Abstract
Plate 2.1: Plate 2.1: Unoccupied and abandoned buildings on the Point Waterfront
2.3.1 Figure Ground Theory
As a starting point for the case study, a figure ground diagram was produced (see Figure Ground Study Map). This involves the creation of solids and voids on a drawing, in order to simplify an area into a two dimensional (2D) form. Trancik refers to buildings as a solid mass which make up the “figure” and the open voids are referred to as the
“ground” (1986). By making use of this approach, Trancik believes that one is able to determine the existing patterns present in the urban environment. The rationale is to understand the relationship between solid and void, figure and ground, and public and private space. As explained by Trancik, “The objective of these manipulations is to clarify the structure of urban spaces in a city or district by establishing a hierarchy of space of different sizes that are individually enclosed, but ordered directionally in relation to each other” (Trancik, 1986). According to Trancik, the best illustration of the figure ground theory of urban design is Giambattista Noli’s map of Rome (refer to Figure 2.1) drawn in 1748 (Trancik, 1986: 99).
Figure 2.1: Giambattista Noli’s Map of Rome
Source: Finding Lost Space (Trancik, 1986: 99)
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This pattern of solids and voids reveals what urban designers refer to as the urban fabric.
Although this approach to urban design may seem dated, this exercise is still used by space designers to better understand the relationship of space. Cities which are planned do not just start at the centre and grow outwards. The buildings, roads and spaces all create a pattern to which the original city planner worked. Trancik is of the opinion that for a city to work properly, certain elements or positive voids need to be created within the building mass of the city. Of particular importance are public spaces as they give a city a sense of meaning in terms of context and symbolic content. These spaces become important to a city as they serve as spaces for public gatherings, accessibility paths and transitions between public and private domains in the city space.
In any kind of space manipulation, be it architectural, urban design or planning in nature, the experience of that space is of paramount importance. The way a space reads or feels will ultimately determine if people will use it or not. The figure ground exercise attempts to achieve a design that creates spaces that are human in scale and which give people a sense of comfort when they use the area in question. Connecting the form of the building to the structure of the site describes the problem of spatial design, as noted by architect Alvar Aalto14. His solution to the problem of spatial design was to twist and turn the building’s facade to create positive exterior spaces. Well-articulated space along the perimeter and blocks requires a variation of solids and voids. The idea is to establish outdoor “rooms” which contain corners, pockets, niches and corridors
14 Alvar Aalto (02/03/1898 – 11/05/1976) was an internationally famous architect and an important exponent of modernism. He created a distinct architectural style, whose aesthetic impact is based on careful consideration of a building's relationship with its natural surroundings, a human scale, the feeling evoked by the materials used, meticulous detail and the skilful placement of light sources. Aalto is valued for having provided an alternative to the technology-dominated impersonality, structural repetitiveness and visual monotony of the international style (Viljo, 1994)
2.3.1.1 Urban Solids and Urban Voids
As noted previously, the urban fabric consists of solids and voids; the differentiation of these solids and voids can be used as a space manipulation tool to assist space designers. The purpose of this exercise is to better understand and design urban environments which are conducive to human activity, in terms of social interaction. A secondary function of solid and void manipulation is to establish the physical sequence and visual orientation between places. Figure ground analysis is especially useful in this regard. Trancik theorises that the solids and voids which are present in all cities can be distinguished in the following way:
Solids are broken up into three distinct categories while voids are broken up into five categories. They are as follows (refer to Figure 2.2 & 2.3):
Urban Solids:
• Public monuments and institutions (A)
• Predominant field of urban blocks (B)
• Edge defining buildings (C)
Urban Voids:
• Entry foyers - act as passageways between public and private space (D)
• Inner block voids - semiprivate transition zones (E)
• The network of streets and squares - corresponds to the predominant field of blocks and contains the active public
life of the city (F)
• Parks and gardens - nodes that contrast with architectural urban forms (G)
• Linear open space systems - associated with natural features such as rivers, waterfronts and wetlands which cut through urban districts to establish edges and create large-scale connections (H)
Source: Finding lost space (Trancik, 1986: 102)
Figure 2.2
(A) Public monuments and institutions (C) Edge defining buildings
(D) Entry Foyers
(F) Network of streets and squares.
Figure 2.2: Diagram of Types of Urban Solids and Voids
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Figure 2.3: Diagram of Types of Urban Solids and Voids
Source: Finding lost space (Trancik, 1986: 102)
Figure 2.3
(A) Public monuments and institutions.
(B) Predominant field of urban blocks.
(C) Edge defining buildings.
(E) Inner block voids.
(F) Network of streets and squares.
(H) Linear open systems.
(Diagrams of types of urban solids and voids )