es ig n. Pr ocess : P hase T wo - E xp! o r i n.g

In-House Design Review Preparing for and Conducting an On-Site Charrette

Following the in-house charrette - and before the team leaves for the on-site
charrette - we often hold an in-house design review in which the whole office
participates. We present work-to-date, and everyone has the opportunity to
comment and make suggestions. This gives us the opportunity to try out and
de-bug our ideas with one another, before we put them center stage in front of
our clients, stakeholders, and perhaps, depending on the nature of the project,
members of the community at large.
As we have mentioned, the on-site charrette continues the process of consensus-
building that began during Trip O ne. However, at this point in the process , we're
ready to shift gears to go beyond the information~gathering we were doing during
our first trip. Now our efforts are aimed at moving the client, constituents, and
stakeholders forward toward the development of specific, community-supported,
urban design solutions.
An intense, multi-day event, the on-site charrette is the focal point of this

Design W orkshops an d Charrettes

process. When well conceived and well executed, the charrette becomes a singu-
larly powerful forum for resolving differences of opinion and finding common
When the refined sketch alternatives are finished and the team has developed a
interests that will influence the design of the client's community for the future .
presentation that summarizes our analysis, emerging design principles, and
One can't escape the obvious - it is easy to achieve consensus when all we
sketch alternatives, the next step is to organize and prepare for client workshops
are dealing with are generalizations and words. No one takes exception to a goal
or public design charrettes. These events are fundamental to the success of the
design effort. of making a good neighborhood or a lively downtown, or of having the design
solutions reflect the traditions of the place yet be forward looking, too.
Our preference is for a multi-day design and review session where the ideas
Turn those glittering generalities into concrete proposals, however, and
developed and refined during our in-house working session with client represen-
oftentimes the fur begins to fly. When people start seeing specific visualizations
tatives can be discussed in greater detail with the full client team and key
of their stated goals, that's when the objections, resistance, personal preferences,
stakeholders. UDA arrives with its core team augmented by illustrators and/or
and hidden agendas show up in full force.
architects from our own studios as well as key subconsultants who will have
"We didn't think it should look like that!" "W hy is everything so red?" (Red
significant input into the decision-making about how best to move forward.
is the color we use to depict the "not so good" things .) "That doesn't look like it
We come prepared to make refinements to the drawings on the spot so that our
belongs here!" "I don't see how that is going to solve our problems." These are
clients and stakeholders can see their input reflected in the revised drawings and
have the opportunity to say, "Yes, that's what I had in mind" or "Not quite . . .
what if we did this .. . ?"
l just a few of the comments we frequently hear in response to our first sketches.
That's why managing the logistics and staging the charrette for optimum

By actively engaging participants, the on-site charrette provides a powerful

forum for consensus-building. On projects where we are working more iteratively
l effect is critical. Make no mistake - the on-site charrette is a piece of performance
art. The space, the setup, the lighting - all must lend a dramatic quality to the
charrette. In a sense, this is community theater. To work its magic properly - that
with the client team and in a smaller, less public process to develop a preferred plan,
is, to draw the audience into the drama to produce the desired result (a common
we still follow the same general team structure and production methods, as we
vision for the future of their community) - we must have all the logistical details
have found them to be the most effective approach to accomplishing the objectives.
nailed down tight.
CHAPTER 5 The Urban Design Process: Phase Two - Exploring

T he drawings must progress in a logical sequence of scale. Not only must The Flow of the Four-Day On-Site Charrette
they "read" from across the room, but they must be arrayed in a manner that
Day One Day One is a day for sharing the results of our data-gathering,
makes them approachable. As residents, municipal officials, business representatives,
analysis, and focus groups with the various constituencies affected by potential
developers, the general public, and the media gather in the space, we want them
changes at the proposed site. Over the course ofthe day, we may present our
to mix and mingle in small groups in front of each of the drawings . We want
findings several times to different groups of constituents. Each time, we want to
them to use the drawings as catalysts to discussion and to coalition. The charrette
know what the participants think about what we've uncovered and what ideas,
becomes the stage on which potential adversaries can align their respective interests
suggestions, and concerns they each have . Our goal is to involve these individuals
and emerge with a cohesive plan.
in the process, elicit their opinions, and record their input for use during the
Finally, food eases tension and can be an important component of a successful
development of design alternatives during the remaining days of the charrette.
on-site charrette. W hether it's coffee, juice, and bagels in the morning; salads
Typically, we brief the media on Day One and, because the event has been
and sandwiches at lunch; or fruit and snacks throughout the day, food helps to
advertised as an open forum with the public welcome, we keep the doors open
draw people into the process and softens their stridency. It's hard to be mean to
throughout the day so that people can wander in and out as they choose. As the
your neighbor when your mouth is full.
day progresses, the team uses the input gathered during the day to begin drawing
and coloring design alternatives directly onto copies of the base drawings, UDA
X-rays , and portraits we've brought with us .

Day Two Project team members set up and work in various parts of the
room - the architects, illustrator, landscape architect, and others on the team
sketch away, much as courtroom sketch artists draw during a trial.

At the same time, lively discussions with focus groups or individual interviews
are taking place throughout the room. Project team members encourage and subtly
facilitate these conversations, exploring issues and options, problems and possibili-
ties, with all assembled. As concerns surface, they are discussed and the drawings
refined or redone as required. If we have developed a physical model to help
communicate the scale and form of the proposals, we set up the scale model for
the site in a location that can accommodate lots of people around the perimeter.
W ood blocks that represent the various scales and styles of buildings that may be
constructed on the site are unpacked, ready to be placed on the site in ways that
respond to the input of the participants in this segment of the charrette.
CHAPTER 5 The Urban D esign Process: Phase Two -
Day Three Early on Day Three, we need to touch base with the client. Then
work on the drawings continues, and when they are ready the design team shares
the preliminary designs and plans with the client and constituent representatives.
The process of refinement of the design continues throughout the day. Perspective
views, building types, and detailed framework plans such as parks and open spaces
are all being produced by the team as local participants look on. This typically
involves a mobile studio set-up with shared computers and servers, multiple
programs running in parallel, and each member of the design team and the
principal-in-charge refining and organizing the content for a digital presentation
as well as versions that can be displayed at various locations on site. The open
door policy encourages people to stop by, even if only for a few moments to check
out what's going on. It's amazing what this creates in terms of energy, good will,
and camaraderie.
[ the direction for the final plan.
[
Exploring
Day Three concludes with a public meeting during which the finished
drawings, model, and plan components are presented. Once the formal presenta-
tions have been made, we break participants into smaller groups to invite critique
and additional discussion. A principal, project manager, client member, or UDA
team member facilitates each of the small group discussions, and another member
of the staff records audience comments on computers and, often, large easel pads.
The comments are made available online and in hard copy for continued public
review and comment. UDA reviews the input in preparing the final project-
specific urban design principles and design recommendations for the client.
Day Four During the charrette, a variety of ideas get presented that were
developed in response to what we heard throughout the process. Only by getting
reactions to the sense of scale, ch aracter, and sense of place created by a design
direction are we able to effectively invent fo rms that respond to the many
contexts and constituencies who will be served by the project. We spend D ay
Four in a debriefing meeting with the client group, and if there is a steering
committee, they are invited to participate in the debriefing session with the
client group. At this critical meeting, a consensus is usually reached regarding
Documenting the Charrette
Documenting the results of the on-site charrette is a critical component of Phase
Two. By promptly recording, in writing, the input received during the charrette,
we accomplish two important tasks. First, we capture in one document all of the
information obtained, creating a record of the process while it is still fresh in our
minds. This becomes extremely useful in preparing an interim report to the
client (if there is one - not all projects require an interim report) and also when
we get ready to prepare the final report at the end of Phase Three. Second, this
documentation forms the foundation for launching into Phase Three: Deciding
What to Do - Developing the Plan, which we'll take up in Chapter 6.

The Site
The 230-acre project site is
located in the region of
Gujarat (highlighted in red on
map at left), 40 km from the
city ofJamnagar, a historic
regional center. The climate is
hot and dry with a concentrated
season far rainfall, which can
cause erosion andflooding.
Kavarattr•
r
CAS E STUDY Th e Urba n D es ign Process : P hase Two - E xploring
Vladinar New Town Charrette Plan Alternat ive On e
The Pools
UDA was selected to lead a design team that comprised both U.S.-based
Central park with reservoir
firms (including DesignWorkshop and Applied Ecological Systems, Inc.) and recreation center as
and India-based firms (including CRA Architects, Sathe Landscape civic heart
Architecture, and Apostle Engineering). The project entailed the design . Dispersed water storage
of a new town for employees and families of a large Indian corporation ' within neighborhoods as a
.
~ system of park spaces
near its production facilities in a coastal region of Gujarat. The scope
included 3,000 units of housing with a mixed-use component of K-12
A~t r
-~r~ -
,!£ c/ · '<
\ - ,
Concentrated retail center
, _·::.<";
schools, neighborhood retail and regional retail services, health
Plan Alternative Two
services, hotel and restaurants, recreation, and civic uses. The client \ :'\'--; · The Maiden
\ ,'i.,
team was led by the realty division for ESSAR, the corporate sponsor. Formal park spaces linked
by signature streets
High Street retail at
regional highway entrance
School complex anchors
eastern axis on large
CHINA
maidan space
Single reservoir as focal
point in maidan at termi-
nus of High Street retail
Plan Alternative Three
The Gardens Option
Formal boulevard links
Plan Alternative One Plan Alternative Three schools, retail, and reli-
gious sites
Naturalized reservoir at
.:''"'""'' southeastern terminus of
boulevard
Dispersed gardens and
parks as focal points in
neighborhoods
Agricultural production of
fruits and vegetables at
entrance and southern
perimeter
Plan Alternative Two
 CASE STUDY T he Urban D esig n P rocess: Phase Two - E xploring

Emergent Findings During our initial trip, we conducted site reconnaissance, program
Several key issues emerged
assessm ent, and precedent documentation. The design team returned a
during the course ofdeveloping
the alternatives. Based on month later to our client's corporate headquarters in Mumbai for a week-
the program for required long design charrette . This made it possible to gain the full participation of
amenities and support services,
many members of the corporate staff and management as we ll as the lo cal
the land area available for
residential units was limited. desi gn co nsu lta nts. Each day was sc hedu led with team w o rk ing sessions
The resulting building heights and specifi c t o pic area fo cus groups, includ ing w ater and wa stewater
and density became an issue
t re at me nt, market req u irements for apartm ent and villa de sign s, street
for the client. Water conserva-
tion and the development of and utility co nstruct ion and de sign, energy requirements, education and
a networked system to store
and reuse water became a
principal organizing element.
hea lth faci lit ies, land scap e and enviro nm ental strategies, and so on .
The proce ss ce ntere d on c reati ng t hree alternative devel opment
,.-· ---· /

patterns t hat could accom m odate the p ro pose d d evelopme nt

program . Client briefing sessions were conducted in t he mo rn ings
and at the end of each wo rking day to review progress and eva lu ate
alternative app roaches to the design of the urban settle m ent. T he
cl ient team selected Plan Alternative Two as t he prefe rr ed di rection
for the concept plan. They responded to the more regula r block
patterns and sense of organization this concept provided.
While this clarified the primary layout of blocks, streets, and park
systems, a good deal of specific detail such as land-use patterns, building
types, and street types remained to be worked out in the nex t phase
of design. While the preferred design evolved somewhat over time, its
essence remained largely intact as the project moved into construction.

Frameworks & Systems

Each alternative was developed to a point
at which the basic systems ofstreet types,
block types, and parks and open space
networks could be articulated and tested.
Capacity projections were producedfor
each scheme based on a range of building
type assumptions.
 C H A P T E R

The Urban Design P roces s:

Phase Three - Deciding What to Do

DEVELOPING THE PREFERRED PLAN

Phase Three is the part of the process during which we use everything we have
learned from our client, stakeholder groups, and the consulting team to zero in
on a preferred alternative. Phase Three consists of the following steps that culminate
in the production and delivery of a final document to the client:
➔ Conducting a design charrette or client workshop to gather comments and
achieve consensus
➔ Developing additional images
➔ Telling a story
➔ Preparing presentation materials and final design documents
➔ Producing the final report
➔ Making the final presentation
 CHAP T ER 6
The U rban Design Process : Phase Three - Deciding What to Do

Conducting a Design Charrette or Client Workshop to Gather

Typically, the preferred alternative arises from a combination of the ideas
Comments and Achieve Consensus
contained in the design alternatives presented duri ng Phase Two. Refinements
➔ This step is highly dependent on the type of project, client, and process
are made as needed to the structure of the plan, key character elements, scale and
objectives, all of which vary according to the situation and focus for the work.
· image of the architecture, urban spaces, and parks and open space systems to
Regardless of the method and forum (i.e., charrette or client workshop) , the
shape them into what becomes the preferred plan. W hile this process involves
objective in this phase of the work is to critically evaluate and test options;
the design of a new plan, the sources used for decision-making still must directly
refine the options to respond to program, density, urban character, and targeted
reflect the feedback, design principles, and lessons learned during the course of
market segments in a way that everyone can understand; and contribute to the
the alternatives testing. And while the preferred plan is, in fact, often a completely
evolution of the plan. The principal-in-charge and the project manager, in
new form, the most desired elements of the previous efforts must be reflected in
conjunction with the client, set the agenda and logistics for the preferred plan

I ➔
workshops and then brief the participants on how to proceed.
Since we often present more than one option to clients, an important part of our
order to maintain a responsive role as a designer. As clients and participating
stakeholders react and the plan begins to develop into a more definitive idea

I
about the sense of place, the level of detail and care in the supporting elements
role during this step is to facilitate communication so that all stakeholders can
(e.g., street types, sizes of blocks, character and uses for parks, public spaces,
move toward consensus. Our role is to gather and compile comments, eliciting as

l
parking and service areas, changes in elevation, building types, architectural
much response as possible from participants to the ideas being proposed.
character, and materials) becomes much more significant. This is the time in the
➔ Our objectives are to:
process when accuracy and specificity become particularly important as the concepts
➔ Review the key analysis components that influenced the development of
move toward a final plan.
the options and to confirm priorities
➔ Clarify any aspects of the concepts that are still unclear to stakeholders Developing Additional Images
➔ Probe for any remaining significant concerns that could delay or jeopardize The refinement of the urban design plan now begins to involve a higher level of
the success of the project detail for all of the contributing pieces and parts identified above. This is the
➔ Get a clear understanding of which elements 9 f the alternative concepts point in our production process when our methods for producing drawings
were preferred change from largely freehand drawings that are used to test ideas to drawings
➔ Reach consensus among stakeholders on the proposed refinements prepared in a variety of computer-aided drafting programs such as AutoCAD®
through this process or Google SketchUp Pro™. This method extends to the plan elements, such as
street sections and park concepts, as well as to the building types. At this stage
Selecting the Preferred Alternative
of the process, our teams develop a specific approach to the rendering techniques
Consensus-building among the key stakeholders - whether they are within a
that will be used across all final drawing types. This includes such things as
development team, a city planning office, or an institution or are neighborhood
color palettes, line techniques, and three- dimensional images. The approach
leaders, - facilitates the selection of the preferred alternative. It is not the urban
chosen will be documented as a project standard and then communicated to
designers who determine the preferred alternative, but rather our clients in
other contributors (e.g., landscape architects or architects working with the urban
conjunction with all the stakeholders.
design team) who may produce graphics in support of the plan.
CHAPTER 6 The Urban Design Process: Ph ase Three - Deciding What to Do

Presentation Images
The aerial perspective at
the top illustrates how
Jinsha Lake in China can
be thought of as a modern,
ecologically sound urban
park with activities linked
together with land and Final Plan
water trails to cleanse the The Foster City, CA, plan
water and support wildlife, calls for a radical transfor-
which are both lacking in mation of the Civic Center
the current context. site from a vacant, under-
utilized JS-acre parcel into
The illustrative plan image a vibrant new center that
at the bottom clearly illustrates connects and enhances the
the pattern of blocks, streets, entire Civic Center area.
parks, buildings, and marina Aerial View
in a reclaimed riverfront
area adjacent to downtown
in Toledo, OH Telling a Story

T he preferred plan must tell a complete story. It should contain a description of

the process of refinement wherein patterns were influenced by local perceptions,
market forces , existing context, implementation strategies, or property ownership.
Each influence that contributed to the logic of the preferred strategy should be
identified in the presentation of the plan, along with how these are designed to
resolve pre- existing conflicts or overcome constraints and how the plan can
enhance the values and qualities desired by the client and stakeholder interests .
Instead of thinking about the plan as a fixed design that replaces the previous
concept plans, it is important to build the incremental story behind the effort.
This helps to focus the discussions and decision-making on core principles and
client goals. If the plan does not adequately address these two mandates, the
effort can end up like so many planning efforts as a nice report on the shelf!
 C H A PT ER 6
The Urban D esign Process : Phase Three - Deciding What to Do

Preparing Presentation Materials and Final Design Documents Producing the Final Report
UDA's presentation materials typically consist of both a digital presentation and Typically, we conclude urban design assignments by preparing a fi nal report in
large-format mounted drawings used in meeting venues where participants can wh ich we present the preferred plan and describe the development approach.
gather around specific drawings to discuss and explore the proposals and elements · Sometimes the document simply contains the urban design plan for the proj ect
of the plan. We often prepare illustrated briefs for our clients that summarize the elements and the related design guidelines. Often, however, the plan is documented
plan, the process, and the strategy for implementation. Although our presentation in a detailed description of the master plan accompanied by more extensive, sup-
materials vary from project to project, the following items are typical: porting, program and infrastructure information. The images contained in the
➔ Context maps - regional, city-wide, etc. final report not only document the process and ideas created; our clients also often
➔ Site maps
use them for a variety of other purposes - in marketing materials, for example.
➔ Existing zoning map
For some projects, a formal report is not necessary. In those cases, we
➔ Phasing concept plans
prepare a series of either 8.5" x 11" or 11" x 17" pages with images and captions.
➔ Precedent places and architectural references The series is accompanied by a memorandum summarizing the process and a
➔ Series of eye-level and/or aerial perspectives bound collection of the working documents produced during the course of the
➔ Context (plan view) - existing conditions project. We prepare the documents digitally so they can be printed to scale as
➔ Illustrated design principles
24"x36" exhibit boards, used as ll"x17" or 8.S"xll" pages, or posted online.
➔ Summary of client feedback/review of previous concept plans For more extensive reports, development of the final report typically proceeds
➔ Context (plan view) - proposals
as follows:
➔ Before- and-after X-rays including streets, building patterns, parks, and
The Outline The principal-in-charge and/or the project manager prepares an
open spaces
outline of the final report. This is sent to the client for review and approval.
➔ Parks/open space plan
The project manager meets with our in-house publications team to review format
➔ Block types
options for the report and to discuss the production timetable so that the publi-
➔ Building types
cations team can factor the assignment into their work schedule.
➔ Site plan - existing conditions
The outline should include a list of all the images that will be contained in
➔ Illustrative site plan - proposed
the report. Any additional images that may be required will be identified by
➔ Neighborhood character - plans and illustrations
either the principal-in-charge or the project manager. Each drawing and photograph
➔ Proposed building uses plan
serves a specific purpose - to illustrate and explain a key aspect of the design.
➔ Public improvements plan
Succinct captions (developed during the text development process for the final
➔ Landscape, parks, and open space plan
report) focus the reader on the essential point being made by each image.
➔ Street designs and cross-sections
➔ Building plans and elevations The Cartoon When the outline has been revised and approved by the client,
➔ Program and development calculations the principal-in-charge and/or the project manager prepares a cartoon or sketch
 CHAPTER 6 The Urban Design Process : Phase Three -
layout of the report, page by page, with actual images identified on each page,
as well as spaces for the proposed text. T his becomes the general road map that
guides the publications team in developing the final layout.
The cartoon should identify whether images (especially the master plan
drawing) are horizontal, vertical, or square. Where cropping an image is desired or
required, crop marks should be indicated on a hard copy of the drawing that is
given to the publications team for reference. UDA's approach is to be heavy on
images and light on copy. A typical report runs between 30 and 50 pages.
More Images Often, in the process of preparing the cartoon, we identify images
that are missing or images that should be revised. The principal and/or project
manager meets with the project team to go over the cartoon and assign drawing
and/or photographing tasks . This work is best done as a charrette over several
days with the team concentrating solely on this project so that consistency, coor-
dination, and cohesiveness of detail across the array of drawings can be achieved.
The Text The principal and/or project manager, working with the cartoon as a
guide, prepares the draft text at the same time that the image production and
collection is occurring. This enables us to adjust images and text concurrently,
ensuring that they are consistent with one another.
Some of the text is prepared by subconsultants, such as traffic, market, or
landscape consultants. Subconsultants need to be alerted to the production schedule
for the report, as they will be required to provide their input to fit within the same
production schedule as UDA's in-house team. This is critical to providing the
publications team with sufficient time to integrate subconsultants' contributions
into the document, for our editor to thoroughly review and polish the report, and
for UDA to ensure on-time delivery of a high-quality product to our client.
We create a digital template for the report based on the cartoon mockup.
We often use "greeking" as a place holder within the preliminary layout. This
serves to tie text to the images and message for each page as we begin to produce
specific content for each section. Draft text need not fit exactly into the space
allotted in the template. Any adjustments required to copy length or image size
Deciding What to Do
will be made during layout and editing. What's most important now is just to get
the words down in a continuous text with appropriate headings . We try, to the
maximum extent possible, to let the images carry the day, not the words.
Once the full text of the report has been drafted and edited, we write an
Executive Summary that distills the essence of the report into two or three illus-
trated pages. This ensures that readers of the report (from the busiest to the most
casual) can quickly get the gist of the project's scope, intentions, and highlights
as well as a glimpse of the process we used to develop them.
The First Client Draft The initial draft should be a complete document with
the selected final images in place along with edited content. Having established
the format (pre-determined layout conventions, font styles for the headings,
captions and body text, etc.) in the initial digital draft template, the UDA
publications team often takes over the document at this point. The urban design
team has contributed the content and made the image selections, but these must
be reviewed and edited by the publications team. Typically, at this stage the
principal-in-charge and the project manager are acting as editors before the draft
is circulated to the client. We forward both digital versions and hard-copy digital
color documents for review. It is important that these be good quality so the client
can see how the finished version will look.
The Final Report The principal-in-charge and/or project manager reviews the
client comments and revises the content to reflect the required changes one last
time. Often, we contract with an editor to provide a final review. The project
manager will then work with the publications team to incorporate the changes
and make final format adjustments . The final report may be given to the client in
digital form and hard copy for a final review and sign-off before the report is
completed. If printing by an outside company is required, the publications team
will coordinate with the selected printer to adjust color and image quality as
needed. We often provide digital versions of the publication and multiple printed
copies depending on the arrangement with the client and the budget.
,,
 CH A PTER 6 The Urban Design Process : Phase Three -
Some Helpful Tips for Producing Reports
➔ From the beginning of the project, keep in mind that the report is the final
product. Drawings, photographs, and maps are the raw materials for the
report, so draw them, develop them, label them, store them, and protect
them with that end product in mind.
➔
Be aware that text is most potent when tied to images. Too much text becomes
unreadable.
➔
Likewise, be aware that well-written captions on drawings and photos can
often take the place of a whole sentence or paragraph in the text.
➔ Remember that labeling on drawings that may work in a digital presentation
may be difficult to see in a reduced form in a report. For example, we often
leave out street names and north arrows on presentation drawings. However,
they must appear on the scanned images used in the report.
➔ Make a plan, at the beginning of Phase Three, to prepare the mockup, write
the text, and prepare any new drawings in a dedicated, concentrated effort (a
charrette) over several days. It's the most efficient and effective way to develop
the materials for the final report. You can't imagine how much frustration and
hair pulling you'll avoid by diligently following this piece of advice!
Making the Final Presentation
For projects with significant community involvement and projects where stake-
holder support is important, clients often ask for a final presentation on a project.
This may occur before or after delivery of the final report. The presentation
generally consists of a digital presentation, followed by a question-and- answer
session and discussion. For large community gatherings, we sometimes follow
the presentation with break-out sessions, using the same format as that used
during charrettes, in order to answer questions and record comments.
The final plan embodies the ideas that have emerged, and that have been
distilled, throughout the process.
Neighbourhood
Character & Urban Design
UT 1 1 0 , •uc.xC T .... N. TOlONTu. u,ruo,o
!\Jill Street Neighbourhood
n,,""i..,ndgr,i11uf,hc l>uildin~., , <><l ,r ><«<>f 1hcDiJ1ilk ry
o;.,.;.-,:-..,'l'w,.,,,,1,oo,1willo"ndin,otJ,oW.,,OociL,.,,J,,,h.>r-
ini;bu"'r"'f'M<'lb<.nlJing,andr,ih&c>('l(ain tl,oi""""diur
,,;,.;.;'}''-"' of ,l.rl)j,.;u,...,,TI,, ton d•,cwillhrf"<OOnl11,t<ly«>·
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'l'J><'I""'·
.,..,.,. no,r Lt" ,uc 1,rn nu. -raoo,<To. o~TAOI<>
D eciding What to D o
Th• ~«igno(~>< We,11.)on L..,"1,,-ill b< ill>p<1,Jl>)·1hc,id,
di,-.,,,,;,v.,fT""""°D<ij:hl,.,,,,l,ood.,J,...,..ini>J'f"lyi<'!<>•inp<
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,mrlo\~ _. ,·,r1<1y of «;!<1 ,o,J ,~,n,..,. ;., o,J., "' JiV<nil}• th,
p,<cin<t•ndbl<nditmlnth<City.Uponhuildo,,1,ll-..,rnm""''"'J"
wiU<0m.w1 • r,ng,ool"Lofi 'H"' =idcnwl .....t .,..,.~,nWI
buiU, ~ ,rnmp,ct "'"" """ '"' ': m',; ·.,,·,,,,,, m«t>. ~• -~"'"
,.,.,,.,,a<>.alooJe, ,n«k<'ti<~l'</....,k.un,.u,Jcl<;;,nr,rw11>1rnt>
;Jo"K•iut\=drin,•udp,.,mcn.,&.
1n",1«1"on·k..·""1 ,ho J •'.-'"n,cnr,:in<''•"''"' ·rour
n,~hlK>w,_>M,rlutnuh"('the\¼'10-1.,,uk:r,oo,Strr<t
:,,i,;~DooiRn>'rScighbJu,hrA-1,MiDSm<t
Ncighb..,.,IM><>d, ,nJ 11,,..,s,l"'"'"'''~h!.. ud,,-.>d.[1Ch.,,i~hbo•H
h,.,..i;.,1,,..,,ibal ;n,<1m, ofiuwb.indc,i;rnM1"nti""'""~n.,.J1>
orcn'f'>«m.Jiur"«in>f"'"n,LA••~•;.&'ff"'°tl1•,,...,,U
d~..._..,., ·•ach,,.",:h!-,uffloo.:l. "1," n•r·,.,,·,,.., . .,,.i•,,u·g,n•.
I ? ,I HO 100.j I "'
Typical 11" x 17" Report
These two pages illustrate a
format for an 11" x 17" report.
I ,ron,nt • 100, I •
 C H A P T E R

UDA Implementation Tools

UDA is often a member of a much larger development team trying to ensure the
quality of the built work. In some cases, we may have been the master planners.
When we are not, we are often teamed with the master planners to bridge the
gap between two-dimensional planning and three-dimensional implementation.
Our role is that of interpreter, inventor, and liaison among urban design,
developer, builder, and jurisdiction. In that capacity, we translate the character
of place into current building practices and the hidden patterns of traditional
neighborhoods and towns into current lotting and zoning requirements .
So often, the implementation of our design ideas continues for many years
throughout the life of a project, making it crucial that we be able to manage the
tools and knowledge of the design intent that we provide to our clients. We have
developed a series of documents that can be used for numerous types of projects to
ensure the quality of the final built environment. These documents include the
master plan report, form-based codes, design guidelines, and pattern books.
 CH A PTER 7
UDA Implementation Tools

MASTER PLAN REPORTS

In previous chapters, we've discussed in depth the many components of design

conceptualization that form the M aster Plan as well as the process we use for
TABLE OF CONTENTS

EXECUTIVE SUMt.lARY
T~ANSPOIITATION
-
Trrn,f>O<UtiotomdS,,.,.," '°'
'°'
design. But how do those ideas get packaged for the client? For the public? ,,,
"7

For anyone who may ever be part of realizing the project? What tools do we use?
MASTER PLAN: PROCESS AND RESULTS
!i\lPLEMENTATION RECOI\IMENDATIONS
The Master Plan report provides a vehicle for conveying all the necessary
IMP~[M~IH ,l .l•ON n 1nrirs
Th,fo,n,.,;,.,of,P=loj,mentAuthority '"
I);

information. We typically include: the input and the analysis that informed design '"
IJ/
M"llltETHUDY
l:.,-,Ju,fon - cum,ntCofl<!"t"om

decisions; the plan frameworks, infrastructure recommendations, and phasing Ro.omm,..OeilProgram

AmidJ""JRe,uk,
HJWNCUll[I\ MASHA PlMI
O,·cr,•i<,,·

concepts; and, finally, a road map for implementation. The Master Plan report is l'nmcwork of D m:!opm<nt

generated early in the overall development process as it can be used to secure ,,"
" Top: An example ofa Master
Plan Table of Contents
S,hm,I ,
financing, entice development partners, and help neighbors understand the Tr:1.il,
!.,n<i,,p<Ch,,,""Typ"-'

proposals. T he document is typically be divided into five parts : Process and Bottom: An example of the
Analysis, Design Concept, Initiatives, Phasing, and Implementation Strategy. introduction to the Master
Plan section of the report.
Process and Analysis Describes the input and basis for design decisions, and
identifies key principles or themes for the design.
KEY RECOMIVIENDATIONS

Master Plan
- In addition to the overall
concept, glimpses of the
plan's components often
grace the first page.
Design Concept Introduces the physical frameworks, such as proposed street
patterns, buildings, or public space systems, as well as the proposed overarching
design vision and logic.

Initiatives Identifies individual areas within the plan and presents them as
"whole" discrete projects, the bite-sized chunks on which the phasing plan and
implementation strategies are formulated.

Phasing Presents the logical order in which development will be carried out,
usually based on a combination of factors such as constructability, market
demand, financing, and impact.

Implementation Strategy Identifies funding mechanisms as well as necessary

policy amendments and zoning changes.
CASE S TUD Y
Above and below:
The Master Plan design
concept and imagery far the
East Baltimore Biotechnical
Districtfocused on rebuilding
a blighted neighborhood and
identifying clearly defined
development projects.
U D A I mplementation T ools
East Baltimore, MD
The City of Baltimore (with pa rticipation from
local foundations and Johns Hopkins Un iversity
Medical Center} commissioned UDA to develop
m Five Part Strategy Workingcli>Klrwi,hthccumn1uniry11><d..;gnfccun.ie...,1- 5 Strategy 3: Ruidentlal/Biotoch Sum The derail pbn ~,.J >«ti,m illu,tntc
nptdafiw,•p•n11mcgyf0nrgonizcfhedcvcl<>pm<1>tofthc • The third •tn•~ de.ii, with the tile folkming J.,;gn <lcmonts:
a Master Plan with the intention of creating a rna.,<r/ tunsitinnfromthcbiotcchccntntothc I Frunt•lo.adcdTnwnllo"'"
1 Sunoonding Neighbofflood lnitia1rves Implement kcr ..,,idcmial neigh~,,~ The ....,,h <ido b Sm•U Ap:unncnt lhi.ilding,
Biotechnical District and revitalizing the East
HEUC.-\Cinitia1i,·.. in,um,undingncighborhood.in
onl«h>=-ilcn,loc,ri<>n unitr,huijdoncri>ting,rn,ng,h,
::~.:::~-:UP1'~•~ ::":¥ c Strc<1 Oricntod c..,,.,~,.t,
:indimpm•·c1he;un',im,gc. 1ltiddthcbiotc<ltccntcrandi1>p,.rltini; d Rc.1rPultingA=1
2 Green Corridor Ck..11 up 1hc Arnrr•k/~hn: r:iil rorridor gu1ga; from thc,icw.
Baltimore neighborhood . The process produced 1l,,rv-f;""' omlm:>1ek..:,1it,n, forimti1uriun<,bu,inc<<c<1ndpark<.
"""'-"i•1"""'""" l Rnlde ntl all81ot eeh Saa m C<>nuruct, rc<idcmi,l edge
m,it.Jli,,J/,,,;JJ;og,jn c::J a.....11rt.1,0.:d
an unprecedented consensus among the 4
ofncwhou,ing 1ol>ulfcrthcnei~hbothoodfrombin1cch.
Ml dd lt En tN elghborho odTransformatlonRchuildand
.
O M~
N,~11.~.kotl.J
rcviuli,cthcncighb<Jrhoodmingflc,cihlcbl°"kde, ign•
community, the city, and the hospital by clearly S Compatibl e BlotechCa nte,Consm1c1 d,cbiocochcon ccr
1tatc:tl• n>mp•1iblcwi1h 1hc n,i~hbo ,h.,.,J.
defining the edge between institutional uses and 711 : ::::.:::::.
1;1 ji:::.::::: /'l,,,,(""'1,~J,,,.J
the neighborhoods, creating a first phase that \u~=:~d U<1W1(bj) ,f1&
rq,:.,,,JmiJmti,,J
,,.• .,,,;,,,s,k"'s<tf
benefits both the biotech center and the adjacent
neighborhoods while providing amenities JW"'°"fF-"P
.r;,,,,,~nsrlK,,,.,_,,
r,..,.h,,Mi~t,<•fftN
including retail, restaurants, and parks. The l,jl,i.lnfrN,tt«f~o,/
,,,..,..,J,.,._;,.,r,,d
_,;,.,.,,,..,,t,"[,h.
Master Plan report documented these initiatives
in clearly articulated steps to implementation.
Above left and right:
The M aster Plan docu ment
outlined a five -part st rategy
to delineate and sequence the
key initiatives.
Right: New residential edge
under construction
 CHAP TER 7 UDA Implementation Tools

FORM-BASED CODES

Neighborhood revitalization projects, mixed-use infill, and large-scale urban

development projects are often built over time by many different constituents,
developers, and builders. In order to manage image, scale, and design intent, cities
Table of Contents

Enablin g the Plan

Whyaform •Based Code

Element5oftheCode
H ow 10 Usto the Code
,_,
0-6

0-20
Chapter 5. Use
Sec.S.lGeneralP,ovisions
S«.S.2AllowedUse Table
Sec.S.3UseS111ndards
,_,
-
Sec.S.4UseCategories 5-10
Chapler I. Purpose and Applicability Sec.S.SAcce1sory U1esand Stmct ure s S-20
often employ special district zoning. Over the past decade, zoning codes have Sec. U Gen eral Provisions
Sec. 1.2Applk ati on ofRegul atlons
,_, Chapter 6. Site Development
migrated away from land-use prescription to a form-based approach. Chapter 2. Frontages & Building Types
Sec.6.1 SiteAccen 6-2
Sec.6.2 Par~i ng 6-<
Sec. 2.1Frontages
Sec. 6.3 Landscaping 6-14
For regulating urban design concepts, form-based codes provide predictability Sec.2.2BuildingTypes 2-6 Sec.6.4 Slgn s 6- 18
Sec. 2.3 BuildingTypeProperties 2-8 Sec.6.SSite llgh1lng 6-22

on the administrative and permitting sides while maintaining flexibility for Sec. 2.4RulesforAIIBuild ingTypes
Sec.2.S Bui ldingTypeRequiremenl!
Sec.6.60u1door Di1plJyandStorag e 6-24

s,c.2.6Mixed-Use8uilding Chapter 7. Administration

developers and end users . These documents include overall regulating plans; Sec.2.7 Commercia1Building 2- 16 Sec.7.1 General P,ov i1lon1 )-2
Sec. 2.8Apart ment8u ilding 2-18 Sec.7.2Si1ePlan Review 7-l

acceptable land uses; a variety of standards for building types, streets, public Sec. 2.9Row House
Sec.2.IOOetachedHouse
2- 20
2-22
Sec.7.JAl temative Compliance
Sec.7.4Conditional Use Perm it 7-6
Sec. 2.11Civic Bui lding 2-24 Sec.7.SNonconformitles 7-9
spaces, and site development; and, finally, the rules for administering the code. Sec. 2.12 BuildingElements 2-26 s«.7.6Enforcemem 7-12

Chapter 3. S1rce1 s~tbacks Chapter 8. Definitions

Regulating Plan Identifies hierarchy and replaces traditional zoning designa- Sec. 3.l Stree tSe tback Map l-2 Sec.8.l Word Usage
Sec.3.2 Encro.ichments Sec.8.2DeflnedTerms 8-l
Sec. 3.3 StreetSetback Requ!rements
tions with regulations that support form over use. Essential for understanding
Chapter 4. Height
how the code recommendations relate to the city fabric. Se c. 4.1 Height Map
,_,
Sec.4.2TowerProvisions

Acceptable Land Uses Identifies block and street patterns, as well as required
Ckunl,ontlo"•OI•" ""
building frontages and heights. VN9lo,•otooel,.Vil'~I ...

Standards far Building Types Identifies the range of building types that are
Above: An example of a
permitted and their expected relationship to the urban fabric.
Sec. 2.1 Frontages
Form-Based Code's Table

Standards far Streets Outlines the variety of standard street types and, their key 2.u rro,uages E,1~bli,h i,d
l'o<"")""'•""pro,·i,.;oo,.rd,i><ook.•h<Mlo~ ;, J,,...,r,.,,,.,s.,b"<N<•
of Contents
«1o1>1;,h<d ""4""'"Pl'l;<J 1opru("~) • • >« fooh "" 1ho l'moi"1< M,p.

dimensions, and regulates the permitted conditions for usage. t h<IIN,rJ,., l,fr""l>!• i> i,Km:ldtol"'><'" • •O coluo0<('<dc,Hlu. ,oO
Nc)<k0<,-.1, 10 ,1,.t,,,..,~f""'L Tho fm n1•g•••1o,,,,,.1r h,.i!cd,chk,o l,r Left: Pages from a typical
a.:« .. • ,xl i, ;ot,nOcdtDpr<><"n<•h<"P""oc"of !h ,t.,o r,1 .. , 1\,~Jf<'I";,;..
,a.,,t,,, ;1JNOl!,h<••!f"nl ~ " '"" lf..,.. •h<••Vl••of• .. •J•Th'f"'"""'''

•li<-.. , 1, .
""""""'''";,,a) ,1•.,."'>l••"•"•><•1oa•=•~
, lsu ;,.....,~ ,a 0) o,:c,;, Foi-m-Based Code combine
Standards far Public Spaces Identifies the various types of permitted parks and & Sllq)p"'9 frontoge,
n.,~"lfn,nt>1<1 • """'"'°""a••-••h<--. .. i11,,1i>ou,.,, text and graphics to describe
p«l«1r ... ..,. • .,....... ..,;,i1y.Th<)t)pic,l~io,1»JcMh.J.,,.t,,ilJ.
;,,p .. ,,., ....... .,.• .,.,i...,.-n.... ..inffi«.tn.s......... ..,,. • .,.,
regulations.
public spaces as well as their permitted sizes and uses. ... ~ . - .... b.

1. • 19-l·l)Shop~ng l
Ud'J••ppr,1 • f """>r< is ;.,<M«l for.....,"""' Iii<,.,...,. i..<1 ~r
,.,.11,ot,;10)oad1t1ail•••;.,,,..i..,;,•O)•h.i....,.. 111<r.._,....,itt,
.i..,pr-buill. . ..._,_ ... t.ild ......

:z. • CSH·iJSl,opping l
Standards far Site Development Typically includes a full range of criteria for lli<~~ f""""F••looo•r.,,.1,,••,1 ... _. ..... &11,litJ,llutdo.,
""'"""iN,""""romt.iUio;<I<..,.._
l. . l'iK·l)Shos>pingl
Th•~lf.....,r,isf•t<Wl<db_.,,hot .. «<ro«_,.
parking requirements, stormwater management, and provisions for emerging "'-i"'l<d.hut.,,,.,__K<biso<d0>ml-""•><.",11..,~1<>1ttt1~ n,;,
f..-!<«wi-,ro••l;w.·,.,i>1io1 , io,k•""'}C-•oof'<u.l""'IJi"f••
""'""''''"""'' "''-""·•><.-.=,-...i,,,..kW.. t..iU IOi-'-

sustainable practices such as alternate energy provision, gray water reuse, solar Th<C.Ol"'"l f"'"'•t« •" i1>0:fld<tl ,obol.,n<,,,..~I• ~ " " ""'' 1h" "'f1, •h<
.. ,.~ ;,, .. ,11, oilil)' ' """".i,,,, .. ,, ,.,.,)", Th<,c.,.., ,rrhll) <>•'} • blJI,•
., , a l11 m,·of1 to m, .o,. ., ;11olfct 0<«''" "'od o1l,•,r,.. ,h, l"dc•1tl""• ~"'~"
,0 ,,.,u,, _...,.,,;,,,,..., ;, 0,;,.,.;~ 10 ...dfmmO><""l r"""' i<'•

orientation, and so on. 1. • {Gw.11 G,1ow,y 1

Th,Gotrn o) •t'rot1,a(<is 1h ,,,.,-, ,..,,,., ,"""'1,,"'«1~tttL ll eon l"
Oh <h<»i<l!rnlur,1,,oftralf>< ho!th• ""'•h •hn'"i,h \l, care,
l. (GW·l) Gatew")':i
Th,Go1,.. , J ir,..,,.,;,r"""""""'"'"'•>iJ«l~,.,,,.;,h,...-,,~..,
.,,1<,.l,.,fr<>•~n:q,o i"'••s•ll,,)..,•><oJ,hild;.. ,1,_,.,.,.,.
Rules far Administering the Code Administrative process for reviewing and ~ ....., ,,., ..... ~••1..-..-,h<,. .. -,,.;. .. ,

approving new development.

 CHAPTER 7 UDA I mplementation Tools

DESIGN GUIDELINES
T,1l le ,Ji C vll .:'1t:
Left: An example of a
In their most basic manifestation, design guidelines summarize and codify the I 'I ,._, • ~. I I ~I '

Table of Contents far

A"I Pn:fac,: o-, M:mcrPl:inDiigr~m,
A-2 Ovc ·cw n-, Ph1se,
A·J Collcgu 11nJTow111 D·J Sub- Pb:ues
intent and vision of the urban design and architecture strategies. The guidelines A·4
A·S
HcrieigcofStom
StomMamrPl~n
o-~ Gnding Pbn
D·j UnitS:alcs
Design Guidelines
1.-6 S1omArchi10ctur;ilCh:.1rac,u o -6 BuildingUseDi1K'".un
,..7 S1om Ul\dsap.- Chancm 0-7 Comnmci:aJU..,,
are often commissioned by the development entity to manage expectations and ,1-8 S1orrsS1rce1SC:1pcChux1cr n-1 Building Hcighr,

D ~<.
0 -9 P.ukingl)-pc, Below: Typical pages of
0-10 Sight Linc>
guide potential development partners throughout the course of design. These ~-1 .'\cklmm Within 1hc Pim
D·l M1n1fiddSqu.1rc
n-11 Ptedc,mi1nTrAfficFlow
n-i, VchiruhrTr:ifficFlow
a Design Guidelines docu -
1-8 ThcVUlog,:S1n:c1 D·IJ SunSh~dcSummer
1-ri The Mewl n-14 SunSh~dcWinter ment use images to describe
guidelines also end up serving as a design brief for architects and designers who ~-16 The R.i ..
n-,9MorkctSqu•tc
n-23 SromRood
character and intent of the
submit concepts for construction. One of the key advantages to design guidelines • '• 't'l1,:1,>l .DD development. The scale of
c- z Retail ~nd En1cn "inmen1 l'l ~n
c-1 M,,mfioldS,1ucL1C
prescription ranges from
is that they may help streamline design review processes by outlining clear C•J DogLone
c-~ The Alley
c-s ThcVillog,:S trcct the entire district to the
c-6 Jo,hu2'1 Pbcc
expectations for all parties involved. c-7 Morkct Sq1mc block to the individual
buildings and their
The design guidelines document, often a companion piece to the Master
architectural articulation.
Plan report, contains greater and deeper exploration of themes related to scale,
building types, character, and relationships of buildings to the public realm.
The guidelines focus primarily at the level of the block and building.

Character Areas Typically, this section provides specific guidance to developers

and designers on the intended character of certain places within a Master Plan.
These areas must be more specific regarding building and infrastructure design
so that what is built reflects the vision illustrated and planned with stakeholder
input and client agreement.

Plans and Regulating Diagrams in Design Guidelines Includes phasing, land Master Plan Diagrams Addresses Within the Plan
Cl ,
G •
use, building heights, parking, view corridors, pedestrian and cycle connections,
vehicular connections, architectural character, and landscape character.

_....... __ _ __. ~-..,

__
• ••""'•••••""'"' •" ••""-<>D~t-
__. ........... n..,--c-~'---~--~ ..
.___,,....,.,.___.__........,...,,,
,__,,,. _,

._
..-•~--•
..........
--..-.A-.
......
.;,.,
.-~
__ ...,,I.......... ___ ~,__.,-.. ,..
:,_,.,.:;-_,,,.':'_
_____ D,._._ .. ,_ .... _ .. _
.
_.:,...:;:........._
__.,..___._.._ __ __ , _,~
.,._,..-,....,
... ,.,____,,...
_..,

Mansfield Square Jvfansfield Square Architecture

Cl • Ci) .
C AS E S TUD Y UDA Implementation Tools

North Shore, Pittsburgh, PA

Urban Design Associates prepa red a maste r
plan and d istrict g uide lines fo r the North
__ .........
11~,,.,....... ........... ...--.. • DR.C.lhrAA""" ... "'"''

-
• D~-.1. n~r.<11,.,..--.. ...... ..-1,,,p -"-'"- .... ....
....,,-;,,.

Shore, an area di rectly across the Allegheny :/;::.::.:::::,;.:::....,,

... ,.....,....,( ..... ~ ........ ....,. .
"I"." ....~ - ~.-:. .. :;;::;::::",.,,.~ ...
River from downtown Pittsbu rg h designate d . ,,.n ~iw,.,..., ............. """"' ...... ..... ,,,.....i ....,.....,.
...... ,.,..._,..,.__
iu._t,oh~,bn,........,;. llll.\-'""~""'"'.._........,,

as the site for two new major league stadiums

(for the Steele rs and the Pirates} and related
economic development. Implemented features
of the North Shore Master Plan and Des ign
Guidelines incl ude: a new urban street g rid,
□~..:;.:
two stadiums, several parking garages, two
----1
hotels, new headqua rters office buildings for
Del Mont e Foods and Equitable Res ources,
a $30 million riverfront park, a light rail
stati o n, an amph itheater, and ret ail uses.
Housing is anticipated as a future p hase. Above: Pages from the
Design Guidelines report
establish the framework
for development, character
areas, and recommendations
for height and massing
of buildings.

Left: This development plan

will unfold over the next
decade. Looking across the
river to the north shore, one
can already see new buildings
popping up between the sta-
diums, as prescribed by the
D esign Guidelines.

Downtown Neighborhood
DESIGN GUIDELINES fa,
THE CITY OF YONKERS
The historic neighborhoods
ofthe Downtown
Neighborhood Design
Guidelines for The City
of Yonkers - Ravine,
Ashburton, Hollow, Nodine
Hill, and Buena Vista -
are grouped around down-
town Yonkers and will
benefit from investment and
development in the down-
town core. The pattern book
provides restoration and
infill development guidelines
that are compatible with the
histo1·ic architectural patterns
ofeach neighborhood.
CHAPTER 7 UDA Implementation Tools
PATTERN BOOKS ~- -·-
Historically, pattern books began as handbooks for builders. The books
contained principles for design, clearly articulating the architectural and other
elements of traditional styles. They were a way for architects to pass along their
knowledge to builders, setting the rules for making design decisions while allowing
the craftsmen to interpret and elaborate on them. At the scale and duration of
many urban design proj ects in the modern age, this allowance for ingenuity and
r,;-;,.,.-.---- -=-
•.. ~·
I
l
-
~----··--------
creativity at all points along the way is key to creating vibrant and interesting . - ·-· ·-·-"""= I.
..... __ ·----~--~-----
--~
places. Pattern books help ensure an exquisite balance of individual expression
and unity of vision - and as a result, the creation of cohesive communities.
Today's pattern books fulfill this mission : to create beautiful and varied
spaces in harmony with the living traditions of a particular locality. Typically
commissioned by developers or cities, pattern books delve deeper into the details
Above: Building types
of design and the origin and building blocks of style, while focusing on the hi i l!i li+ihMif
and architectural styles
concept of "placemaking" - describing the stories behind each design decision are described in detail for
1-!owToU,.Thc«U<>ignG ., iddinc, ,. homeowners wishing to
and establishing the kit of parts integral to the creation of beautiful addresses. M, ,.;.,f,nJC0>mp<,,ition
V,.,·.,,n,I Com" c,
I!
restore a property and
ll' indow,,[)"""•'"dl!,p 'I"
" developers wishing to
Three basic sections constitute a pattern book: Community Patterns,
M mi n~ o,odCun,pmhion ,,6 build new housing.
Architectural Patterns, and Landscape Patterns. E.,·o,,n,!C<>m",,
W indow,,[}.,,,...-, , nO 11,y,
~;
"'
Porche,,nrlG.1bk, '19
N,ii;t,hmhm,-11',.b
,,"
Pocl,<t Pirk,
Gallety
Left: This table of contents
Community Patterns This section presents lot criteria, identifies key addresses, "
,a; shows an example of the
..
Windm,·•, Oo,m. oml 11,y, rn/,
SiteD<1·,lupntrntOpdu"• p.,.,i,.,.
and describes street types . 5
~;,~~~ ,d Ho~•••
~l ,t<ri,I,
107
,o~ typical sections found within
" G,lk ry
a pattern book.
~\~::~:~:: Dul!din,g,
Architectural Patterns This section describes the architectural styles that are Su<1,in,hili<)·Gu;Je1;.,.,
Dupk,Lot,
appropriate for the particular locality, not only explaining the history and
Towc,hou1<Lo<,
Al'"' """" Build;" ~' '""'
Frnn1Y;,JT«min~
,, Pl,nrP,kt«
character of these styles but also detailing the pieces and parts that differentiate Mmin~rnJCo,a po<i c;,,n
f.,v,, ,m ,!Com ·,,. '"
that style. Materials, colors, and examples of how these styles can be applied
are also illustrated.
Landscape Patterns Not only are individual garden styles and approaches dis-
cussed in this section, but typically a native plant palette is included also, as well
as concepts for public open spaces and appropriate wall, fence, and hardscape details.
 CASE STUDY UDA Implementation Tools

Downtown Norfolk, VA
To address the rapid development occurring
downtown, Norfolk's Department of Planning
and Community Development commiss ioned
UDA to create a pattern book describing
mixed-use and multi-family buildings. This
tool presents a palette of spatial types,
building types, and architectural styles and is
being used t o gu ide the construction of new
buildings. The Downtown Norfolk Pattern
F:.ic,dc Composition Book supports both d ivers ity and harmony in
downtown development by providing patterns
,~ ...---.... ~,..____,,___,.
• - - - ··-
., .. ;";,_,,_,,..
M .......... .. .,
>l•••H'~
for various condit ions, while also emphasizing
~ . --~- ~~z . . . ~~ the need for each area to have its own distinct
character and quality of address. The pattern
book sets design criteria for new construction
and is being used by the city's review
l',icadeType A
•· agencies as part of the permitting process.

Above: Cover page from

the Downtown Norfolk
Pattern Book and Facade
Type page

Right: Proposed view ofa

typical downtown boulevard
 C H A P T E R

V isu a li z in g Urb a n Design

Urban designers are inherently visual problem solvers. We understand problems

and develop solutions pictorially through a variety of types of images. For us,
words and ideas by themselves are inadequate in the design process. The team
may develop great ideas and articulate them verbally, but unless we test them
with drawings and modeling, those ideas will remain merely ideas forever.
The thought process of urban design is accomplished through drawing,
layering idea upon idea with thin tracing paper, shifting from plan to section
and then back to plan. Trained urban designers, like architects, are facile with
pen and pencil. We think with orthogonal projections (plans and sections),
modeling and perspective, drawing conventions, and design tools that enable us
to solve problems by arranging the physical world and creating form. This chapter
is all about the specific types of drawings and drawing media we use to commu-
nicate our ideas to our clients and everyone else with an interest or role to play
in the project's design.
We start with a blank sheet of paper and let our pencils begin to transfer the
ideas in our heads onto paper. They may be random at first, but as we sketch they
take form on the page, evolving bit by bit, element by element, as we look at urban
form from different angles. As we described earlier in the book, we test the ability
and acceptability of our ideas to solve the problems identified by clients and stake-
holders or that are inherent in the site. In an important and delightful way this
leads us to create some new ideas that capture the imagination.
 V i suali z i ng Ur b a n D esign
CHAPTER 8

PLANS

Design Patches
We begin with a base plan, the Portrait of Existing Conditions created in
Phase One. This plan shows existing streets, buildings, land uses, open spaces,
railroads, waterways, and other features. P lan recommendations happen in
pieces. The design team often divides up responsibility for exploring new design
solutions for an area. Using tracing paper, we hand- draw plan sketches that show
Illustrative Plan Patch Proposed Building Types
new streets, buildings, parking areas, parks, trees, and so on. The tracing paper
A plan patch is drawn of the prqject area, working over the The design team has preparedfour building types for the
drawing is then copied onto bond paper and colored (usually with marker) to Portrait ofExisting Conditions. This solution proposes the development. Each type can be built multiple times. Some
creation of an attractive central public space as the organizing are residential buildings, and othen are mixed-use buildings.
show land use. This patch is then layered over the Portrait of Existing
element further defined by the placement of buildings. Allfea- Using the line drawing preparedfor the illustrative plan
Conditions to illustrate the urban transformation. O ther areas of the plan are tures of the design proposal are colored to present a complete patch, this patch is colored to show the placement of these
urban environment. building types.
explored in a similar manner, and soon an initial draft of ideas for the entire
study area is ready to show others for comments and discussion. Several alternatives
may be created for one area and compared.

Illustrative Plan
Illustrative plans are often
created by several urban
designers, each drawing a
specific area. They fallow the
same drawing conventions
as they prepare plan patches.
Then, all of the plan patches
are layered over the Portrait
Open Space Framework Parking Plan
ofExisting Conditions. The The plan patch is once again used to diagram aspects of the
Th e centralfeature of this development proposal is a beautiful
result is a master plan that
new public space. To emphasize this important design concept, development proposal. In this case, on-street and off-street
illustrates proposed design
only the public areas are colored, including proposed streets, parking areas are shown with color to clearly describe this
interventions. The plan is
walks, trees, fountains, and landscape features. The farm of importantfunctional solution.
then edited and refined.
the public space is easily understood with this drawing.
 -- -- ------

CHAPTER 8 Visualizing Urban Des ign

Residential Street
SECTIONS: STREETS AND BLOCKS Section
This street section is drawn to
As plan ideas emerge, ideas about building heights, street spaces, and the three- emphasize the design features
dimensional arrangement of uses must be tested. For complex development blocks, ofthe proposed street, includ-
ing paved areas, lawn areas,
we may need to test the placement of parking, building masses, and open spaces trees, and landscaping.
with section drawings. Each section alternative carries implications about cost,
phasing, fire separation, access, views, and so on. Section drawings enable the team
Section and Detailed
to discuss the merits of each alternative and arrive at a preferred direction. Plan of a Proposed
Commercial Street
The cross-section of the street is equally important in urban design. What is A major commercial boule-
the relationship of proposed uses to the street? What is the appropriate width of vardfar a new development
is designed using a section
the space and height of buildings that front the street? The design of the street, drawing in parallel with a
including the number of travel lanes, sidewalks, and landscaping, is tested with portion of the plan. The
urban designer works back
section drawings. andforth between the two
drawings to arrive at a
design solution. The features
of the design are illustrated
Block Sections and dimensioned to demon- LClbtly

High-density urban blocks

strate the accommodation of
are often studied in section
travel lanes, sidewalks, and
to diagram the placement of landscaping. The relation-
uses in three dimensions.
ship between the public space
This example shows three
and the buildingfloors is
difftrent proposals for inte- clearly communicated with
grating parking into the
these drawings.
development block and I l
alternative relationships
among parking, residential r--- r----1

I
buildings, and open space.
~-r
~f,
~-- Perspective of a Proposed

,,.,1
.

I 1
,---,'-,:
-if
~~1~~ ~~.~~ [
i~
Commercial Street
The perspective is accurately

I II~ constructedfrom the plan

and section prepared above

I
to illustrate in three dimen-
sions what the space willfie!
like. The illustrator fills the
drawing with people and
cars to convey a sense ofscale
in the drawing.

Street Elevation
Drawing
Buildings along an important
street in this Lafitte, New
Orleans, development were
drawn in elevation. This
helped the team refine the
placement of buildings to
create an attractive street
elevation with interesting
character and variety. The
drawing was watercolored to
convey the importance ofcolor
and materials in the design.
Construction Photo
The use of building and street
elevations in the design process
was important to the success
ofthis new development in
Lafitte, New Orleans, shown
here under construction.
CHAPTER 8 Visualizing Urban Design
ELEVATIONS
We start with plans and play with building types, moving them around in the
plan view to locations that work functionally and create addresses or urban
places. We test the placement of buildings and the dimensions of public space
with section drawings. These new urban places are public spaces, outdoor rooms
created by landscape and building facades . W e work with a palette of building
types , the characteristics of which we understand well enough to draw their
facades together as they would appear along a street or defining a square.
The resulting drawing (an elevation of a public space being explored) may
include several independent buildings. Our intention is to begin orchestrating
the form and character of the urban place and, by drawing elevations, to influ-
ence the design of each building by depicting its role in the big picture.
Building Elevations
Elevations drawn during the urban design phase begin the discussion about Building elevations are rendered in draw ings and or by using
three-dimensional computer modeling p rograms. The modeling
architectural language and the relationship between the specific project and the
program enables the designer to develop the elevations together
surrounding city. More often than not, an architectural language is proposed that and view them in perspective. Several different building models
can be assembled to create a street elevation, as seen below.
has a strong relationship to local architectural patterns. Elevation drawings not
Rather than design each building in isolation, the urban
only make effective tools for discussing architecture, but they also help to build designer can visualize each building in relationship to its
neighbors. Viewing the street as a whole may influence design
consensus and acceptance in the community regarding the proposed building
decisions about each building.
types, their facade designs, color, materials, and character.
 CHAPTER 8 Visualizing Urban Design

Computer Model
COMPUTER MODELING
Computer modeling was
Computer modeling programs have transformed the design world from the slow, used to compose the farm of
buildings and urban spaces,
tedious process of hand-drawing and the cumbersome, costly, and time-consuming quantify development, and
construction of physical models into the digital realm where visualization can generate a multitude ofviews
of the entire new district in
occur in a highly portable environment and be measured in mouse clicks. downtown Calgary.
Architects and perspectivists often carry computer modeling to a highly finished
Perspective
state, a capability that is very desirable in today's architectural world. This aerial perspective of
downtown Calgary was
At UDA, we view computer modeling as a tool rather than the media of an
drawn using the model as
end product. For urban design, computer modeling can generate information an underlayment.

about building massing, form, and character to any extent desired by the
designer. At a minimum, the computer model is a powerful three-dimensional
design tool that enables the designer to build up a visual data base that is quantifiable
Computer Modeling
and that all participants in the design process can easily understand. Computer
Computer models can be
used to diagram the logic modeling stretches and extends the power of drawing, facilitating the rapid gen-
of a design, as shown above, eration of ideas through multiple media.
and as a design tool to
compose buildings and
development blocks and
create three- dimensional
views, as shown below.

I
l

Physical Modeling
The physical model is very
usefulfor people who do
not understand orthogonal
drawings. The model
enables everyone to partici-
pate in the design of their
community and understand
what's going on.
CHAPTER 8 Visu a lizing U rb an Design
Physical Modeling
PHYSICAL MODELING
A model ofHeinz's historic
Physical modeling of a new development enables everyone to participate actively factory buildings in
Pittsburgh, PA demonstrated
in the design process. Depending on the size of the development, physical models that preservation and resto-
can get quite large and sometimes require a big space. Remember to save enough ration of those buildings
would result in a remarkable
space for participants and observers to walk around and view the model from urban environment.
multiple angles .
Physical Modeling
We consistently model our urban design projects at 1" = 20', a size that Physical models, such as this
enables people to properly visualize the massing and character of buildings and
of Punjab, India, are some-
times so big that designers
the form of public space. If it is any smaller, the model looses its potency as a have to crawl around on
them during the design and
design tool.
assembly process.
After a Master Plan has been prepared with the blocks lotted, building types
identified, and a preliminary grading solution prepared, the team will prepare the
model base. The base is made of plans mounted to foamcore, which is cut to corre-
spond to contours and assembled to create the land form. Building types are prepared
and wood models fabricated to show massing, porches, bays, and large features.
The team assembles the model at the modeling charrette location where the
lotting, building locations, and public space concepts will be tested and manipu-
lated to achieve the desired results. This is a time when everyone has great fun,
participating together to refine the preliminary development strategies and the
creation of new places.
 -------
......
- - - - - - -- -
CHA P TER 8 Vis ua l i z in g Urban D esign
PERSPECTIVE ILLUSTRATION
While plans and other orthogonal views may remain a mystery to many people,
perspective illustrations are understood by everyone. It is critical to be able to commu-
nicate what are often complex urban visions as clearly as we can to build consensus
in the community. Perspectives help us explain our ideas to a wide audience.
We also use them as an important visualization tool for making design
decisions. Perspective drawings are particularly useful for quickly developing ideas
for a project as the design unfolds; for exploring and illustrating the ideas of our
clients and project stakeholders during the charrette ; and for testing those ideas
for their suitability, viability, and broad-based community/marketplace appeal.
Every architectural illustration should be designed to help your client see the
project as you have envisioned it, reflecting their sensibilities - and guiding and
inspiring the realization of that image into its built form . The beauty of perspectives
is that when people look at them they feel as though they are occupying the place.
W hen perspective views are accurate, they enable us to continue designing all
aspects of the project, to visually coordinate what are often separate design initiatives.
Step 1: Assembling Information
First we gather the pertinent site, plan, and design information available from all
parties involved in the project. This process includes photographic research of the
area and design drawings prepared by the urban designers.
Step 2: Constructing the View
Next we rough out a preliminary view. A 3-D model enables the design team to
explore a multitude of view angles to find the right one. Various options for
building massing, street design, grading, and spatial qualities are considered at
this point. Photographic information can also be configured within the model to
give additional context.
Step 3 : Prel iminary Development
Fine-tuning the composition and drawing in the appropriate cars, people, and
landscape comes next. These streetscape details enable viewers to place themselves
within the drawing and feel both comfortable and welcomed in that space. Any
applicable details that provide valuable visual references about the place being
illustrated are added to the drawing during this step.
Step 4: Final Drawing
To tie all of the visual information and edits together, we prepare a final ink line
image. While this drawing serves primarily as a base for final color application,
clients also often use it as a standalone, black-and-white image for a variety of
purposes, including marketing and presentation materials, permitting submissions,
project-related web sites, and project sales.
Step 5: Final Color
When the final drawing is completed, we scan the image into the computer and
print it on the selected paper, one chosen for its aesthetic properties and suitability
for color application. Using a full range of value, we apply the selected media - be
that colored pencil, highly refined watercolor, digital colorization, or another medium
chosen for its ability to best characterize the intended setting and local context.
Step 6: Final Scanning and Printing
T he final color image created during Step 5 is now ready to be scanned and
adjusted by using the digital design technology in our studio.
 CHAPTER 8 Visualizing Urban Design

AERIAL VIEWS

A erial perspectives are abstractions, views drawn to concentrate on particular

Computer Model
design ideas rather than attempts to show everything. Hand-drawn aerial views A computer model ofa pro-
posed development is prepared
enable us to emphasize particular parts of a design, conveying key concepts and
and a view selectedfor a
ideas that often are not evident in orthogonal drawings (plans) or even highly new perspective drawing.

detailed computer modeling, particularly at the big urban scale.

To communicate ideas at the scale of the district, the city, or even the region,
we usually need to show a large area within a single cone of vision. The aerial
perspective enables us to see big ideas clearly. Aerials are also often used to
describe large open space systems, clusters of density, sequences of urban spaces,
and new avenues or corridors. Aerials bring plans to life by demonstrating the
Perspective Line
character and richness of the architecture and public space. Drawing
Using the computer model as
an underlay, a line drawing
is prepared on tracing paper.
The illustrator can empha-
size particular aspects of the
design with more line work.

Aerial Perspective
This perspective ofthe
Cincinnati Riverfront was
drawn to describe several
new ideas for the riverfront, Colored Perspective
including the creation ofa The line work is scanned
new waterfront park, the and either colored digitally
location oftwo new stadiums, in the computer or trans-
and the creation ofa new ferred to paper for coloring
mixed- use district. Detail with traditional media.
was applied to the areas that
matter the most.
 c HA p TE R 8 Visualizing Urban Design

EYE-LEVEL VIEWS
II U
II 11
Even when we've done our best to describe an urban design using plans, street sec- II 11
II 11
tions, and 3-D modeling, something more may be required. Some of the audience
1111
may not understand how to read the plans, and the computer modeling may
make the project look strange to them - abstract, cold, and lacking character.
Typically, that is because the audience has not been able yet to "occupy" our
design, to see themselves in the space.
Eye-level perspectives of key places in the design enable everyone to enter
into the new world, to occupy the place, and to understand what the intentions
are, often more clearly than with any other design tool. The goal of the eye-level
view is not merely to illustrate architectural ideas. W e want viewers to experience
the design as a living, breathing place. The accuracy of the people, landscape,
and vehicles is every bit as important as the architecture in achieving that.
Step 1 Model View Step 2 Line Drawing
Eye-level Perspective Find a desirable view using the 3-D model. Design in perspective, and prepare a line drawing.
An eye-level perspective
prepared early in the design
process captures the essence of
a proposed place, such as this
in Elion, Scotland, and is a
toolfor making decisions
about building massing,
architectural character, and
open space design. Later, the
perspective acts as a guide
far multiple team members
when the various elements
ofthe place are designed in
more detail.

Step 3 Preliminary Rendering Step 4 Final Rendering

Choose your medium; colored pencil was used here. Explore alternative coloring through digital media
to arrive at the preferredfinal rendering.
 CHAPTER 8 V i sual izing U r ban D esign

TRADITIONAL MEDIA: DRAWINGS TRADITIONAL MEDIA: COLOR

Urban designers have been preparing drawings using traditional wet and dry Color is accomplished with color pencil, marker, or watercolor. Typically, the
media that have slowly evolved over the centuries. Base drawings are prepared choice of media depends on the budget, the time available, and the desired char-
with ink on a variety of surfaces, including tracing paper, Mylar, and artist .acter of the drawing. Our preliminary sketches are often prepared using color
papers. Mylar requires permanent ink; the other papers can accept a greater vari- pencil and marker, which can produce beautiful finished works. We usually
ety of pens. Drawings are then scanned into a computer and manipulated for reserve watercolor for finished works, as the next section explains.
output on a paper suitable for the desired coloring media.
Paper
Tracing paper is used early Color Penci l
in the design process to Starting with a big selection
sketch ideas. Th e designer of colors, use the brightest
often layers tracing paper as colors when working with
ideas morph and change. color pencil. Do not attempt
Drawings are transferred to to mix more than three col-
bond or watercolor paper ors. The results could be
for further rendering and muddy. Avoid grays, and
coloring. A variety ofpapers use Copenhagen Blue for
are available for field shades and shadows. Color
sketching and are fun to on heavy, hard, smooth
experiment with. paper. (Refer to the appen-
dix for more information.)

Line Work
=--""1.... -- Marker
Many different ink pens are \ Do not attempt to mix col-
available. We prefer water-
ors. Instead, color with a
prooffelt-tip pens of different
large set of markers that

'
line widths for line drawing.
have a wide range of build-
They can accept watercolor
ing and landscape colors. As
and marker without smear- ,r-
with color pencil, avoid the
ing. Pencil on paper can
result in beautiful render-
~-
-1
use ofgrays and use the
darkest blue you can find
ings, and sets ofpencils with
for shades and shadows.
II varying degrees ofsoftness
are recommended.
Color on heavy, hard,

I
, J
smooth paper - the less
abrasive, the better.
 CHAPTER 8 Visualizing Urban Design

Watercolor Palette
WATERCOLOR DIGITAL HYBRID MEDIA
Greens
Pthalo Green Watercolor is at the upper end of the media spectrum because it requires a high Mixing digital media with traditional media can produce great results . W e start
Olive
level of craftsmanship and artistic skill. Proficient use of this medium only comes preparing a drawing by hand, then scan it into the computer. Drawings can also
Sap Green
Hookers Green with training, study, and practice. Watercolorists use artist grade 140-lb. paper or be generated in CAD and modeling programs. Coloring takes place on the
Blues greater, artist-quality watercolors, and brushes. Watercolor painting allows the computer using digitizing tablets as a coloring surface. Computer programs make
Prussian Blue
greatest flexibility in the use of color and reproduces beautifully. it possible for us to simulate color pencil, watercolor, airbrushing, and other
Blue Grey
Horizon Blue media. The artist can import skies and elements from other sources as desired.
Cerulean Blue
This technique is useful for coloring plans, elevations, and sections as well as
Pthalo Blue
Browns aerial and eye-level views. One word of caution : the possibilities are so endless
Burnt Sienna that it is easy to lose focus on the main message of the drawing if you are not
Burnt Umber
Raw Umber careful. Don't get too carried away!
Mars Violet
Yellows
Yellow Ochre
Naples Yellow
Cadmium Lemon
Aureolin
Nickel Azo Yellow
Additional Blues
and Violets
Watercolor Sequence
Ultramarine Light
Color is applied in a pro-
Cobalt Blue
gression . Blocks of color are
Windsor Blue Green
layered in to establish over-
Shade
all tonal values. Dark colors When traveling to charrettes, you' fl need
Ultramarine Violet
and accents are added to entire suitcases for traditional media
Mineral Violet
landscape elements, win- supplies such as paints, pencils, paper,
Reds dows, doors, and other light tables, etc. Digital media require a
Quinacrodone Rust details to increase contrast lot less stuff
Alizarin Crimson and light. Never mix more
Brilliant Orange than three colors together on
Cad Red Medium a palette to create a color you
Opera Pink like, and be sure to have
Permanent Rose scraps ofpaper nearby to test
colors. Leave white and
light areas in the painting,
and do not overwhelm it
with color to the point that
it appears dark and gloomy.
 CASE STUDY
Tripoli, Libya
Tripoli is an ancient city with several eras of
architecture, including a well-preserved medina
and a beautiful colonial quarter designed by
Italian architects in the late nineteenth and early
twentieth centuries.
UDA was invited to prepare a design for the
Al Falah quarter, a new transit-served residential
district near the center of the city. Our client was
accustomed to building the same design multiple
times, often with poor results. UDA accepted
the challenge to create a new district with just a
few building designs. To illustrate how a small
number of repetitive building models could still
create a comfortable neighborhood with diverse
public space, our team prepared a 3-D model
and used it to develop a series of perspective
views. The team chose to illustrate the main
boulevard - the central commercial spine of the
neighborhood - from a slightly elevated vantage
point. Several other locations were chosen to
illustrate each building type and the kinds of
spaces they could create . The 3-D model was
an indispensable tool for both designing and
illustrating the neighborhood.
.I
Visualizing Urban Design
West Don Lands, Toronto, Ontario, Canada
The West Don Lands is a new precinct in the
southeastern corner of downtown Toronto.
It was planned by Waterfront Toronto as one
of many new precincts on former industri al
land along the north shore of Lake Ontario.
Th e West Don Lands had been the subject of
many previous planning effo rt s and remained
undeveloped, in large part due to periodic
flooding from the Don Rive r. The design team,
in an extensive community process, came up
with a plan for the precinct that concentrated
most of the public space requirements in one
location, a major new park for the city. The park
incorporates flood-control berms to protect the
new district.
The public process revealed that citizens
did not want another high-rise precinct, but
rather more humanly scaled buildings that
were comparable to precedents in surrounding
neighborhoods. UDA prepared a plan that had
several different scales of buildings and public
space, including a major boulevard along Front
Street, narrow residential streets lined with
townhouses, and pedestrian streets to extend
the character of the adjacent Distillery District
into the precinct. A 3-D model was built and
a series of perspectives prepared to illustrate
to the community the richness of the intended
architecture and public space .
 r
CASE STUDY
Ellon, Aberdeenshire, Scotland
Urban Design Associates, in collaboration
with The Prince's Foundation for the Built
Environment, conducted what they refer to
as an Enquiry by Design process to study the
expansion of Elion. This public participatory
process produced a plan that calls for both
restoring the historic core of Elion and building
new neighborhoods - extensions of the
town - that will support the existing town. The
physical form and character of the new areas
draws on the great traditions of Scottish town
building, especially those of Aberdeenshire. The
project includes new construction, introduction
of new infill, and restoration of existing historic
buildings. The community wanted to protect and
extend the architectural integrity of Elion, so we
researched local architectural patterns, developed
a series of building and spatial types, and then
rendered those types through a combination of
plans, perspectives, and elevations.
Visualizing U rban D esign
Storrs, CT
UDA prepared a pattern book to complement
new zoning text and a master plan for the
_Storrs, CT, town center, next to the University
of Connecticut. The pattern book is an
implementation tool that orchestrates the
physical character and design requirements
of each building and public space in the town
center. The result is a coordinated and carefully
composed series of buildings and public spaces
that support the diverse range of activities
required of an active and dynamic town center.
Our client did not wish to specify a
particular architectural language because of
the diversity and richness of nearby campus
and town buildings. For that reason, each
building addressed in the pattern book is given
performance metrics and composition guidelines,
but future architects are left free to consider a
breadth of architectural vocabularies to achieve
whatever design characteristics are necessary to
create exciting urban space. Computer modeling
views and eye-level perspectives were the
primary drawing tools for communicating the
design principles for each building.
 C H A P T E R

Architecture for Urbanism :

Designing from the Outside In

Each city has its own unique image and tradition, expressed through the
character of its public spaces. Architecture, the building blocks of cities, makes
a substantial contribution to the sense of place a city conveys. The best cities,
towns, and neighborhoods have remarkable regional architecture that, most
often, has developed over many years. Architectural characteristics are an
important part of what makes cities livable, unique, and delightful.
There are many different approaches to the design of new buildings,
including materials used, construction techniques, and programmed uses .
Each building in a city may have been designed by a different firm, built by a
different contractor, and commissioned in a different decade. This diversity
contributes to the sense of place and the particular experience a given city
conveys. Sometimes the buildings around an urban space or along a city street
share a common architectural treatment, such as a series of Victorian-era mer-
cantile buildings or a group of modern townhouses . Other locations may
include traditional buildings from the nineteenth century and modern build-
I I ings of the twentyfirst century that are completely different in design, materi-
I I als, and character.
In our work, when we develop architecture for buildings in urban locations,
we follow a series of common principles that are independent of style.
CHAPTER 9 A rchitec t ure fo r Ur banis m : D esig nin g fr om the O ut side In
U DA designs buildings as an extension of our urban design practice. We
develop a distinct character for urban spaces based on our work with clients and
community participants so that the architecture of the buildings can evolve from
a clear vision of the sense of place. For example, when we design an urban plaza
serving institutional and civic uses , the urban plan may establish important sight
lines and locations for landmarks such as expressive corner buildings or towers
that provide a memorable marker for pedestrians and passersby. We may also
indicate the desire to have public uses on the ground floor of buildings with a
high degree of transparency so that people can connect with the uses both inside
and outside of the buildings. On some blocks, we may specify a certain building
setback and height in order to to make the urban space feel inviting and infused
with adequate sunlight through the seasons.
R ather than designing from the inside out, as is often the case in conven-
tional architectural practice, we start with the building design as a response to
its location within the context of the urban space. This means that we are
equally focused on the design of the building from the outside in.
EVOLUTION OF URBAN ARCHITECTURE
When developing architecture for cities, it is essential to remember that the
architecture of each building is as much about the building itself as it is about
the building's contribution to the larger context. Two critical relationships must
be established: building placement and architecture of the building itself.
Building Placement A beautifully designed building in the wrong place offers
little to its neighborhood, town, or city. Of course, building placement is often
determined by local zoning requirements . Moreover, building placement on a
given site is always a primary consideration in developing master plans, pattern
books, and form-based codes. It is important to see the building as part of a larger
assembly of buildings, streets, urban spaces, and block patterns in order to deter-
mine the appropriate placement criteria.
Architecture of the Building Itself Urban buildings are often the most successful
when the architecture responds to the surrounding patterns of blocks, existing
building scale, character, and materials. In some instances, the architecture may
b-e more appropriate as part of a repeating pattern that has been established
already. We refer to these buildings as fabric buildings - they do not repeat the
same design over and over, but they are part of a larger assembly of buildings
that create interesting neighborhood patterns. In other cases, a building may be
designed to serve as a landmark within the urban district.
PRINCIPLES AND APPLICATION
A rchitectural practice and architectural theory are continuously evolving. Often,
new architectural theory develops on the basis of a political or social mandate, a
developing market, or cultural trends . At UDA, we observe that communities
evolve in response to many factors including economic forces, geographic and
cultural influences, design trends, and environmental context. Indeed, many
communities or neighborhoods that people admire have acquired unique patterns
of place that set them apart. In these places, it is evident that builders and archi-
tects across generations designed buildings that, while diverse in design character
and scale, responded to common practices and patterns of that particular place.
Typically, different architectural design trends are inspired by national or
international theories, and new buildings featured in journals serve as models for Although both ofthe town-
houses above share similar
other designs . While architects frequently follow some common approaches organizational layouts, their
within these trends, the unique context of a local site and program often gives architectural character is
extremely different. The
rise to variations in the expression of a specific approach to architecture. architectural "skin" and roof
The hallmark of many memorable places is the way in which their buildings forms reflect distinctive
regional differences. In
contribute to an overall urban experience. The underlying plan might be a grid of developing new architecture,
blocks with streets and parks, or it might reflect a more organic evolution spread- it is important to remember
this concept.
ing out from a port or the market in a small trading post. The way in which the
architecture responds to the shared context and human scale is important to us as
both urban designers and architects.
 CHAPTER 9 Archit ecture for Urbanism: Designing from the Outside In

At UDA, we look at archi- Our interest is in producing buildings that continue to contribute to the Principle 1: Respond to Local Context
tecture, towns, and cities like
distinctive sense of place found in the local or regional setting. As practitioners, In the process of developing a Master Plan, we learn much about the value of
the concentric rings ofa tree.
Many building types evolved we analyze these past practices and precedents as elements that shape our think- place - its strengths, its weaknesses, and the opportunities it presents. W hen we
to accommodate a specific
ing about new buildings. At UDA, our architectural practice follows a set of ask people what they value, inevitably they share their favorite places, streets,
program orfunction such as
a town hall or a church, principles that keep our practice rich, engaging, and applicable to modern life. parks, and buildings. Whether we are working on projects with a public compo-
mosque, or temple. Across the
These principles may be applied in a variety of contexts to create new places and nent or for a development team, we believe that our projects should grow out of
building types, there is often
an identifiable 'Jamily" of promote memorable moments within them. UDA architecture is based on creat- the traditions of that place.
details, design palettes, and a
ing buildings that: When we design buildings that respond to their context, we focus on archi-
sensibility that can be ana-
lyzed and applied to modern 1 Respond to local context tectural options that will yield a delightful experience for the pedestrian as well as
building types.
2 Embrace sustainable design techniques and practices contribute to established patterns that define the sense of neighborhood. In some

3 Shape spaces cases, this may mean designing a fabric building - one that helps form a contin-

4 Connect the interior and the exterior uous experience along a street or fronting a park. We pay attention to the rhythm
of windows and doors, materials, height, and the relationship of the ground floor These existing buildings in
to sidewalks and gardens. Typically, these relate in scale and placement to other Mt. Lebanon, a streetcar
suburb ofPittsburgh, reflect
buildings, forming an urban edge. In other cases, the building may be designed the signature character ele-
for a key site that will be visible from a distance, such as a prominent corner or a ments of the community.

site that serves as a backdrop for a public space. We pay close attention to how
such sites were treated traditionally in the specific city or town so that our new
designs can enhance distinctive urban places that grow out oflocal practices.

Washington Park, a project

designed by UDA in Mt.
Lebanon, PA, was designed
to continue the tradition of
mid-rise buildings lining
Washington Blvd. The
architecture is inspired by
traditional architectural
styles that distinguish Mt.
Lebanon as a unique place
within the Pittsburgh region.
oo □ no
oo ao n
 p

CHAP TE R 9 Arch i t ecture for Urbanism : Designing from the Outside In

Principle 2: Embrace Sustainable Design Techniques and Strategies Principle 3: Shape Spaces

Building types are always changing to accommodate new uses and environmental Buildings shape public spaces. W e tend to think of these as urban rooms where

responses . As architects, we must design structures that are suitable for modern buildings form the walls. Therefore, in the design process, we must understand

contemporary requirements . Even as mechanical and technical equipment and how the design and placement of the buildings we design will contribute to

materials change constantly, it is our challenge to design new building types that shaping public space. We also must understand how people use the spaces ; this is

contribute to the sense of place amid historic buildings of treasured character. essential in determining where to locate the principal entrances to buildings,

This has always been a challenge for architects. what ground floor program to create for the spaces adjacent to a public space, or

During the years 1890-1940, as a result of advances in engineering and where to terminate a view in order to establish an important geographic location.

technology, new building types were emerging quickly. Architects worked to It is also important that we understand how people will navigate through the
Small spaces in cities, such as
embrace the new types as additions to the built environment that still responded space to services and neighborhoods beyond. this one in Georgetown,
to local patterns of scale, materials, and collective character. The seasonal variations for how the urban space will be used - and how Washington, D.C., have a
distinctive and public char-
Today, the focus on environmental sustainability and energy efficiency is sun, wind, and time of day affect its use - are all important architectural acter. The space is defined by
generating a new sensitivity within the general public and the architectural pro- considerations. We must consider height, massing, location of openings, and the modern buildings
around it, but materials and
fession. As priorities shift, the opportunity to design new building types that fol- building materials, as well as the scale and composition of the urban space itself. window and door openings
low good urban practices of employing appropriate scale, climatic responsiveness, complement the surrounding
In SilverTip Village in historic buildingfabric.
civic responsiveness, and attributes in common with local patterns is an exciting Calgary, Alberta, Canada,
UDA's architectural plan
new chapter in the growth of cities and towns - whether the building type is a
created a public space by
bio-tech lab, a robotics center, or a data-processing facility. virtue of the building
placement. The architec-
tural style was critical to
In Spotsylvania County, the experience of the place;
VA, UDA designed a series the high density of devel-
of building types that can opment not only frames
accommodate office and views of the Canadian
research and development Rockies, but also forms a
uses. The building and site variety ofpublic spaces far
development systems also residents and visitors.
included a common public
space usedfor storm water
management.
 CHAPTER 9 Architecture for Urbanism : D esigning from the O utside In

Principle 4: Connect the Interior and the Exterior

Throughout architectural history, architects and engineers have worked vigor- There is a second scale of public space as well, in which a more intimate setting

ously to broaden the openings of buildings and let the inside out and the outside can support smaller groups of people engaged in many different activities.

in. While the introduction of steel construction provided new opportunities to Buildings may form courtyards or passages to accommodate these sorts of spaces.

do this, it was modernism that fully embraced this philosophy. By applying this In all architecture, but particularly in smaller buildings, the sense of light and
principle to urban buildings, we can add considerable life to both public and pri- openness increase livability and promote a healthy living environment.

vate spaces in cities and significantly enhance the connection to nature within an
urban environment. We treat this connection as a series of transitions that move
from public to private. When buildings front active public spaces, it is important
to have public spaces on the ground floor that contribute to the activity and
vibrancy. The ground floor can also serve to connect people from one public
space to another.

Mason Andrews Science

Building at Tidewater UDA's work in Ogden, UT,
Community College in was part of a strategy to
Norfolk, VA .
revitalize a forgotten river
UDA designed this building
co1-i-idor that connects to the
with the circulation facing
downtown. The addition of
the square so that it func-
new residential develop-
tions like a collegiate quad-
ments with large windows,
rangle. Not only did this
porches, and balconies pro -
approach build on the feel of
vides a sense of a safe place
a traditional campus, but
and connects the residents to
the use of large windows
the river corridor beyond.
allows the circulation to
participate in the life of the
quad and vice versa. The
corridor spaces function like
II urban porches for students.
 CASE STUDY Architecture for Urbanism : Designing from the Outside In

Tidewater Community College,

Downtown Norfolk, VA
The Mason Andrews Science Building on
Tidewater Community College's new urban
campus is a focal point of the revitalization of
downtown Norfolk. A key component in the
implementation of the Master Plans that UDA
created for Norfolk and the community college,
the Science Building is the first new building on
Granby Street, a traditional downtown shopping
street that had fallen into decline. The campus is
anchored by a square, which frames a combina-
tion of new and existing buildings.
The Science Building defines a vibrant new
campus and public square. The exterior architec-
ture works contextually with Norfolk's historic
architectural patterns and traditions. The design
of the new building took place in concert with the
redevelopment of nearby historic buildings for
the college's use as a library and theater.
AO~IIIIIHll.ATl•N
The circulation corridors inside the Science
~VILOIN~

Building function as large urban porches with

attractive views of Norfolk's downtown streets.
UDA's Master Plan created a sequence of urban spaces that
The corridors are active places for students,
work with the existing urban fabric and patterns ofNorfolk .
staff, and faculty, facilitating a lively interchange The plan was a successful component of the revitalization
between the interior and the activity on the strategy far No1folk. Its downtown is once again thriving as
the heart of the Tidewater R egion. The Mason Andrews
streets below.
Science Building anchors this vibrant new urban space.
I I
I
 CASE STUDY A rchitecture for U rbanism : D esigning from the O utside I n

University of California, Santa Barbara

For the University of California, Santa Barbara,
--r-- 1-

c>·=~ I
UDA provided a Campus Master Plan and archi-
...l....:.:
tectural services. These became the basis for
the two pattern books we created for UCSB for
new residential neighborhood initiatives. As
part of our work, we shaped a new edge for the
campus where it adjoins the neighboring Isla
•• Vista. These sites provided the opportunity to
bring community life to the edge of the campus. A B
UDA developed new unit and building types and
designed a new street - one that would support
the principles of the street as well as address the
architecture of the context.
UDA's parallel development of two pattern
books consisted of reconnaissance and analysis

. "
of local architecture, from which two architectural
styles emerged for institutional work at UCSB:
Spanish Revival, a style that is widely identified
In analyzing the UCSB site
with the city, and a regional, contextual Modern
and neighboring Santa C D
Barbara, UDA staff identi- style that responds to local climatic concerns.
(A) Using the targeted unit mix, UDA developed a basic
fied two distinct styles. Both Rather than designing this building from the
building type that met the program requirements and
were robust and in common
inside out, as conventional practice likely would, responded to the corner location on the street.
practice. Spanish Revival is
a style that defines Santa UDA explored the details of how this building (B) The building massing was modeled to create forms that
Barbara. A regional Modern reinforce the human scale and establish a rhythm along
could be designed and built from the outside in.
style is also distinctive and the street face.
Understanding how the building would fit into
serves as a highly appropri- (C) The design team then developed a kit of additive exterior
ate, sustainable architecture. the urban context was critical - how the build- components such as ventilation chimneys, balconies, pergolas,
ing would define the street, shape spaces, and and canopies appropriate to the climate and building practices
in this region.
connect the interior with the exterior.
(D) The window and door fenestration, along with other
details, we1·e added to complete the facade .
(E) The final vision shows the regionally responsive building
design generatedji·om the urban analysis and local environ-
E
mental influences.

UDA frequently works with
local architects to develop
architectural projects such as
this townhouse neighborhood
in Daybreak, a new commu-
nity in South Jordan, UT
F
CHAPTER 9 Architecture for U rbanism : D esigning from the O utside I n
LIDA ' S APPROACH TO
ARCHITECTURAL SERVICES
UDA develops architecture that grows out of master plans, pattern books, and
form-based codes. We also provide architectural services in conjunction with our
master planning work to test capacities, massing, and the appropriateness of new
types and to determine the most appropriate character for a place. In a way, we
are always practicing architecture at the conceptual level to best understand the
future evolution of a place.
Our clients are located in many different regions of North America and abroad.
UDA takes a team approach to providing architectural design services. We partner Design Management
with other firms and independent consultants whose expertise complements our As many of the master plans, pattern books, and form-based codes we have
own. We focus primarily on conceptual and schematic design, while transitioning to developed tend to have a useful life of many years, our role with the client often
partner firms to produce design development services and construction documents. continues well beyond the initial task. In the process of creating a valuable and
UDA worked with the
The architectural team for each project is assembled specifically to meet the needs memorable place, many critical decisions take place during the process of imple- Clear Springs Company in
Fort Mill, SC, to design key
of the client and to provide the necessary regional knowledge. mentation. Often, through our architecture studio, we assist our clients with
buildings in the new village
design review of buildings submitted by other participants for sites within the ofBaxte1'. The image on the
Client Types right shows the first block of
urban design plan.
mixed-use office and retail
While specific needs may vary from one client type to another - from private
space. The photo on the left
developers, private institutions, and builders to public clients - the process we shows several building types
LIDA'S PROCESS FOR CREATING
use is fundamentally the same as our approach to urban design. We carefully
of attached residential units
ARCHITECTURAL DESIGN ji-onting a new park.
identify each client's specific goals and, in general, pursue opportunities to bridge Construction documents
Building support between the client and constituents is as important in architec- were prepared by localfirms
among agencies and from the public to private realms. As in our master plan-
tural design as it is in urban design and master planning. Without broad-based in collaboration with UDA.
ning, an important goal of our architectural work is to reach broad-based consen-
support, the vision will be compromised at some point in the process. In this
sus and pride in a particular place.
process, we work as we do in master planning: building on the ideas of the previ-
For many builders, the idea of building "community" rather than "products"
ous phase. Therefore, it is important to get issues on the table from clients. For
is a new concept. As the role of residential builders has continued to grow in this
large projects, it is important to work with a steering committee that represents a
way, we have found ourselves partnering more frequently with them beyond our
broad cross-section of stakeholders in the project.
traditional urban design capacity into the architectural design of their units .
UDA works collaboratively with our partner firms throughout the design pro-
cess, with each phase building on the previous one. While the specific content of the
phases differs from that of our urban design work, the phases themselves are similar.

Hand-drawings are an
effective and efficient way to
work toward consensus on
the direction ofthe design
early in the design process.
In the schematic design phase
of these townhouses in
Daybreak, Utah, we work
with a combination of hand
drawings and digital tech-
niques to communicate the
design of the building and
its placement in its context.
CHAPTER 9 Architecture for Urbanism: Designing from th e Outside In
Conceptual Design As with our urban design work, we approach architectural
design work by first understanding the problem, the needs of the client, and the
context; developing principles; and exploring options and ideas. The gathering
and review of this information are critical to success. In evaluating the context,
we take care to identify examples of the architecture that people value and,
together with the client, develop detailed criteria for design and establish goals
for the project. This phase culminates in a general concept, or series of concepts,
for the building. Often, we present several concepts, each representing a different
direction for the design.
Although many believe that hand-drawing is no longer relevant in practice, we
feel that it is an essential part of reaching consensus early on - during the concep-
tual design phase of the project - for two important reasons. First, hand-drawing
provides an opportunity to suggest details that allow the design principles to read
more clearly. Second, and more important, hand-drawing suggests that the design
is still evolving.
Schematic Design In this phase, our work entails helping the client to decide on
a design and move it forward . In this process, it is important to continue to
In the design development
explore possibilities for the design. We present alternative concepts that address process, our schematic design
the principles established during the conceptual design phase, working with the drawings are developed with
additional details. We work
client to begin crystallizing these concepts into architecture. W e use a combina- collaboratively with local
tion of sketches and three-dimensional modeling software that enables us as architects for construction
documents. We also work
designers, as well as our clients, to see the design from all angles and in its closely with the builder's
context. Generally, we begin using digital drafted plans during this phase. employees - drafting team,
field personnel, cost estima-
Design Development At this point in the process, we are ready to develop the tors, marketing, and senior
leadership - to bring the
selected scheme into great detail. We work closely with the architect-of-record or prnject to reality.
the production team to set the table for a seamless transition to the next phase of
construction documents. During design development, the drawings begin to look
like construction drawings, with plans, elevations, sections, and details. One of the
most critical parts of this work includes pricing, which involves a professional cost
estimator and the involvement of all team members. In preparation for this, outline
specifications are assembled. Following the pricing exercise, modifications to
design are made, as are important decisions regarding any critical investments.
.- --',
 CHAPTER 9

PUTTING IT ALL TOGETHER

The two very different scales of our projects - architectural design and urban
design - require us to organize our working methods and staff our teams in
ways that can effectively serve all our clients. Our experience has taught us that
our studio teams need experience in both practice areas to be effective. Urban
designers are much more adept at producing good design solutions if they have a
fundamental working knowledge of building types, construction methods,
building code requirements, and specific program requirements such as service
and access. Conversely, the architecture is better informed when the team
responds to urban design issues and building-to-building relationships, scale,
city-wide systems, and, most important, neighborhood sensitivity and aspirations.
This mix of working experience is a fundamental organizational principle for
us. Our studio teams work the best when they are actively engaged with aspects of
the design work. The Architecture Studio works in partnership with the Urban

I Design teams to both explore and develop appropriate urban design frameworks
that can accommodate specific building requirements, as well as to develop the
I three- dimensional buildings that become part of the new fabric of a community.
UDA's approach to the vertical integration of architecture and urban design
services is constantly evolving. We continue to find inspiration and creative
responses from our clients, from the people who care enough about their com-
munities to show up at charrettes and participate, from our colleagues, and from
one another when we practice in an open and inclusive process that spans both
ends of the spectrum. In many ways, this integrative approach returns us
to the traditions of building cities as a balance of both art and craft.
 Appendix A: UD A's Filing System - O verview

APPENDIX

A
FILE NAMES AND ORGANIZATION FOR
PHYSICAL FILES

Our guiding principle in file names and organization is "Keep It Simple."

Soon there will come a time when paper files are no longer necessary, but until
then, subfiles should be kept to a bare minimum to ease document retrieval.

Urban Design Projects

Each urban design project should have the following five subfiles:

UDA's Filing System - O ve rview Subfile Title Contents and Special Instructions
and General Filing Procedures 1 Correspondence Incoming and outgoing letters, memos, faxes, and copies
of email

UDA has several general categories of project-specific materials that must be Organize correspondence in reverse chronological order,
the most recent on top
organized and filed in a manner that promotes efficient storage and quick, easy
For larger projects, subdivide correspondence by date - i. e.,
retrieval as needed. This includes both physical and digital storage and retrieval. one or two months per file folder - as is useful

The four categories are: 2 Minutes and Notes Recorded notes from meetings and telephone calls

➔ Physical project files for signed contracts, background documents, and the 3 Contract and Invoicing Original proposal, signed agreement, and subconsultant
proposals and agreements
like
Ongoing invoicing information and spreadsheets
➔ Digital files for correspondence, spreadsheets, images, CADD/GIS, and
4 Reports and Drawings Interim and fina l drafts
graphics (discussed further in Appendix B)
Photos and small images to be included in the reports
➔ Flat files and boxed files for drawings (labels) For projects with more than one report, create one
➔ Physical models (labels) Publications file with separate subfolders

Each team has a template far labels located on its designated team space on our
network server.
Of course, we have other documents in files (e.g., financial, insurance, 401k,
personnel) but these are maintained separately by our administrative personnel
and do not need to be addressed here.
5 Background Information
Pattern Book Projects
Marketing reports, comprehensive plans and zoning
ordinances, demographic information, etc.
Store binders and other large items that do not fit in the filing
cabinets on the shelves above the flat file s

Follow above procedures for Urban Design project filing.

APPENDIX A Appendix A: UDA 's F iling Sy stem - O verview

Architecture Projects FILING PROCEDURES

The filing system for Architecture projects varies somewhat depending on the
complexity of the individual project. Schematic Design projects can be set up Team Files Are the Team's Responsibility

using the system outlined above for Urban Design projects. ·Each project team has its own bank of filing cabinets and is responsible for
Full-service Architecture projects, because they are more complex, should maintaining its own project files. The team is also responsible for maintaining
be organized as follows: the shelves and the flat surface above its files.

Subfile Title Contents and Special Instructions

Interns Handle Day-to-Day File Maintenance
1 Correspondence Incoming and outgoing letters, memos, faxes, and copies
of email
Each team assigns an intern or interns to maintain the team's project files. All file

Organize correspondence in reverse chronological order,
the most recent on top
For larger projects, subdivide correspondence by date -
one or two months per file folder - as is useful
drawers are labeled to identify their contents. At a minimum, the label should
contain the project number(s) and name(s) of project files contained within the
i.e.,
drawer. For projects that require multiple drawers, labels should include additional

2 Subconsultant Organized alphabetically by subconsultant firm file type or timeframe information to expedite filing and retrieval.
Correspondence

3 Transmittals In
4 Transmittals Out
5 Meeting Minutes
6 Geotechnical &
Survey Information
7 Agency Approval,
Building Code, Zoning
8 Field Reports
9 Bidding
10 Change Orders and
Requests for Information
(RFis)
Record of drawings received Project Managers Maintain Active Files at Their Desks
Record of drawings issued Project managers should maintain Active Files (i.e., files of current correspondence,
Meeting notes organized by date spreadsheets, invoices, contract information, etc.) at their desks, either organized
Organized by date that work was completed in baskets or in file folders. The project manager is responsible for "tagging" all
documents with the file number and subfile designation (in red pen at the top right
Correspondence related to approvals and code questions/
rulings corner of the document) before placing them in the Active File baskets or folders.
Best organized by subcategories for each: Approvals,
Building Code, and Zoning Main Project Files Are Updated Weekly
Organized by date of visit Each week, depending on deadlines and individual team schedules, the teams
Organized by submitter by bid request file items from the bottom/back of each Active File into the Main Project Files.
Requests for deviation or additional information
F lat File and photo filing takes place during this time as well. Each team should
re: drawings
decide what - and how much - to leave in the Active Files.
Organized by date of request

11 Contractor Request for Organized by date

Payment Files Are Archived Semi-Annually

12 Test Reports Organized by discipline and date During the first week of March and October, each team boxes stale files and sends

13 Reference Materials Organized by subject and specification division them to our long-term archive storage facility. Digital project files are also prepared

14 Contract Maintained in separate administrative file for migration from the primary file server to an off-site archive server, periodically.
15-99 Project-Defined Files Organized by subject/type
 App end i x B: UDA's Im age/ Graph ic and Publication Filing System

APPENDIX

B
ORGANIZATION OF THE TEAM DRIVE SPACE

To promote quick recognition and ease of access to the desired files, UDA has
established this general organizational structure for team drive space:
Figure 1: Team Folders
·Team Folder (Figure 1)

➔ Each team has its own folder.

[...:.! TeamOrange

➔ Folders are assigned to a specific drive on the network server. ti A 1900 Jamnagar

1+1 1936.l Ni Village Design Guidelines

Project Folders (Figure 2) [+] 1941.1 Ellis Updates

f:t-J 1962 East liberty TOD
!+I 1963 VA Beach FBC
➔ Teams set up these folders for each project. l+l 1985 Nairn Planning Application
UDA's Image/Graphic and
➔ The folder name consists of the four-digit project code followed by the project Figure 2: Project Folders
Publication Filing System
name in standard English with word space (e.g., 1308 Duluth).

UDA has developed a system for naming, filing, and archiving computer-based We recommend that you protect these folders by disabling the rename and delete 1-J 1976 Block D
l+I BO
image, graphic, and publication files. These procedures enable us to maintain options (if that's possible with your software). !+] ■ CAD•GIS
f+l Images

orderly, easy, and effective storage and retrieval of these files, as well as efficient r+i Publication

Primary Sub.folders (Figure 3)

use of our network space. Figure 3 : Primary
➔ Teams have some discretion in naming these subfolders. Subfolders
Each UDA team has been assigned its own discrete and limited network
➔ Each job folder should contain an Images subfolder and a Publications subfolder.
storage space for its image and publication files . Each team has the responsibility
+ ■ 1976 Block D
for maintaining its own drive area, tagging files with appropriate metadata. Secondary Sub.folders (Figure 4) + ■ BD
■ CAO-GIS

Archiving is done centrally by the Director of Technology on an as-needed basis. ➔ All individual files must be placed in a secondary subfolder. There should be - Images
+ a Analysis
.+ Architecture
However, the teams are responsible for preparing project files for that process. no files stored individually outside of the secondary subfolders. ± ■ Perspectives
+ Photos
➔ Each team names its own secondary subfolders, organizing its files in the way +' ■ Urban Design
.-: ■ Publication
that makes the most sense for the nature of the materials. ' +J ■ Digltal
+ ! ■ Print

➔ For example, under the primary subfolder Images, there may be a series of
Figure 4: Secondary
pattern book house types, or folders representing chapters in a report. Subfalders

➔ Under the primary subfolder Publications, there may be a series of folders for
pattern books, reports, boards, and other publication types.

Note: Do not layer folders beyond this secondary level. If additional sorting of
files is necessary, create folders at the primary and secondary levels only.
Teams are required to set up all new projects using this system and to retrofit
old projects as they are prepared for archiving so that all projects will ultimately
conform to this system.
 APPENDI X B Appendix B : UDA's Image/Graphic and Publication Filing System

General Specific FILE NAMING CONVENTIONS ARCHIVING

Project Primary Unique File Name
Number Item Type Name& Extension Separate file naming conventions have been established To ensure easy retrieval of information in the future, team files must comply with
Information

StrMain .jpg
for graphic/image files and for report/publication files the filing system. Historic or legacy file organization structures that may have been
1500 Sect

as follows : useful to project teams while the project was active must be revised to conform to
our standard system prior to archiving. Projects that do not comply with these
Graphic/Image Files
Examples of
standards will not be archived.
Graphic File Names Job/Project Number: Four digits
1308Photo2styHouse3.jpg Item Type: 3- to 6-letter abbreviation Two Kinds of Archival Folders on the Archive Server
1308SectSpringSt.jpg Optional Info: User defined W hen projects are archived, two kinds of archival folders are produced: one for
1308PerspSpringSt2.jpg Iteration: Copy, version, or sequence project-related publications and a separate one for the project images.
File Extension: Period(.) followed by
format extension Publication Folders P ublication folders usually contain the lnDesign documents
Examples of
Publication File Names and copies of all of the attendant images (packaged for printing) associated with
Publication Files (InDesign® documents)
1308RptMasterlntro.indd the project. W hen these folders are accessed, all of the information for output
Job/Project Number: Four digits
1308PBMasterCommPatt.indd should be present (InDesign documents and attendant images) .
Item Type: Rpt or Brd, etc.
1308PatternBook.indd
Identifier: Master Image Folders Image folders are where all images associated with each project are
1308BoardPrecedents.indd
Iteration: Section, copy, or version archived, whether an image is currently used in a publication or not. The correct use

File Extension: Period (.) followed by ofUDA's folder organizational system is most critical for these archives since the
Suggested Item Types format extension
two levels of subfolders from the drive space become the organizational system for
for Graphic Files
Except for the period that precedes the file extensions, the archive folder. The best images from the project are also saved within a BD folder
aerial (Aerial)
do not use any punctuation or special characters in (short for "business development") for easy access by the marketing department.
eye-level perspective (Persp)
the file names. Write the name in upper and lower
plan (Plan) Preparation for Archiving
case letters with no spaces between name components.
section (Sect)
The actual transfer of files to the archive server is handled by the Director of
Use an initial cap for each component abbreviation of
elevation (Elev)
Technology, who first reviews the project folder with the team for compliance
the file name. Keep the file name as brief as possible.
detail (Det)
with the organizational requirements. Teams must be sure to schedule adequate
diagram (Diag)
time to complete the archiving process. "Emergency" archiving is not an option.
axo (Axo)

X-ray (Xray)

photograph (Photo)
 p

Appendix C: UDA's Digital Software Progr ams

APPENDIX

C
ArcGIS
A complete suite of GIS (geographic information system) tools, ArcGIS software
enables UDA to utilize existing GIS information for analysis and base mapping.
The typical process may involve:
➔ Collecting data from the client or local government
➔ Organizing the data within ArcMap™
➔ Manipulating the way data is graphically presented to meet the needs of the
project and UDA's graphic standards
➔ Exporting visual information for use as a base map or analytical drawing,
UDA's Digital Software Programs
including JPG images, PDF files , or DWG™ files.

The number of software packages currently available for generating, editing, and AutoCAD

presenting design work is truly mind-boggling! It is inevitable that this list will be UDA uses AutoCAD® software to create, review, and edit the majority of two-

out of date almost the second it is typed, but we currently, predominantly, use the dimensional CAD drawings within our office, from planning and site design to

following software programs or suites to communicate our designs : architectural construction documentation.

Adobe® Creative Suite®

➔ DWG TrueView™ software enables us to open and convert any DWG or
➔

ArcGIS® DXF™ file to the version required by the project team or consultant.
➔

➔ Autodesk® AutoCAD® software

➔ AutoCAD® Architecture software enables buildings to be drawn using

➔ Autodesk® Revit® parametric wall, door, and window objects in an efficient, intuitive manner.

➔ Google SketchUp Pro™ service

Each plays a different role in the design process, although they are typically
used in conjunction with one another as parts of an overall project workflow.
Adobe Creative Suite
Whether we are rendering or editing images in Photoshop®, creating reports in
SketchUp Pro
Google SketchUp Pro™ software provides a three-dimensional design, documen-
tation, and presentation tool that we use for projects ranging from small-scale
architecture commissions to city-wide master plans.
➔ DWG files can be imported and exported by Google SketchUp Pro™,

InDesign, or issuing drafts with clients through Acrobat®, we spend a large portion enabling it to become part of the overall CAD workflow.

of our time in one Adobe program or another. In terms of workflow, almost every
➔ Hand-rendered textures can be applied to models in order to create renderings

drawing in this office, whether hand-generated or begun in one of the following that visually relate to UDA's palette of traditionally drawn work.

applications, will spend a portion of its existence in the Creative Suite.

➔ Data can be exported from Google SketchUp Pro™ models to spreadsheet
files for analysis by the project team, enabling us to quickly understand the
impact of changes to the design model.
 -
AP PE N DI X C

AP P END IX

D
FILE ORGANIZATION

The inherent project and file organization for each software program is different.
Training sessions specific to each program will provide you with more in-depth
discussion of issues not covered here.
Some applications expect certain folders and files to be in a predetermined
location. These conventions need to be observed in order to make files available
to the entire team and to others in the studio. The design team leader and the
IT specialist in your firm can direct you to the proper location for project folders
on your system. Graphic Guidelines
When setting up project folders for programs that have particular filing
requirements, UDA adheres to these standards :
UDA has developed comprehensive graphic guidelines for all of its marketing
➔ Project folder names must contain some form of project identification, such
publications, pattern books, digital presentations, reports, and presentation
as a project number and/or a project name . Where the application's naming
boards. Consistency in the design of our publications conveys a sense of unity
conventions allow a limited number of characters, we prefer to use the project
and structure - a perception that strengthens the impact and effectiveness of
number over the project name.
the materials we produce for our clients and for our own marketing purposes.
➔ Project files are always stored on the server to ensure that files are properly
We strongly encourage firms to develop graphic guidelines appropriate to the
backed up on nightly tapes and to enable others access to the files. We do
nature of their work for the cohesiveness these standards add to the end product.
not store projects long-term on local computer hard drives, and we strongly
UDA's guidelines h ave been published separately in a volume entitled
recommend you don't either.
Graphic Guidelines far Marketing Publications. Within that document, we include
➔ Individual files should be named in a manner consistent with other image
graphic standards for:
and graphics files as discussed in Appendix B.
A The Basic Elements (Grid, Typography, Color, Paper)
B Case Study Books
C Deliverable Books
D Proposals

Sample page formats for case study books, deliverable books, and proposals are
included in the guidelines book. Type specifications and electronic templates are
provided for the sample pages shown. When creating a new publication, all UDA
personnel refer to the Graphic Guidelines to select the electronic template that
best fits the type of publication being produced.
 A pp e nd ix E : How t o Dr a w a UDA Ill ustrat i v e Pl an

APPENDIX 1 Establish Block Guidelines 2 Establish Tree Guidelines and Outline

E
➔ Using a parallel glider, lightly sketch guidelines
for the block, buildings, sidewalks, and roof lines.
➔ Use a circle template at corners and intersections
(scale will vary depending on the type of
block and scale of drawing - "eye it in") .
➔ Move quickly; don't get hung up on technical
details .
➔ Trees are an important graphic component in an
illustrative plan, as they help to convey urban
form. They should be drawn with great care.
➔ The scale of trees may vary depending on the
urban form that needs to be emphasized, - for
example a boulevard may have larger trees than
a typical neighborhood street.
➔ Using a circle template, lay out the trees in an

H ow to Dra w a U DA I I I us t ra t i v e PI an orderly fashion. Trees should be drawn slightly

larger than true scale and spaced about 25'-30'
apart. (Don't measure spacing - just "eye it.")
Often, Illustrative Plans are first rendered by hand, especially when we are
➔ Vary the size of the trees in the front and back
working in charrettes. T he drawing may be produced by several people, all
yards in a random pattern.
working on the same drawing. We have developed methods to ensure a common
Do this step even ifyou're rushed!
set of standards when we are drawing by hand - a skill set we continue to
➔ After all of the guidelines are established, use a
develop - so that any number of people can contribute to the production.
new fine -line, felt-tip pen and lightly draw in
the trees - mind your line weights!
➔ Trees should be drawn with some detail- not
just as circles (see detail) .

-, [
. I
I -
LJ
~DJ
E:;::: Illustrative Plan
for Ogden Bend in
ir'LJ Downtown Ogden,
UT, drawn during
~D the charrette
 APPENDIX E Appendix E : How to Draw a UDA Illustrative Plan

3 Outline Buildings 4 Add Roof Lines 6 Draw Sidewalks and Paths

➔ Always rotate the drawing so that your drawing ➔ Carefully render rooflines using a fine-line, felt- ➔ Delicately draw sidewalks (the tip of the pen
hand is at its most comfortable position for tip pen; rotate drawing as previously described. should barely touch the tracing paper).
drawing. Draw horizontally from left to ➔ Do not draw sidewalks through trees.
right - not vertically.

➔ Use a marker pen for all new structures; how- 7 Clean-up and Final Touches

ever, garages should be drawn with a fine-line, ➔ Erase guidelines (a kneaded eraser works best) .

felt-tip pen. Note: Marker pens will smear on tracing paper

if the ink isn't fully dried. Allow the drawing to
dry for five minutes, or blot with a tissue.
➔ Use opaque white correction fluid to correct
any mistakes.
➔ Stipple grassy areas lightly.
➔ Add additional trees and paths to taste.

8 Rendering the Plan

5 Outline Blocks
➔ In this example, the street and park trees are
➔ Using a new fine-line, felt-tip pen (you should
rendered with dark green.
use fresh pens often), outline the block. Do not
➔ Back-yard trees are rendered in bright green.
draw through trees.
➔ Ornamental flowering trees are rendered with
lavender with a dab of purple.
➔ Front-yard grass is pale blue green.
➔ Back-yard grass is pale yellow green.

II ➔ The play area/park grass is medium green.

➔ All sidewalks and patios are pale yellow.
I
➔ In this example, the houses are new multi-

II family and are rendered with dark yellow.

I
➔ All tree shadows are rendered with medium
grey. The shadow is at 2 o'clock if the drawing
is facing north.
 r Appendix F: How to Draw a UDA Digital Plan

APPENDIX

F
How to Draw a UDA Digital Plan

Digitally rendered plans often combine both CAD- or SketchUp-created digital

layers for buildings or streets and hand-drawn layers for trees and parks. The con-
An aerial photograph and/or
text for the plan may also include a digital aerial photograph.
portrait ofexisting conditions
The digital rendering process is then largely completed in Photoshop using serves as the base ofthe digital
file. The master plan linework
layers of color, texture, and special effects. This produces a rendering that can
is overlaid and rendered in
be used in a variety of both printed and digital media with remarkable clarity the file, often separating out
and controlled color quality. layers of color by land use,
building type, parks and open
We also use this technique to create additional diagrams or plan renderings space, tree cover, and so on.
By keeping the finish color,
to emphasize specific elements such as the parks and open space systems or a
the existing conditions, and
phasing for the construction of the plan. This process produces a very flexible tool the linework on separate
layers, we ensure that each
but can result in very large digital files that are difficult to work with on a normal
one can be individually
desktop or laptop computer. We have to be mindful of file size and the ability to manipulated to create the
desired outcome.
add multiple layers to ensure that we can still work effectively with the file .
 APPENDIX
BASIC LAYERS OF THE FILE
Aerial Photograph
As stated before, the aerial is often
the base for our digital plan files.
This enables us to use the natural
texture of trees and topography to
enhance the finished image, while
also ensuring that our designs
respond to their environs.
F Appendix F: How to Draw a UDA Digital Plan
Linework
Often, the linework is a combi-
nation of CAD, GIS, SketchUp,
and/or freehand sketching. In
any case, careful attention to line
weights and legibility is crucial
to ensuring a clean, clear final
image. Tight, careful linework
also makes it much easier to add
color in Photo shop!
Color
Color is added according to our
standard palettes (Appendix G).
We typically put each color on its
own layer, which enables us to indi-
vidually add effects and shadows.
This also works for creating a series
of diagrams as needed (e.g., open
space and tree coverage, building
types, impervious surfaces, etc.) .
.•
..• . •--•.
~
MANIPULATING THE LAYERS
Linework Merged with Color
Linework is layered on top of the
digital color to add detail and
clarity to the plan. This simple,
B.at version of the plan can be
very useful when the image will
be printed at a very small scale or
will be heavily labeled.
Effects Added to Layers
A combination of effects are
added to the color layers to give
more dimension to the plan.
Some favorites include "bevel and
emboss," "inner glow," "stroke,"
and "drop shadow."
Aerial and Texture Added
In order to transform this from a
plan drawing into a plan illustra-
tion, we not only overlay the aerial
photograph (shown here at 50%
opacity) but also add an overall
texture to the image to further
blur the lines between drawing
and photograph.
 Appendix G: UDA Color P alettes

APPENDIX

Portrait The portrait drawing is the overall base map that indicates the existing

G conditions of property and land uses of a city or study area.

Illustrative Plan The proposed design plan illustrates the cumulative design ideas
for a particular project. "Patched" onto a screened-back version of the portrait so
that the observer can easily note changes to the urban fabric, the palette retains
similar colors to the portrait so associations between old and new building types
UDA Color Palettes
and spaces are easy to make . In addition, streets and parks are rendered with trees
and vegetation, and the entire plan is given shadows to define and call out the
UDA has attempted to standardize the specific colors we use to create a sense of areas of design influence.
consistency and continuity among projects. Our palettes also use the industry-wide
convention according to which certain families of colors denote particular land
uses. When such general color families are used consistently, they are understood
easily by other firms, consultants, and most important, our clients.
Precedent Maps Precedent Street Section
The palettes for these plan and diagram types are presented on the follow-
mg pages:

Precedent Maps Maps of existing towns, cities, or neighborhoods that show

street patterns, buildings, or block patterns with parks and open spaces. We use
selected places identified for specific qualities relevant to the project.

Regional X-rays Regional X-rays illustrate natural systems and land-use patterns Element C-M-Y-K Values

at a fairly gross level. T heir purpose is to illustrate how a defined project area fits Precedent Streets 0-5-16 -0 1 Open file in Photoshop
23-14-42-2 2 Set foreground color to UDA Green
into and affects the larger natural and man-made systems of a region . Precedent Blocks
3 Image ➔ Adj ust ➔ Hue/Saturation
- Precedent Parks 16- 0-34-32
City/Site X-rays For X-rays at the city and site scale, building footprints, as 4 Check Colorize
Precedent Water 13-9-0-14 5 Adjust Settings to your liking
well as their associated lots, should be illustrated. This delineation is appropriate - Precedent Buildings* 0-62-74-16
due to the scale at which such drawings are presented; it also affords the added Precedent Residential Bldgs* 9-24-58-5

ability to understand building scale and placement within the different patterns. - Precedent Institutions* 38-60-10-5

*Note: The standard practice in the studio is to render all

Topography Topography and natural features are elements that tell the story of buildings in redfor precedent plans. On occasion, it is important =~--'----- ( ..1!:!:...

to communicate building use. Therefore, we have included

how a place is formed. Topography graphically relates landforms in two dimensions,
highlighting their relationships to each other and a study area. A close study of envi-
ronmental systems often aids in establishing well-thought-out design solutions.
--Bill :=.:
alternative colors for residential and institutional uses
(commercial buildings remain red in this application).
 APPENDIX G Appendix G: UDA Color Palettes

Regional X-Ray City/Site X-Ray Topography Portrait Illustrative Plan

Color Element Color E lement Color Color Element Color Shadow Color over Element
Building Color

Highways Highways H ighest Elevation Y35 Residential Blocks Residential Single-Family Buildings
Arterials Arterials Residential Land Residential Multi-Family Buildings
IBI Streets IBI Streets Multi-Family Buildings Residential Front Yard
Y35 Residential Blocks IBI Building Footprints Multi-Family Land G40 Residential Back Yard

- Mixed-Use/ Y35 Residential Blocks B Mixed-Use/Commercial Mixed-Use Buildings w/ Retail

Commercial Buildings YR20 Mixed-Use/ Retail Buildings
- Mixed-Use/

---
- Institutional Buildings Commercial Buildings Commercial Land Industrial Buildings
E71 Industrial Buildings E71 Industrial Buildings E71 Industrial Buildings Office (Office only/ Office Park)
Vacant Land YR20 Commercial/Industrial Land YR20 Industrial Land Y R20 Commercial/Industrial Land
- Public Open Space - Institutional Buildings - Institutional Buildings Institutional Buildings
G82 Private Open Space - Public Open Space RV99 Lowest Elevation - Institutional Land Institutional Land/Public Open Space
Cemeteries, GolJCourses, Country Clubs, etc.
G82 Private Open Space - Public Open Space Private Open Space
BG 72 Wetlands Cemeteries, GolJCourses, Country Clubs, etc.
Cemeteries, Golf Courses, Country Clubs, etc.
Private Open Space

--
G82
8 93 Water G40 Ball Fields, Playgrounds, Cemeteries, Go!JCourses, Country Clubs, etc.
G40 Ball Fields, Playgrounds, Courts

--
Y15 Study Area/Site Boundary Courts G40 Ball Fields, Playgrounds, Street Trees
Bl Significant Tree Stands

--
IWhite l City Limits Courts
Significant Tree Stands
Bl Significant Tree Stands

-
YR20 Paths
E53 Outside City Limits Accent Trees (Pine)
W2 Parking Lots, Alleys, Lanes YR20 Paths
Accent Trees
Parking Garage/Structure W2 Parking Lots, Alleys, Lanes
Y R20 Sidewalks /Paths
Water Parking Garage /Structure
E95 Special Paving
Wetlands Water
W2 Parking Lots, Alleys, and Lanes
C1 Vacant Land Wetlands
Parking Garage/Structure
C5 Vacant Buildings C1 Vacant Land
Water

-
E53 Study Area/Site Boundary C5 Vacant Buildings
BG72 Wetlands
Shadows on the Ground
 Appendix H: Site and Precedent Photography Tips and Tricks

APPENDIX Suggested Settings Subjects of Photography

H ➔ In most cases, the Program mode (P ) is the

Site and Preced e nt Ph otography Tips and Tricks
most appropriate shooting mode. This lets the
camera automatically pick the best shutter speed
and aperture, but gives control over the flash
and other settings.
Tips for Shooting Indoors or in Low Light
Taking photographic documentation of the urban
environment is a major task of on-site reconnaissance.
Photographs are used for visual reference back in the
office, digital presentations, presentation boards, and
reports. It is important to come back to the office
with the built environment documented.

➔ If lighting is low, decide if flash is needed. Flash Photographs to Shoot

is appropriate primarily indoors, when subjects ➔ Existing Conditions

T here are a number of types of photography necessary to record both the urban
are close (10-12 feet or less) . ➔ buildings
form and the architectural character of a place : buildings, landscape, streetscape,
➔ Focal length oflenses and shutter speed: the gen- ➔ landscape
and special places. While Google Street View and other online resources continue
eral rule of thumb is that the inverse of the focal ➔ streets
to make working in other cities easier, understanding places through your own
length (zoom length in mm) is the minimum ➔ Precedents
lens will remain a key part of being a good urban designer.
shutter speed you can shoot at without a tripod. ➔ buildings
In this appendix, we have included examples of the types of images needed
(In other words; if you're shooting with a 50mm ➔ landscape
to document places well. One way to ensure capturing all of these types of photos
lens, you can hand-hold your camera with shutter ➔ streets
efficiently is to assign different types of photography to each camera or photog-
speeds of 1150th of a second and higher.) ➔ P ublic Input
rapher. In any case, if you are photographing with a team, it is always a good
➔ If the shutter speed is too low and the subject is ➔ neighborhood strengths
idea to discuss a strategy before you start snapping!
too far to use a flash, try manually setting the ➔ neighborhood weaknesses
Tips for Covering Ground ISO higher (800- 1600). This will allow more ➔ opportunity areas
➔ Photograph a place at every scale: space, streetscape, building elevations, light in but can yield a grainier photo.
and details .
➔ Pans: shoot from left to right so that images load in sequentially when you Tips for Shooting in Bright Light and
Dark Shadow
upload photos. This will help with any computer program you may use to
➔ Understand the purpose of the photos you are
stitch images back together.
taking. Shoot spaces, streets, and facades in
➔ Buildings: shoot elevations both front-on and obliquely.
light for good contrast and detail. These photos
➔ Details : use the full zoom ranges and take multiple detail shots of worthy
will mostly likely be used in publications.
buildings. Be mindful of power lines, satellite dishes, and other building eyesores.
➔ Spaces, streets, and details in shade should only be
➔ Place markers: shoot street signs and landmarks to demarcate location of
recorded if they convey meaningful information
photographs. When touring a site, photograph a teammate pointing to the
to the designer.
location on a site map. Trace the route you photographed on a map.

APPEN DI X H Appendix H: Site and P recedent Photography Tips and Tricks
Streetscape of Buildings
➔ Illustrates the overall essence or sense of place
➔ Picturesque and deliberately composed in a beautiful
manner, like those in publications by the National
Geographic Society or Time Life
➔ Often used as glossy cover and introductory imagery
in reports
Building Elevations/Facades
➔ Taken straight-on, both the front and side facades
wherever possible
➔ Used to illustrate architectural styles and to draw
elevations; particularly useful for pattern books
.,
Architectural Details
➔ Isolated architectural elements
➔ Photographed straight-on, typically
➔ Use of zoom lens is of paramount importance to
illustrate construction details
➔ Of particular use in pattern books
Streets
➔ Meant to capture the feeling of the street itself
➔ Shot from the middle of the street wherever traffic
movement permits, or nearest possible
➔ Reference material for drawing street sections
➔ Typically shot as an array of photos, or panoramic
The Public Realm
➔ The space between buildings and the street
➔ Used to illustrate verge, sidewalk, planting,
and yards
➔ Most frequently neglected photography, but it's
where the urban environment comes together
Landscape
➔ Much like the photography of the public realm
➔ Photos of individual tree, plant, and flower types
are also important
➔ Of particular importance for pattern books
Streetscape Details
➔ Streetscape elements, such as lighting standards,
benches, fences, and other public furniture defining
the character of a place
Mid-Rise Aerials
➔ Useful for understanding the overall form of a place
➔ Taken from mid-rise to tall buildings where access
can be gained legally, by permission, and without
risking physical peril or alarming the authorities

I ND EX
A B
accessibility, 23
active listening, 88
Adobe Creative Suite®, 216
advisory committees, 74-75
aerial perspective
analysis of existing conditions, 100-
101, 102
digital plans, 224-27
mid-rise precedent photography, 235
presentation images, 138
purpose, 176
American Institute of Architects, 10
apartment buildings
large, 53-54
parking, 48
walk-ups, 53
ArcGIS®, 216, 217
architectural design
building elevations, 168
client goals and, 202
contextual approach, 18 , 190, 193,
202
design team, 206
filing sys tem, 210
goals, 191-97
inside-outside relationship, 196-97
pattern book coverage, 158
precedent photography, 234
principles, 192
process, 13, 203-5
public space considerations, 195-97
sustainability considerations in, 194
urban design and, 189-90, 191, 206
Asheville, North Carolina, 43, 107
AutoCAD ®, 137, 216, 217
Baltimore, Maryland, 150, 150-51
base maps, 93, 94-95, 96, 97
base plan, 164
biking, 35, 39
block sections, 166, 166
block type framework
assessment of existing conditions,
44-45
case studies , 50-51
content, 29, 30, 44
fun ction, 29
high- density blocks, 45, 166
mixed-use, 46
parking strategies, 47
residential blocks, 48-49
street level design, 45, 46
boulevards, 33, 39
building elevations, 16 8, 168-69
precedent photography, 234
building placement, 190
building types framework
case studies, 56-57
content, 30
function, 29, 52
plan patch, 165
residential buildings, 53-54
town center buildings, 54-55
•
D downtown areas, 14
data and information collection
in design process, 78-79, 89-90
measurements, 92-93
photo reconnaissance in, 90-92
Daybreak, Utah, 204
design guidelines, 154, 155, 156, 157
design patches, 164
design process
C architectural phases, 203- 5
Calgary, Alberta, Canada, 171, 195 case studies, 112-17
Chapel Hill, North Carolina, 12 creating good locations, 61
character areas, 154
data and information sources, 78-79
charrettes designing, 59
case studies, 26, 130-33 design team, 68-73, 81-82, 122- 23
challenges, 125 essential elements, 12
definition, 65, 119 frameworks approach, 29- 30
documentation, 129 goal setting in, 66
drawing displays, 126 identifying best approach for, 65-67
in-house, 120-22 illustrative plan in, 29, 31
on-site, 124-29 implementation tools, 147-59
project team working session, 122-23 initiation, 59-60
purpose, 65, 76,125 leadership, 64-65, 69
for selection of preferred plan, 136-37 marketing efforts in, 63, 81
Charlotte, North Carolina, 57 participants, 59, 62-63, 67, 74-76
Chautauqu a, New York, 50 as participatory process, 11, 12, 18,
Cincinnati, Ohio, 24-26, 112- 17, 176 24,26
civic buildings, 55 phases, 78, 79. see also specific phase
client role in design process, 71, 82, 84, project start-up, 77
124,202 reconciling diverse interests in, 62- 63
commercial buildings, 54 schedule, 114
commercial streets, 33, 39, 167 strategic plan development, 61-62
communication strategy, 77, 120 structure, 64
communities, 9-10 see also frameworks
pattern book coverage, 158 digital plans, 224-27
computer modeling, 170, 170-71, 183 documentation
conceptual design, 204 analysis of existing conditions,
consultants and subconsultants, 59, 68 , 93- 103
77, 83,120,122 , 123,142 archived material, 211, 212, 215
filing system, 208-15
management, 71
on-site ch arrette, 129
photo reconnaissance, 90-92
proj ect start-up, 77
site and precedent photography,
232,233
The Urban D esign Handbook
G
drawings geographic information systems, 79, 94
aerial perspective, 176 Georgetown, Washington, DC, 195
block section, 166 Google Earth™, 92, 94, 101
case studies, 184-87 Google SketchUp Pro™, 101, 137, 216,
charrette displays, 126 217
color, 180, 228- 31 graphic designers, 71
elevation, 168, 168- 69 Graphic Guidelines for Marketing
illustrative plan, 220-23 Publications, 219
media, 180
mixed digital media, 183
perspective illustrations, 174-75, 177
H
portrait, 103 Huntersville, North Carolina, 76
section, 166, 166, 167
watercolor, 182
see also X-rays illustrative plan, 29, 31, 164, 165, 220-23,
229, 231
infill development, 45, 73
E
Education Facilities Lab, 9
elevation drawi ngs, 168, 168-6 9 J
Ellon, Scotland, 178, 186 Jinsha Lake, China, 138
energy use, 21
environmental de sign. see sustainable and
L
environmental design
Lafitte, New O rleans, 168
Esri, 79
landscape design, pattern book coverage,
eye-level views, 178, 179
158
land-use plan, 101
F LEED certification, 19, 21
fabric buildings, 191, 193
facade design, 45, 54, 55, 160
filing procedures, 208-15
final report and presentation, 141-44, 145
focus groups, 75, 85-88
Ford Foundation, 9
form-based building codes, 52, 53 , 152,
153
Fort Mill, South Carolina, 203
Foster City, California, 139
frameworks
categories of, 29. see also specific category
definition and function, 29-30
for project-specific design, 24
funding for infrastru cture projects, 41
Page numbers in italic refer to captions.
 INDEX
M p
market analysis, 63, 81
master plan, 148, 149, 150, 151, 156,
164, 193
mixed-income neighborhoods, 14
mixed-use buildings, 55
mobility framework
case study, 36-37
content, 30, 32-35
fu nction , 29
see also transportation planning;
walkable neighborhoods
modernism, 196
Mos cow, Russia, 107
Mt. Lebanon, Pennsylvania , 193
N scale models, 101, 127, 172, 173
neighborhood design
base maps, 99
design process participants, 72-73
mixed-use buildings, 55
project types, 14
residential blocks, 48
revitalization, 14, 63
X-rays, 96, 110
see also design process
New Orleans, Louisiana, 13, 75, 106
New Urbanism , 19- 20
new villages and towns, 14
Norfolk, Virginia, 36-37, 42, 61, 160,
196,198,199
0 goals, 119
office buildings, 5 4
Ogden, Utah, 197, 220
open space framework, 38
parking
block section drawings, 166
plan patch, 165
strategies, 47
parks and recreation areas
public space framework design, 38, 40
t rail network, 35
pattern books, 158, 159
case studies, 160, 187
contents, 158, 159
in design process, 13
purpose, 158, 187
perspective illustrations, 174-75, 177
perspectivist, 71
Petersburg, Virginia, 62
P hase One of design process
analysis of existing conditions,
93-103, 164
case study, 112- 17
client meeting, 84
data-gathering, 89-90
design team responsibilities, 81-82
focu s group meetings , 85-88
goals, 81
interviews , 88
photo reconnaissance in , 90- 92
pre-trip preparation, 82- 83
public meetings, 88- 89
steering committee meetings, 84-85
steps, 82
Phase Two of design process
case study, 130- 33
in-house charrette , 120-22
in-house design review, 124
on-site charrette , 124- 29
project team working session, 122-23
Phase Three of design process
final report and presentation, 141-44,
145
goals, 135
presentation of preferred plan, 137-40
selection of preferred plan, 136-37
steps, 135
Philadelphia, Pennsylvania, 56, 62- 63
photography, precedent and site, 232- 35
The Urban Design Handb ook
photo reconnaissance, 90- 92, 100 R T u
Pittsburgh, Pennsylvania, 20, 21, 107, Reconnaissance Workbook, 83 teams, urban design, 68-73 United States Green Building Council, 21
156,157, 173 regional design Tidewater Community College Universal Design, 23
plan patches, 164, 165 base maps, 96 (Norfolk, VA), 198, 199 University of California (Santa Barbara),
policy-oriented projects, 65-66, 72 X-rays, 96, 106-7 Toledo, Ohio, 22, 138 200,201
port rait drawing, 103, 229, 231 Regional/Urban Design Assistant Toronto, Ontario, Canada, 185 urban design
Portsmouth, 61 Teams, 10 town center buildings, 54-55 architectural design and, 189-90,
precedent analysis, 103, 104, 115, 229 request for proposal, 59 townhouses, 53 191,206
photography, 232- 35 residential blocks, 48-49 tracing paper, 180 architectural design in, 13
Prince's Foundation for the Built residential buildings, 53-54 trail networks, 35, 39 base maps, 98
E nvironment, 18 6 mixed-use, 55 transit system planning, 34 building placement, 190
principal-in- charge residential streets, 33, 39, 167 case study, 36-37 core principles, 9- 11, 18
in design process, 69, 70, 77, 83, 123, Roehling, John, 26 transportation planning design team, 206
136 N ew Urbanist approach, 20 filing procedures for design
in prep aration of final report, 141, in public space framework, 38 documents, 209
s Smart Growth approach, 23 influential movements, 19-23
142, 143
Santa Barbara, California, 200, 201
private sector clients, 15, 59-60 street X-ray, 32 as multidisciplinary effort, 17
proj ect managers sustainable design approach, 20 new town case study, 130-33
schematic design, 205
in design proces s, 69, 70 , 71, 77, 83, transit systems, 34, 36-37 phases, 78. see also specific phase
schools, 9, 40
123, 136, 211 see also mobility framework; walkable plans, 164, 165
Seattle, Washington, 51
in preparation of final report, 141, neighborhoods process, 163
section drawings, 166, 166, 167
142,143 Tripoli, Libya, 184 project- specific principles, 24-26
single-family houses, 53
publications team , 141- 43 project typ es, 14-15
Smart Growth, 22-23
public sector clients, 15, 59, 60 public representatives in design pro-
software programs, 216- 18
public space framework cess, 72- 73
South Jordan, Utah, 202
building design in, 195-196- 97 scope of, 17-18
Spotsylvania County, Virginia, 194
case studies, 42- 43 X-rays, 96, 108-9
squares, public, 40
content, 29, 38 see also design process
St . Petersburg, Russia, 49
function , 2 9 Urban D esign Associates
steering committee, 72, 84-85
open space, 40- 41 architectural design principles, 190,
Storrs, Connecticut, 187
precedent photography, 235 192
strategic partnerships for infrastructure
public support and participation, 60, clients, 15, 202
projects, 41
62-63, 65, 72-73, 74- 75. see also design process, 12, 202-6
strategic plans, 61- 62
charrettes fo unding principles, 9-10, 11, 18
streets
graphic guidelines, 219
cross-section, 166, 167
Pattern Books™, 13
a elevation drawings, 168, 168
project types, 14-15
Qyalls, Roxanne , 26 in mixed-use blocks, 46
precedent photography, 234, 235
types, 33, 39 V
X-ray, 32 Vienna, M aryland, 173
sustainable and environmental design, vision, 15, 60
19, 41, 194 Vladinar, India, 130-33
I
i,
 INDE X

w
walkable neighborhoods
goals of New Urbanism, 20
trail networks, 35, 39
transit station locations, 34
watercolor, 182
waterfront areas, 14, 24- 26, 36, 40
wetlands and natural habitats, 38, 41
Windsor, Connecticut, 53

X
X-rays
case examples, 105-10
city-wide, 108-9, 228, 230
color palette, 228
in design process, 93
drawing style, 96-100, 105
in-house charrette, 120-21
levels of analysis, 96
neighborhood, 110
phase one preparation, 95-96, 100
regional, 106-7, 228, 230
site, 96, 111, 228, 230
street, 32

V
Yonkers, New York, 158

z
zoning regulations, 52