Communicat ing Regenerat ion
Graphical Communication in Strategic Development Plans Tools and Techniques for Improvement Final Report a joint collaboration by
Aberdeen City and Shire Strategic Planning Authority Glasgow and the Cycle Valley Strategic Planning Authority SESplan, The Strategic Planning Authority for Edinburgh and South East Scotland TAYplan, The Strategic Planning Authority for Dundee, Angus, Perth and North Fife Architecture + Design Scotland The Scottish Government prepared by
Matrix Partnership Ltd and
Urban Graphics
29th June 2012
This document has been produced by: www.matrixpartnership.co.uk www.urban-graphics.co.uk
Communicat ing Regenerat ion
On behalf of:
Contents EXECUTIVE SUMMARY SECTION A
SECTION B
SECTION C
SECTION D
1 Introduction: Page 6
3 Stage 1: Getting Started and Defining the Brief: Page 16
7 Learning from the Past : Page 38
11 Recommendations and Ideas for Improvement: Page 70
3.1 Key steps
7.2 Summary timeline
INTRODUCTION
1.1 Context 1.2 An opportunity for review 1.3 Purpose 1.4 Methodology 2 The Design Management Process: Page 10 2.1 Overview
TOOLS AND TECHNIQUES
3.2 Stage 1 Output: The Project Brief 3.3 Briefing the Designer 4 Stage 2: Expressing the Story of Change: Page 20 4.1 Key steps 4.2 Stage 2: Outputs 5 Stage 3: Drafting the Outputs: Page 26
LEARNING FROM PAST AND CURRENT PRACTICE
7.1 A quick sprint through the evolution of urban graphics
8.1 The Evaluation Framework 8.2 Summary of Current Practice 8.3 Other graphic design-related scope for improvement
8.5 On-line and interactive technologies
5.2 Stage 3: Outputs
8.5 Video
6 Stage 4: Finalising the Outputs: Page 34
9 Learning from Around the British Isles: Page 52
6.1 Stage 4: Overview
10 European Inspiration: Page 54
6.4 Stage 5: Outputs
8.4 Initial Ideas for Alternative Graphics
8.6 On-lineparticipation
6.3 Stage 5: Quality Control
8 Learning from Current SDP Practice: Page 42
5.1 Key steps
6.2 Stage 4: Outputs
MOVING FORWARD
10.1 Case study 1: Emscher Landschaftspark, Germany 10.2 Case study 2: Randstad, Netherlands 10.3 Case study 3: Montpellier SCOT, France 10.4 Summary good practice pointers Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
1
EXECUTIVE SUMMARY
Background As part of a wider planning modernisation agenda, Scottish Government guidance has conveyed an expectation for slim-line plans, focussed on place-making and with an emphasis on their graphic content. At the time that the current first generation SDPs were introduced in 2008, there was a general desire to encourage innovation and a lack of appetite for firm prescription on the form of the new plans. A range of graphic formats and techniques were therefore developed with varying levels of sophistication and success. Drafts of all four documents have now been prepared and are at different stages in the statutory plan-making process that will lead to their finalisation and approval by Scottish Ministers.
This report looks forward, to consider opportunities for reworking the graphic content of SDPs as part of the next round of reviews, and to do so in a way that establishes a greater degree of consistency between each of the four documents. This exercise therefore has four objectives: 1. To constructively critique the first generation plans, identifying scope for improvement; 2. To review different graphical techniques, approaches and ideas to learn from good practice experience from elsewhere; 3. To summarise tools and techniques for improving plan graphics and their production; 4. To generate some initial ideas as to how this approach could be applied to the Aberdeen City & Shire SDP, given that it is first in line for review.
2
Final Report
Matrix Partnership Ltd
Urban Graphics
This report draws each of these four strands together into a brief “How to Guide� on the preparation of plan graphics in a specifically Scottish context. Central to the methodology for preparing this report was a highly interactive two-day workshop between SDP Managers and a variety of representative plan user groups, which has helped to inform findings.
The recommended design management process An outline Design Management Process is put forward, with reference to a flowchart for preparing plan graphics. This sets out a step-by-step approach and comprises five stages. Central to the recommended methodology is the process of storyboarding. Pioneered by the Walt Disney studio, this encourages planners to incorporate graphic thinking into the plan-making process at the outset of a project – using a storyboard series of rough sketch panels to outline the type, nature and quantity of plan graphics that should be utilised to help frame and support planning policy. Plan-makers are encouraged to conceive of the plan document having a narrative that sets out a story of change.
Follow-up actions The report concludes by putting forward a series of recommendations for potential follow-up action, namely:
Through analysing current SDPs and examples from elsewhere, six key principles for plan graphic are defined thus: Principle 1 Graphics should demonstrate how the plan is rooted in appreciation of place identity, conveying the qualities and characteristics of the area. Principle 2 Graphics should convey an inspiring vision. Principle 3 Graphics should communicate clearly the structure and hierarchy of the area, including the location, priorities and relative scale of change.
Principle 4 Graphics should provide a threedimensional richness to the plan that makes it come alive. Principle 5 The graphics should provide a narrative that clearly articulates the plan proposals, their underpinning rationale and the means of delivery. Principle 6 Graphics should be included that span and interrelate the different scales of consideration – international, national and inter-regional, strategic region-wide and local levels.
1. Operationalise the design management process contained in this report.
5. The wider promotional role of strategic plans should influence graphic content.
2. The suggestion to use storyboarding as central to the plan-making process going forward should be embraced as part of the SDP review process.
6. Better graphics have skills, capacity and budgeting implications – opportunities for pooling resources should be fully explored.
3. National Planning Framework 3 provides a major opportunity for co-ordinating national and SDP planmaking graphics, establishing a shared graphic language.
7. Raise awareness and promote the outputs of this project.
4. There should be further focused work on achieving graphic consistency between SDPs.
9. The potential for on-line and interactive technologies should be embraced.
8. Implement a programme of roll-out training.
The report provides detailed guidance for putting these principles into practice, in terms of key steps, tools, tips, techniques and examples that can serve as reference points.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
3
SECTION A
INTRODUCTION
4
Final Report
Matrix Partnership Ltd
Urban Graphics
A city region plan will be a short, accessible narrative, simply expressed in words and images. Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
5
SECTION A
INTRODUCTION chapter
1 Introduction 1.1 Context Four Strategic Development Planning Authorities (SDPAs) cover the largest cityregions in Scotland and are responsible for setting out a long-term (20+ years) development strategy for their respective areas. Each is responsible for the preparation of a Strategic Development Plan (SDP). These plans are prepared in the context of legal requirements, Scottish Government policy, the views of key agencies, stakeholders and the public as well as the aspirations of each local area as expressed through local authorities.
SDPs cover large geographical areas and large populations. Fundamentally they are about change – what needs to change and how this change should take place in a specific place, or set of places.
“The Scottish Government expects development plans to… make more use of maps and plans to explain and justify the long-term settlement strategy…” (Scottish Planning Policy, 2009)
As part of a wider planning modernisation agenda, Scottish Government guidance has conveyed an expectation for slim-line plans, focussed on place-making and with an emphasis on their graphic content, as the following statements make clear:
“Scottish Ministers expect SDPs to be concise visionary documents that set clear parameters for subsequent LDPs and inform decisions about strategic infrastructure investment… The SDP may contain, or be accompanied by, any maps, diagrams, illustrations or other descriptive matter the SDPA thinks appropriate….” (Scottish Government Circular 1/2009) “A city region plan will be a short, accessible narrative, simply expressed in words and images” (Scottish Government – Making Development Plans Deliver, 2004)
6
Final Report
Matrix Partnership Ltd
Urban Graphics
1.2 An
opportunity for review
Drafts of all four documents have now been prepared and are at different stages in the statutory plan-making process that will lead to their finalisation and approval by Scottish Ministers. At the time that the current first generation SDPs were introduced in 2008, there was a general desire to encourage innovation and a lack of appetite for firm prescription on the form of the new plans. A range of graphic formats and techniques were therefore developed with varying levels of sophistication and success. Consequently, each plan expresses a different graphic treatment, with little consistency of graphic language or style.
As each of these plans is reviewed, there will be opportunities to reconsider their graphic content. The first such review relates to the Aberdeen City and Shire SDP, which is set to be published in the Autumn 2012. Reviews for the other three SDPs are scheduled for 2013.
Aberdeen City and Shire Structure Plan - August 009 : Page 1
Strategic Development Planning Authority
You can get this document, in Braille, large print and various formats if you ask us. Please contact ITS on 0131 242 8181 and quote reference number 11988. ITS can also give information on community language translations. You can get more copies of this document by calling 0131 524 5165
Proposed Plan November 2011
TAYplan
Scotland’s SusTAYnable Region
Aberdeen City and Shire Structure Plan
Proposed Strategic Development Plan 2012 - 2032
Global
June 2011
01224 628210 This document is also available to download in MP3 or PDF format from the SDPA website.
National
TAYplan
Revive Pure is made from 100% recycled waste and is fully FSC certified. The pulp is bleached using a totally chlorine free (TCF) process, and is produced in a plant certified to ISO 14001.
Aberdeen City and Shire Strategic Development Plan Team Archibald Simpson House 27-29 King Street Aberdeen AB24 5AA Phone: 01224 628210 Fax: 01224 640517 Website: www.aberdeencityandshire-sdpa.gov.uk Email: team@aberdeencityandshire-sdpa.gov.uk
Local Settlement
SESplan: Proposed Strategic Development Plan
August 2009
Aberdeen City and Shire: Structure Plan and Key Diagram
TAYplan: Proposed Strategic Development Plan
Matrix Partnership Ltd
Urban Graphics
Glasgow and the Clyde Valley: Strategic Development Plan
Final Report
29th June 2012
7
1.3 Purpose An opportunity therefore exists to reflect on all four draft documents and consider how their graphic communication could be improved. With this in mind, each of the SDP Authorities, Architecture + Design Scotland and the Scottish Government have come together to commission urban design practice Matrix Partnership and specialist graphic design practice Urban Graphics to suggest ways that improvements could be introduced. The objectives of the exercise are to: 1. Constructively critique the first generation plans, identifying scope for improvement; 2. Review different graphical techniques, approaches and ideas to learn from good practice experience from elsewhere; 3. Summarise tools and techniques for improving plan graphics and their production; 4. Generate some initial ideas as to how this approach could be applied to the Aberdeen City & Shire SDP.
8
Final Report
Matrix Partnership Ltd
Urban Graphics
This report draws each of these four strands together into a brief “How to Guide� on the preparation of plan graphics in a specifically Scottish context. Whilst the principal focus is SDP graphics, many of the suggested tools and techniques are applicable to other plan graphics at other levels in the planning hierarchy.
1.4 Methodology
The exercise was undertaken over an eight week project period, initiating at a project inception meeting on 8th May and concluding on 29th June 2012. Core to the methodology was a highly interactive workshop that was held in Aberdeen over two days on 15th and 16th May. The consultant team facilitated a programme that combined presentations with a series of different hands-on exercises that sought to encourage participants to explore the full potential for applying creative graphic thinking at each stage in the plan-making process.
Attendees were drawn from different “plan users” of audience groups – comprising representatives of each of the SDP Authorities, Architecture + Design Scotland and the Scottish Government as well local community groups, the Scottish Environment Protection Agency, Aberdeen City Council, Aberdeenshire Council, Highland Council, Nestrans and the James Hutton Institute. A range of workshop tools and techniques were used, such as ‘character cards’, helped participants to express themselves graphically
This report draws on much of the material presented at this workshop to synthesise findings relating to current practice and establish lessons for future practice.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
9
chapter
2 The Design Management Processes
2.1 Overview Figure 2.1 opposite, The Design Management Process, provides a flowchart for preparing plan graphics. This sets out a step-by-step approach for clarity, though in reality the process will not be quite so linear in nature and should be thought of as an ongoing iterative exchange between an evolving, mutually supportive textual and graphical narrative. The key is to ensure that graphics are considered from the outset as an integral part of the plan process, rather than a bolton to be added towards the end once the words and numbers contained in the plan are well-advanced.
10
Final Report
Thinking in graphic terms from the plan’s inception has implications for project management. The chart therefore indicates what steps are beneficial and puts forward suggestions for how these can be achieved. This chart also serves as a navigation tool for the rest of this document; chapter references are provided where further information can be found for each stage. Both flowcharts are organised according to the same five project stages for ease of read-across.
Matrix Partnership Ltd
Urban Graphics
Figure 2.2 opposite sets out the corresponding flowchart for Graphics Production. This provides a series of actions and watchpoints of a more technical nature relating to the production of urban design-related graphics. This is taken from the publication Graphics for Urban Design (Meeda et al, 2007), where further detailed guidance is provided.
STAGE 1: Getting startedand defining the brief
[see Chapter 3]
1. Know your audiences
REFERENCE STAGE 1: GETTING ORGANISED
2. Run collaborative workshops
4. Develop graphics in parallel with policy
6. Reflect on what has worked and what hasn’t
CHAPTER 5 page 99
7. Don’t be constrained by GIS
CHAPTER 6
8. Develop a menu of different graphic options
STAGE 2: Expressing the story of change
Ordnance Survey maps Historic maps Site photos Site surveys Previous studies
Create list of products CHAPTER 4
5. Look for inspiration from elsewhere
[see Chapter 4]
STAGE 2: TEMPLATES
Create list of figures Make raw data useable
Enhance photography Make files formats compatible
CHAPTER 3
Create word processing templates
CHAPTER 3
Create common title blocks etc
page 60
3. Develop a strong vision
Calculate a draft budget and resources _ skills, time, software and hardware required to deliver the products Issue brief to project team regarding software to be used on project (for compatibility)
Create base-maps
page 83
2. Define place identity
Reports Exhibitions Presentations Drawings
CHAPTER 3 page 74
1. Devise a story board
WATCHPOINTS
Obtain raw data CHAPTER 6
3. Initiate thinking on what graphics might be appropriate
ACTION
For the list of figures The team should work from the same templates Label all graphics consistently
Create schedule of base-maps and templates
Issue brief for the use of software, templates and base-maps
Generate draft outputs
Outputs will come from a variety of sources at this stage
Avoid DTP at this stage
4. Be selective STAGE 3: DRAFT OUTPUTS
STAGE 3: Drafting the outputs
[see Chapter 5]
Drawings, illustrations, photos, plans etc. Word processing documents
CHAPTER 6 page 114
1. Start sketchy
Combine document
All graphics and text documents combined as PDF
All files should be saved as PDFs and combined to produce one document that has been collated from a variety of source files
Spell-check documents
Submit Draft Report
2. Be clear about the category of graphic technique STAGE 4: DESKTOP PUBLISHING
3. Slide up and down the scales
Revise/amend from client feedback
Drawings, illustrations, photos, plans etc. Word processing documents
4. Apply ‘The Big 10’ graphic design considerations
Client to Approve Amendments CHAPTER 3 page 83
STAGE 4: Finalising the outputs
Minimise DTP at this stage
Sign-off text and drawings
Spell-check documents Start DTP
Submit Draft Final Report
[see Chapter 6] STAGE 5: FINAL SUBMISSION
Finalise graphic outputs
Generate desktop published report
Revise/amend from client feedback
Drawings, illustrations, photos, plans etc.
Amend desktop published report
STAGE 5: Quality control
[see Chapter 6]
Design and project manager to sign off Client team to sign off
Undertake a quality control review
Figure 2.1: The Design Management Process for Plan Graphics
Print and Submit Final Report
Matrix Partnership Ltd
Urban Graphics
Figure 2.2: Graphics Production Workflow Process
Final Report
29th June 2012
11
SECTION B
TOOLS AND TECHNIQUES
12
Final Report
Matrix Partnership Ltd
Urban Graphics
Successful graphics are ones that combine both a clear intellectual proposition with creative expression. Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
13
SECTION B
TOOLS AND TECHNIQUES chapter
3 A summary of the Design Management Process
Stage
Stage
Getting Started and Defining the Brief
Expressing the Story of Change
1 Know your audiences
1 Devise a story-board
2 Run collaborative workshops
2 Define place-identity
3 Initiate thinking on what graphics might be appropriate
3 Develop a strong vision
4 Develop graphics in parallel with policy 5 Look for inspiration from elsewhere 6 Reflect on what has worked in the past and what hasn’t 7 Don’t be constrained by GIS 8 Develop a menu of graphic options
14
Final Report
Matrix Partnership Ltd
Urban Graphics
4 Be selective
Stage
Stage
Stage
Drafting the Outputs
Finalising the Outputs
Quality Control
1 Start sketchy
1 Finalise graphic outputs
1 Undertake a quality control review
2 Be clear about the category of graphic technique
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
15
3 Stage
Getting Started and Defining the Brief
STAGE 1: Getting startedand defining the brief
16
[see Chapter 3]
STAGE 3: Drafting the outputs
[see Chapter 5]
WHAT
HOW
WHAT
HOW
1. Know your audiences
Define who you are seeking to engage, who understands what and what form of graphics would be appropriate.
1. Start sketchy
Create draft sketches by hand to brief the graphic designer.
2. Run collaborative workshops
Run workshops that combine representatives of different plan user groups, for instance community, transport or environmental representatives.
2. Be clear about the category of graphic technique
Define whether each graphic is conceptual, analytical, technical / measurable or perceptual / virtual in nature.
3. Slide up and down the scales
Intersperse imagery throughout the report that demonstrates how strategies are to be delivered at the local level and how locally-based actions can help realise strategic ambitions.
4. Apply ‘The Big 10’ graphic
A checklist of graphic design considerations is provided.
3. Initiate thinking on what graphics might be appropriate
Develop a spatial literacy of place. All policy for change should be rooted in this spatial literacy.
4. Develop graphics in parallel with policy
Graphics should be part of the working tools of policy making, not just used to illustrate text based policy at the end of a planning process.
5. Look for inspiration from elsewhere
Draw on good practice graphic examples from elsewhere that inspire you.
6. Reflect on what has worked and what hasn’t
Critically appraise past plans and ask how well the graphic content has helped to communicate issues and proposals.
7. Don’t be constrained by GIS
The highly technical nature of GIS outputs are ill-suited for use in a plan that seeks to engage and inspire. Further graphic manipulation is needed.
8. Develop a menu of different graphic options
Consider the range of different graphic techniques and formats that could be incorporated.
STAGE 1 OUTPUT The Project Brief
Establish overall objectives, scope or work, deliverables, timeframe and resource requirements.
STAGE 2: Expressing the story of change Final Report
Matrix Partnership Ltd
[see Chapter 4]
Urban Graphics
design In terms of considerations project management, at the outset of the plan-making process:
• identify a project manager responsible for co-ordinating graphic production;
• Assemble the project team with the • Set project objectives so that everyone – Graphical ideas generated in plan-user STAGE 3 OUTPUTS skills needed to generate high quality is clear about the directionworkshop(s) of travel; – An exhibition graphic outputs: – Hand-drawn sketches used to brief graphic • Outline the production strategydesigner and the – Draft computerised imagery resource requirements. – A range of graphic material conveying how the plan is to be applied at differing spatial scales – Draft report(s) – Draft interactive / virtual / on-line graphics
STAGE 4: Finalising the outputs
[see Chapter 6]
WHAT
HOW
Finalise graphic outputs
– Finalise desktop published SDP report – Generate on-line, using interactive digital and or film-based media if scope.
3. 1 Key
steps
1. Know your audiences From the beginning it is important to achieve clarity on ‘how to represent what and when to who’. The issue here is clarity of communication to inform and influence. An analysis of audiences, of who understands what, and in what form of graphics will be useful. It is critical that the plan reaches out beyond planners and engages with other professional bodies and non-professional community groups and individuals. Words can be a significant barrier to engagement for certain audiences. Well considered graphics on the other hand can be extremely effective in getting messages across. So start by defining the different audiences and how best to connect with them. Who is the plan for? What information is of most relevance to different audiences? How and at what points in the process should this be accessed? This could be illustrated by considering [a] who uses plans for what reason (ie. who are the users of the plan who act with the information); and [b] who do the creators of the plan want to inform and influence over and above the first group.
2. Run collaborative workshops Running workshops generates collaboration between different user groups and encourages people to express themselves graphically. Workshops should combine representatives of different plan user groups - for instance community, transport or environmental representatives. Such sessions should be made fun, handson and interesting - using a variety of collaborative techniques such as image cards that convey different place-related characteristics to get people thinking in terms of pictures rather than words.
3. Initiate thinking on what graphics might be appropriate Graphics can be used as communication tools to a diverse set of audiences. Consider what kind of information each group needs to be engaged in the plan. The strategic plan must be informed by a spatial literacy of place. All policy for change should be rooted in this spatial literacy. Graphics can be used to create an accurate baseline of the spatial character of the place as well as an emotional description of the spatial character of the place. Images can powerfully draw both understandings together. Different graphic techniques can serve as working tools for different purposes.
Matrix Partnership Ltd
Urban Graphics
4. Develop graphics in parallel with policy The spatial literacy of place, expressed graphically, should be used to develop policy; with diagrams, mapping or imagery used to inform how text is structured. The act of creating policy should be spatial in process and in intent. Graphics should not just illustrate text based policy at the end of a planning process. They should be part of the working tools of policy making. This requires a lot of time in the early stages thinking out the type and number of illustrations that are necessary to get the points across. This may require layering up of information, moving in and out of scales, or devising other graphical possibilities specific to the place.
Final Report
29th June 2012
17
8. Develop a menu of graphic options
Proposals 1: Map – Proposals for how the region will develop over the 20 years between 2012 and 2032
Consider the range of different graphic techniques and formats that could be incorporated within the plan. The appropriateness of a particular technique will depend on the type of information you are trying to present, to whom and at what stage in the process. Graphics need to be fit for purpose. They will tend to fall into four categories:
© Crown copyright and database right 2011. All rights reserved. Ordnance Survey Licence number 100023371
Proposals Map
*Detail of the major transport proposals can be found in the Action Programme which accompanies the Strategic Development Plan
7
• Conceptual techniques 5. Look for inspiration from elsewhere Draw on good practice graphic examples from elsewhere that inspire you, whether contemporary or historic. Broaden out your scope to look internationally and collate examples that can help generate ideas and potentially be used to assist in the graphic designer / illustrator briefing process.
18
Final Report
6. Reflect on what has worked in the past and what hasn’t Critically appraise past plans and ask how well the graphic content has helped to communicate issues and proposals. Seek out different perspectives: This can be considered as part of the early plan-user workshop(s). Which graphics worked well? Where is there scope for further improvement? How well do existing plan graphics communicate to these different user groups and incorporate their ideas?
Matrix Partnership Ltd
Urban Graphics
• Analytical techniques • Measurable techniques • Perceptual techniques 7. Don’t be constrained by GIS Geographic Information Systems (GIS) that integrate map-based information with datasets can be an extremely useful resource, but also a potential curse. GIS can only take you so far graphically. The very Computer Automated Design (CAD) drawings used are highly technical and can be rather a ‘turn off.’ It is best that GIS plan outputs are further manipulated using graphics software (in relation to colours, line widths, base-plan content etc) to achieve more appealing, user-friendly graphic outputs. Aberdeen City and Shire Structure Plan - August 009 : Page 1
Further advice on the use of each of these four over-arching techniques is set out in Chapter 1 of Graphics for Urban Design (Meeda et al, 2006). Different graphics will be used at different stages of plan production. More analytical graphics are likely to be used at the Main Issues Report stage, some graphics might be specifically crafted to engage stakeholders, whereas the final plan will need to aid development management decision-making as well explain the rationale behind proposals to wider audiences (discussed further in Chapter 5).
3.2 Stage
1 Output: The Project Brief
3.3 Briefing the
Stage 1 should conclude with a Project Brief (incorporating text and reference sample illustrations). This establishes the overall objectives, scope of work, deliverables, timeframe and resource requirements. It is not uncommon for the brief to be revised and refined as the process moves forward, although there should always be clarity on the scope and the final deliverables.
It is the project manager’s/director’s responsibility to ensure that the core ideas and concepts created by the project team are accurately and effectively presented by the graphic designer. This document can act as an aid to briefing.
Creative Brief • Vestibulum blandit facilisis sollicitudin. In aliquam metus et mauris dapibus nec consectetur elit tempor. Integer interdum consectetur lobortis. • Suspendisse potenti. Aenean tincidunt suscipit quam, elementum posuere nunc accumsan vitae. Morbi commodo bibendum consectetur. • Donec bibendum ipsum in nisl scelerisque ut accumsan sem lacinia. • Phasellus lobortis euismod ligula eu feugiat. Nullam felis leo, condimentum id volutpat nec, pretium in sem. • Aliquam rhoncus felis at eros ornare ornare. Pellentesque ut ligula tincidunt enim iaculis facilisis posuere ac lacus. • Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Praesent ultrices tempus mattis.
Designer
Getting the best graphics input to a project starts with appointing a graphics specialist with the right experience and the ability to work within a multi-disciplinary team. A clear project brief, setting out as far as possible what is expected and when, and the budget for each stage, will provide the basis for a good working relationship between the graphics specialists and the rest of the project team. The expectations and requirements of the commissioning body or client also have to be taken into account. The project brief should include any particular requirements for the graphics output. If possible, the graphic designer should be involved at the earliest opportunity to help formulate the brief and to discuss timeframes, budgets and production processes. This will help ensure that unrealistic expectations are not later disappointed, or found to have a detrimental impact on other parts of the project. Any necessary changes should be agreed and budgeted for as quickly as possible.
It is also important that the graphic designer is managed by one person, if not the project director, then a named individual. All members of the project team should work through that nominated person. Provided the designer has been given a clear brief as to what is required, the team should have confidence in the designer to produce outputs in an appropriate format and of an appropriate quality. At the same time, plan-making and urban design is a creative process and the final output is a consequence of the constructive relationship between all members of the project team. The essence of a successful project team is that all members are able to propose and challenge ideas. The graphic designer can help to sieve-out superfluous information and refine ideas to present them more clearly.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
19
chapter
7. Don’t be constrained by GIS
The highly technical nature of GIS outputs are ill-suited for use in a plan that seeks to engage and inspire. Further graphic manipulation is needed.
8. Develop a menu of different graphic options
Consider the range of different graphic techniques and formats that could be incorporated.
STAGE 1 OUTPUT The Project Brief
Establish overall objectives, scope or work, deliverables, timeframe and resource requirements.
4 Stage
STAGE 4: Finalising the outputs
Expressing the Story of Change WHAT
STAGE 2: Expressing the story of change
[see Chapter 4]
WHAT
HOW
1. Devise a story board
Develop a storyboard series of panels of rough sketches outlining a place’s story of change, the plan production process and / or the intended plan product.
2. Define place identity
Consider an area’s existing assets, attributes and characteristics and how these might inform the graphic content.
3. Develop a strong vision
– Draft computerised imagery – A range of graphic material conveying how the plan is to be applied at differing spatial scales – Draft report(s) – Draft interactive / virtual / on-line graphics
Prepare a visionary “spatial strategy diagram” and other graphic material that helps convey the qualities, characteristics and types of improvements sought over the next 20 years.
4. Be selective
Plans are clearest where they are selective about the strategic themes that are given emphasis and that are conveyed most clearly in the graphic content. Giving equal weight to all of the plan’s constituent elements dilutes the clarity of the key messages.
STAGE 2 OUTPUTS
– Graphical ideas generated in plan-user workshop(s) – A story-board(s) – A collection of images and sketch ideas that convey place identity – A draft “spatial strategy diagram” and other visionary graphic material
HOW
Finalise graphic outputs
– Finalise desktop published SDP report
WHAT
HOW
Undertake a quality control review
Determine how well each of the graphic production stages have been applied
STAGE 5 OUTPUTS
– quality control review checklist
Clear and appealing plans are structured Storyboarding is no digital different toor – Generate on-line, using plans interactive and around a narrative that sets out a story of film-based storyboarding films in that they both help media if scope. change. Typically this will describe the organise and structure the content – this existing characteristics in turn helps allocate the appropriate published SDP report STAGE 4 OUTPUTS of an area, the – Final desktop challenges faced over the plan period and resources the right time. using different – Proposals conveyedaton-line, potentially then set out the vision, strategic proposalsdigital media/technologies. and plan of action for delivering the type and scale of change needed. But the story needn’t be told in such a linear way. What is your story of change? STAGE 5: Quality control [see Chapter 6]
Storyboard example for short promotional film
20
Final Report
Matrix Partnership Ltd
Urban Graphics
[see Chapter 6]
4.1 Key
steps
1. Devise a story-board Determining the range and nature of illustrative material to be incorporated within the plan document is best achieved graphically through storyboarding. This should happen simultaneously with the drafting of written policy and is a key means of developing a spatial literacy of place. A storyboard is a sketch of how to organise a story and a list of its contents. The first story-boards were developed by the Walt Disney studio during the 1930’s and are now a common technique used particularly in the performing arts (in films, television, advertising, etc.) to show a series of panels of rough sketches outlining the scene sequence and major changes of action or plot.
Storyboard for Alfred Hitchcock’s The Birds
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
21
Storyboards can be used as graphic organisers in plan-making in a variety of ways: -- S toryboarding place and the process of change If you were to tell the plan’s narrative as a film, how would this look scene-byscene? What graphic material would you use and what might each graphic contain? You might start by setting the scene – using maps, photographs and/ or diagrams to convey the essence of a place and the key challenges that were faced. You would then develop a plot – perhaps by setting out the vision, the strategic themes and priority projects? How do you conclude and leave the audience wanting more? Do you signpost to more detailed online content?
-- Storyboarding the process of planproduction A sketch story-board could be prepared early on that sets out the key tasks and processes that SDP Authorities are required to follow and considers the graphic content to be prepared at each step of the way. Graphic content will evolve as the process develops. To some extent this can be anticipated early on which can help with resource planning, and potentially create efficiencies in production (for example, certain base mapping or aerial photography might be selected early on that can be used for initial analysis diagrams and reused in the final report).
-- Storyboarding the plan product The plan will have a finite number of pages; a story board can be created at an early stage to mock-up in sketchy terms how the report’s content could be organised to contain an unfolding narrative within these page constraints. A good rule of thumb is approximately 50:50 graphic to text content over a double-spread, not forgetting the need to leave sufficient white space on each page to allow the plan “to breathe.”
Graphics for Urban Design Published 2006
At an early stage in the process, perhaps in the initial plan user workshop(s), begin to sketch out ideas for graphic content and how these can be used to form an overall narrative for the plan document that supports written policy. This should convey in clear and appealing terms what kind of places are found within the plan area and how these are set to change over the plan period as a result of policy implementation. Original storyboard for best-selling graphics guidance manual Graphics for Urban Design, prepared by Bally Meeda
22
Final Report
Matrix Partnership Ltd
Urban Graphics
e!
ng spac
engagi
01 Closeup flag moving in the wind. Wind, ocean sound fx
02 Animated ship logo, wind, ocean sound fx, music score starts
03 Animated ship dock on Pirate treasure map revealing Guernsey
04 Zoom out to reveal complete map, route to “x” marks the spot is animated. Screen start to slowly rotate to begin zoom into Saumarez Park.
VO Generations of children have enjoyed Saumarez Park and it’s home to Guernsey’s best-loved and largest playground.
learning
13 CGI Flythrough moving forward into playground
intera ction
ion
inat
imag
14 CGI, gently zooming out to show Pirate theme, music
(overview 1)
score to match. Cannon blasts to match; learning, interaction and imagination VO. (View 4.jpg)
VO to make a more exciting and engaging space.
VO The equipment will be more challenging and promote learning, interaction and imagination.
15 Zoom out CGI (view 5). Lower third title: Children of different abilities play together.
16 CGI zoom out to reveal natural materials. Lower third title on screen: surfaces that are wheelchair and pushchair friendly (View 3a)
VO There will be elements allowing children of different abilities to play together,
VO surfaces that are wheelchair and pushchair friendly
er!
Bigg
er!
Bett
Best
05 Zoom into existing Park, wind sound fx, score.
06 Existing aerial view of park VO But the equipment, which was installed in 1993, is starting to show its age and needs replacing.
07 Fade reveals new redesign (masterplan) VO So we’ve decided to take the opportunity to completely transform the playground. We’ve talked to local people that use the park and have come up with a design that will provide a bigger, better play area for generations of children to come.
VO Local children have told us that a pirate theme would be popular, so this has been incorporated into the playground. But we’re also creating three distinct zones as part of the overall design, to cater for different age groups.
(flythrough)
VO The first is the Admiral’s Fort which will be for toddlers;
dead man’s cove
10 Dead Man’s Cove – The Junior Area, music score, sound fx (flythrough)
VO the second is the Dead Man’s Cove which will be the junior area;
ey!
rns
17 Zoom into park benches. Lower thir title : Seating space for accompanying adults. (View 4)
VO and seating space for accompanying adults.
18 Zoom out of detail of park to show natural materials. Lower third title : Use of natural materials (Detail Junior AVI)
VO It will also use many natural materials, so as to blend in and complement the playground’s beautiful woodland setting.
g!
19 Zoom out image of masterplan, music score, sound fx.
Cannon blast produces cloud with title, cloud fades screen to white (flythrough). VO We’re very excited about the plans and are looking forward to working with local partners to deliver the best playground in Guernsey.
20 Logo fades in from white, slogan fades in underneath. Music stops.
VO Saumarez Park Playground – More than just a refurbishment – A whole new adventure playground!
citin
e ex
Admiral’s Fort
nd
grou
play
gue
each area (View 6.jpg)
mor
09 Admiral’s Fort – The Toddler Area, music score, sound fx
in
08 CGI view of three areas with animated Pirate banners for
Mutineer lagoon
11 Mutineer Lagoon – The Teen Area, music score, sound fx (flythrough)
VO and the third, Mutineer Lagoon, will be aimed at teens.
12 CGI Flythrough moving forward into playground (overview 2)
VO This is much more than just a makeover. The playground will be completely redesigned
http://www.urban-graphics.co.uk/services-we-offer/3d-visualisation-animation-film/ Storyboard for Saumeraz Park regeneration promotional video, Urban Graphics
Screenshots of final video
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
23
2. Define place-identity
3. Develop a strong vision
Plans that contain limited diagrammatic material of a highly abstract technical nature can appear rather generic, fail to excite and do not encourage constructive community and stakeholder engagement. The plan should be deep rooted in an appreciation of the nature of each of the places found within the SDP area. A fundamental task is therefore to ask: “What kind of place or places have we got, and how can this be expressed graphically?”
Para. 15 of the Scottish Government’s Planning Circular 1 2009: Development Planning states that:
Begin by considering an area’s existing assets, attributes and characteristics and how these might inform the graphic content. If the landscape setting is of key relevance, for example, ensure that the base maps express the topography and other landscape features.
“The SDP may contain, or be accompanied by, any maps, diagrams, illustrations or other descriptive matter the SDPA thinks appropriate. But Regulation 2 requires that it contains a map or diagram describing the spatial strategy.” It is therefore a requirement that each plan contains a single diagram that synthesises the spatial strategy in overall terms. However, the graphic content of the SDP should not be fixed by wanting a single diagram. It should be fixed by what gets the point across best. Getting this right is a crucial step.
Character cards can be used as a workshop tool to aid place-identity discussion
24
Final Report
Matrix Partnership Ltd
Urban Graphics
4.2 Stage
In the words of Planning Circular 1, the vision statement should be “a realistic expression of what the plan area could be like in 20 years time” and be accompanied by graphic material that conveys this look into the future. What kind of place do we want the area and its constituent parts to be in 20 or more years time? This should be clearly expressed, preferably upfront to capture the reader’s attention early on (previous plans have located this at the end - almost as if to reflect a linear process of survey - analysis - plan). The challenge for the next generation SDPs is to reconcile the legacy of previous plans without slipping into the temptation to look back to accommodate decision-making rather than looking forward in a more visionary way.
The visionary “spatial strategy diagram” can potentially be envisaged as a “gateway diagram” that conveys the main messages of the strategy and then graphically signposts to the constituent layers of this strategy explained elsewhere in the document (this is the case in the Ranstadt plan, as explained in Chapter 10). But given the size of the SDP areas it is likely that the vision is best conveyed graphically by using a range of images at different scales that demonstrate how strategic intentions are to be delivered at the local level, and conversely how locally-based actions can be encouraged and organised to support a wider vision.
4. Be selective Plans are clearest where they are selective about the strategic themes that are given emphasis and that are conveyed most clearly in the graphic content. Giving equal weight to all of the plan’s constituent elements dilutes the clarity of the key messages. Keep a sense of perspective and ensure that chosen graphics are helping to “hammer home” the key messages.
Matrix Partnership Ltd
Urban Graphics
2: Outputs
Outputs generated during Stage 2 could be envisaged as: -- Graphical ideas and suggestions generated in the plan-user workshop(s) -- A story-board(s) -- A collection of images and sketch ideas for conveying place identity -- A collection of material (such as case study photographs, sketches and diagrams) that conveys aspects of the vision, and potentially a draft “spatial strategy diagram”
Final Report
29th June 2012
25
chapter
Stage 5
Drafting the Outputs
STAGE 3: Drafting the outputs
[see Chapter 5]
WHAT
HOW
1. Start sketchy
Create draft sketches by hand to brief the graphic designer.
2. Be clear about the category of graphic technique
Define whether each graphic is conceptual, analytical, technical / measurable or perceptual / virtual in nature.
3. Slide up and down the scales
Intersperse imagery throughout the report that demonstrates how strategies are to be delivered at the local level and how locally-based actions can help realise strategic ambitions.
4. Apply ‘The Big 10’ graphic design considerations
STAGE 3 OUTPUTS
A checklist of graphic design considerations is provided.
– – – – –
Graphical ideas generated in plan-user workshop(s) An exhibition Hand-drawn sketches used to brief graphic designer Draft computerised imagery A range of graphic material conveying how the plan is to be applied at differing spatial scales – Draft report(s) – Draft interactive / virtual / on-line graphics
STAGE 4: Finalising the outputs
26
[see Chapter 6]
WHAT
HOW
Finalise graphic outputs
– Finalise desktop published SDP report – Generate on-line, using interactive digital and or Matrix Partnership Ltd Urban Graphics film-based media if scope.
Final Report
5.1 Key
steps
1. Start sketchy We suggest that the drafting of outputs is initially done in sketch form by hand. These graphics tend to be more expressive than illustrating directly onto the computer. The job of the graphic designer or illustrator is to then interpret these drawing into computer plans and illustrations without diluting the original expression.
2. Be clear about the category of graphic technique Planning and Urban design graphics fall into one of four categories: • Conceptual graphics • Analytical graphics • Technical / measurable graphics • Perceptual / virtual graphics Categorising planning based information helps to select the appropriate graphical expression. Each category has distinct and different ways of communicating graphically.
i. Conceptual graphics These are used to encapsulate and convey a particularly important or strong idea. They convey messages without committing to form.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
27
ii. Analytical graphics Graphic representation of analysis or data can help identify the nature of problems and possible solutions.
28
Final Report
Matrix Partnership Ltd
Urban Graphics
iii. Technical / measurable graphics
iv. Perceptual /virtual graphics
Usually presented in two-dimensional form and allows precise data and measurement to be conveyed.
Help an audience understand how proposed designs/places might look and feel. These can be presented with varying degrees of reality, and be used to encourage participation. Diagrams can become illegible where they inter-mix more than one of these categories – for instance a map that has conceptual, analytical and precise technical information and graphical features all rolled into one.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
29
Big Ten’
The ‘
Graphic Considerations
3. Slide up and down the scales Intersperse imagery throughout the report that demonstrates (either indicatively or with reference to specific projects) how the more abstract strategic content of the plan is to be applied at the local level in practice. This is done very successfully in the Montpellier plan reviewed in Chapter 10.
1
2
Effective communication
Understanding your audience
Communication is a two-way process and takes place when the information being presented, is clearly understood by the target audience.
Your audience groups will have different levels of understanding, interpretation and visual awareness. One plan does NOT necessarily fit all. It may be necessary to produce a series of plans or graphics to appeal to different audiences.
4. Apply the ‘Big Ten’ Graphic Considerations The ‘Big 10’ is a list of graphic considerations that help guide the quality of a drawing, plan or graphic. Although it is not strict convention it is a very helpful checklist, particularly for non-specialists.
30
Final Report
Matrix Partnership Ltd
Urban Graphics
3
4
5
6
Consistency and continuity (brand & visual identity)
Visual expression
Existing & proposed
Intensity/density
Expressing visually to provoke certain thoughts, feelings, and emotions encourages the viewer to respond, engage and participate.
Graphic devices and techniques are required to illustrate “existing and proposed”. There many ways this could be expressed, providing there is a clear distinction between the current status and the future aspiration.
The relative intensity or importance of a particular activity or theme can be expressed by using a ranked colour scale. The colour scale should be graduated tonally.
A consistent graphic style emphasises: -- Authority -- Visual identity -- Brand This may be expressed through the designer’s choice of typeface, colour palette, layout templates and treatment of graphic figures, possibly reinforced by a project or corporate logo.
proposed”. There many ways this could be expressed, providing there is clarity on the distinction between the current status and the future aspiration.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
31
7
8
Hierarchy & sieving
Scaling elements
Multiple graphical elements should be designed to have a pecking order in relation to their importance. If the elements have no hierarchy the plan becomes illegible or difficult to understand. It should be immediately obvious when looking at a diagram to see the overall structure of a place, the hierarchy of settlements and the extent of change that is proposed (relative to the size of settlement).
Scaling elements in proportion to numeric values gives clarity and understanding to the rank.
One of the ways to further emphasise rank is to ensure the base map has only the relevant information – therefore sieve out all of the unnecessary or superfluous information. A good way of reviewing how well a plan performs in its hierarchy is to convert the final image into greyscale to see whether the tonal emphasis draws the eye towards those parts of the plan that are intentionally emphasised.
32
Final Report
Matrix Partnership Ltd
Urban Graphics
9
Themes / layers Separate layers of information can be presented on a common base-map. This reduces clutter and organises the information into themes or groups.
10
Levels of accuracy Indicative or definitive? Elements on a plan can have sliding scales of accuracy. The graphic artist is required to make choices about the levels of accuracy in the illustrations. As a starting point it could depend on whether the information is indicative or definitive.
5.2 Stage
3 Outputs
Depending on the stage in the SDP process, a range of hard-copy and digital / on-line outputs could be generated during Stage 3. It is important to ensure that graphics are flexible enough to work at different scales and both in print and online. Graphical outputs could be envisaged as: -- Illustrative ideas and suggestions generated in the plan-user workshop(s). -- An exhibition used to help communicate draft proposals to communities / stakeholders -- Hand-drawn sketches, either to be used in the plan document if they are of sufficient quality of to be used as briefing material for a graphic designer. -- Draft computerised imagery generated by the graphic designer. -- A range of graphic material conveying how plan policies and proposals are to be applied at differing spatial scales (international, inter-regional, regional, sub-regional and local). -- Draft report(s) – developing the storyboard(s) generated in Stage 2. -- Draft interactive or virtual graphics, potentially hosted on-line.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
33
STAGE 3 OUTPUTS
chapter
6 Stages
– – – – –
Graphical ideas generated in plan-user workshop(s) An exhibition Hand-drawn sketches used to brief graphic designer Draft computerised imagery A range of graphic material conveying how the plan is to be applied at differing spatial scales – Draft report(s) – Draft interactive / virtual / on-line graphics
and
Finalising the Outputs and Quality Control
STAGE 4: Finalising the outputs
[see Chapter 6]
WHAT
HOW
Finalise graphic outputs
– Finalise desktop published SDP report – Generate on-line, using interactive digital and or film-based media if scope.
STAGE 4 OUTPUTS
– Final desktop published SDP report – Proposals conveyed on-line, potentially using different digital media/technologies.
STAGE 5: Quality control
[see Chapter 6]
WHAT
HOW
Undertake a quality control review
Determine how well each of the graphic production stages have been applied
STAGE 5 OUTPUTS
– quality control review checklist
6.1 STAGE
4: overview
The graphics production and design management processes (illustrated graphically in Figures 2.1 and 2.2) intentionally aims to create plans that communicate well and depict the quality of a place as well as its future aspirations. It is the collaboration of skills that will create successful communication. The most successful graphics are ones that combine both a clear intellectual proposition with creative expression.
During this stage, the “raw material” of the plan – the text, photographs, diagrams, maps and other illustrations will have been assembled, prepared and refined. In graphic terms there are three central requirements: -- To ensure that the desktop published document is attractive, appealing and clear; -- To ensure that the main messages of the plan shine through – that key illustrations are not swamped with detail; and -- That all of the plan’s graphic material is there for a reason, not just as windowdressing. Each graphic should be accompanied by a clear annotation that makes a statement, and emphasises the image’s significance. In reality, this stage will involve a series of iterative sub-stages and loops, with graphic revisions made following each of the latter stages of SDP preparation, including stakeholder consultation and examination.
34
Final Report
Matrix Partnership Ltd
Urban Graphics
6.2 STAGE
Outputs
4:
Stage 4 could conclude with the preparation of a range of graphics, including: -- The final desktop published SDP report (and maps, diagrams and photographic imagery contained therein) -- Proposals conveyed on-line and/or by interactive digital and or film-based media.
6.3 Stage
5: Quality Control
Going back and checking how well the final outputs performed against the previous four stages is a way of assessing the quality as well as the inputs of the overall team. • Stage 1 Getting Started and Defining the Brief – Tick off how well the final outputs have answered the points and aspirations in the original brief. • Stage 2 Expressing the Story of Change - How much of the original richness of ideas, concepts and storyboards feature in the final outputs? • Stage 3 Drafting the Outputs – How well did the final graphics depict the visual expression of the drafted outputs?
6.4 Stage
Outputs
• Stage 4 Finalising the Outputs οο Use specialist skills to create plans.
5:
Stage 5 should conclude with a quality control review.
οο Evaluate how well the final outputs performed in Stage 1 – 3 as listed above. οο Allow others who have not seen the development of the plans to constructively critique what they see and interpret. οο Test how well the plans work in print (at various sizes; A6; A5; A4; A3) and on-line. οο Layout the plans and graphics in a logical order and see how well the story comes across without the text. οο Look at the plans and graphics without the keys/legends to evaluate their overall expression.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
35
SECTION C
LEARNING FROM PAST AND CURRENT PRACTICE
36
Final Report
Matrix Partnership Ltd
Urban Graphics
We now have a tremendous array of potential techniques to express plan proposals. Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
37
SECTION C
LEARNING FROM PAST AND CURRENT PRACTICE chapter
7 Learning from the Past A quick sprint through the evolution of urban graphics There is much to be gained in reflecting on the various approaches to plan-related graphic design that have evolved over the last 110 years. If we look to the Founding Fathers of modern-day town planning, such as Sir Ebeneezer Howard and Sir Patrick Geddes, it is clear that these were not only visionary town planners and urban designers, but also visual artists who understood the power of graphics in conveying complex propositions with simplicity. The diagrams that were used to explain the virtues of the Garden City concept remain tremendously influential to this day.
Fast forward to the immediate postwar period and one sees a coming together of creative thinking in both urban planning and graphic design. The iconic Copenhagen Finger Plan, devised in 1947, has been instrumental in guiding the city’s growth strategy ever since. This strong visual graphic became a powerful means of engaging everyone in the shared endeavour of city building. It conveyed a
simple premise – that green wedges would provide each of the suburbs with access to nature. Indeed it has become so integral to the city’s plan that it was formally incorporated into Denmark’s Planning Act of 2007 – ensuring that this simple strategy continues to be applied. It has been tremendously influential elsewhere.
Meanwhile in the UK Patrick Abercrombie’s 1944 Greater London Plan incorporated a series of beautiful maps that conveyed different aspects of the city’s make-up and planning strategy. The wonderfully evocative social and functional analysis (perhaps the first bubble diagram?) was instrumental in shaping the way the Capital has come to be perceived as a collection of villages.
38
Final Report
Matrix Partnership Ltd
Urban Graphics
Into the 1950’s and a series of strategic masterplans were prepared to guide New and Expanded Town growth, such as Sir Frederick Gibberd’s plan for Harlow (1952).
By the late 1960’s and into the 1970’s graphic company’s such as letrasetTM provided a number graphic tools to advance the production of visual communication. This twinned with new printing technologies meant the traditional art of map making and graphical communication had entered into an era of full scale production without compromising the its original quality.
In part a reaction to the nature of comprehensive clearance and modernist rebuilding that characterised much of the postwar years, the early 1960’s gave rise to a series of highly innovative urban thinkers that expressed themselves using new graphic techniques. Kevin Lynch’s Image of the City gave us in1960 a whole new language for describing the spatial components of a place. At the same time, Gordon Cullen’s Townscape taught us to appreciate the qualities of existing places using the “serial vision” graphic technique.
This was in stark contrast to the Ron Herron’s Archigram, which in 1964 marked the arrival of highly imaginative avant-garde graphic collages, which continue to be a source of architectural image-making inspiration.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
39
During the 1980’s the use of computers in graphic plan-making became increasingly commonplace and sophisticated. At the same time, influential practioners such as Leon Krier promoted a rediscovery of traditional town planning and hand-drawn graphic techniques. A significant step in printing with the introduction of colour laser copiers, meant that artwork of up to A3 size could easily be reproduced and widely shared at relatively low cost.
As we approach the present day, the 1990’s ushered in a profusion of strategic masterplans for urban growth and regeneration – with the Masterplan for the Granton Waterfront in Edinburgh in 1999, for example, setting new standards in computer-based planning illustrations. Into the Twenty First Century and computer animation has become ever-more sophisticated, with an explosion of ever-more sophisticated computer-based photo montages and Computer Graphic Illustrations (CGI) techniques. These not only seek to provide a photo-realistic depiction
40
Final Report
Matrix Partnership Ltd
Urban Graphics
of a future place, but are often used to convey via fly-throughs and walk-throughs three-dimensional qualities and experiences. On-line tools such as social media platforms are also increasingly being utilised as part of plan-making and stakeholder / community engagement processes.
Summary timeline Each of these periods in the evolution of plan-making graphics provides lessons of relevance to the present-day. We now have a tremendous array of potential techniques to express plan proposals – whether handdrawn diagrams or sketches, collages or montages, or computer-based plans, 3D representations or online interactivity. What we can see from the last 20 years in particular is graphic technologies tend to evolve in waves, as the timeline diagram opposite conveys. Prior to the 1990’s, the pre-computer era of planning graphics, it was commonplace to express planning intentions diagrammatically. Taditional cartography had evolved over centuries and there was an onus on keeping graphics simple in black and white. As computer use became more commonplace and sophisticated during the 1990’s a huge diversity of software use and experimental techniques led to some pretty confused and confusing outputs, which “settled down” during the 2000’s into a series of recognisable “norms” for different plan-based outputs. As we look to explore the future potential offered by on-line interactivity and virtual technology we can once again see a period of experimentation, with variable results.
Whereas new techniques are always evolving, they are generally not substitutes for previous ones. They present different information in new ways, but do not replace the huge array of tried-and-tested techniques that have been successfully applied through the ages.
HISTORICAL EVOLUTION 2D is appropriate for:
3D is appropriate for:
On-line is appropriate for:
• Representing policy
• Future vision
• Sharing with a wide ranging audience irrespective of their location
• Measured spatial information (eg. distances)
• Design issues
• Zooming in and out of scales
• Variety of angles, heights and positions
• Layering information
• Scale (eg. land area measurement) • Specific sites / infrastructure
• Varying degrees of reality can be used dependant on the stage of the development process. Therefore ‘indicative or definitive’ look
• Providing interactive content, therefore accessing more details by clicking • Linking or referencing to other relevant information elsewhere • Storing of data • Encouraging two-communication, participation and feedback • Updating at low cost without re-printing
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
41
chapter
8 Learning from Current SDP Practice 8.1 The Each of the SDP Authorities has expressed a desire to review the way that plan documents currently express proposals graphically, with a view to making improvements in the next generation of plans. This section summarises the current state of play and makes recommendations for future consideration.
Evaluation Framework
A series of principles were devised to assess each of the plans. These emerged from a review of each current SDP in comparison to good practice beyond Scotland. These were also tested as part of a closer look at the existing and potential future Aberdeen City and Shire SDP graphic material, which was focused on as this plan will be the first to be formally reviewed in Autumn 2012. At the workshop on Tuesday 15th May, participants were sub-divided into four groups, each of which were asked to constructively critique the graphic content of each of the existing SDPs against the following principles, which combined to create the evaluation framework:
1. Place Do the graphics demonstrate how the plan is rooted in appreciation of place identity? Do they convey the qualities and characteristics of the area? 2. Vision Do the graphics convey an inspiring vision? 3. Focus and hierarchy Do the graphics communicate clearly the scale, location and priorities of change? 4. Richness Do the graphics provide a threedimensional richness to the plan that makes it come alive?
42
Final Report
Matrix Partnership Ltd
Urban Graphics
5. The Story Do the graphics provide a narrative that clearly articulates the plan proposals, their underpinning rationale and the means of delivery? 6. Scaler Do the graphics span the different scales of consideration – international, national and inter-regional, strategic region-wide and local levels? The feedback from this exercise has been incorporated into a summary evaluation of the graphic content of each of the plans set out on the following pages.
8.2 Summary
of Current Practice
Common themes and ideas for improvement emerging from the analysis can be summarised thus:
1. Place
2. Vision
3. Focus and hierarchy
The graphics need to demonstrate how the plan is rooted in appreciation of place identity. This means conveying the qualities and characteristics of the area in terms of ‘scene setting.’ Current plans seek to convey this via text, there are few examples of imagery used to convey the essence of place. Two key areas for improvement are for plans to:
Graphics need to convey an inspiring vision. At present there is an over-reliance on text to convey visionary thinking, and arguably this text is of a fairly generic nature. Often there is no strong strategic vision conveyed in diagrammatic terms. Key tips for improving graphic content include:
The plan document should convey a hierarchy of information that conveys key messages. Likewise individual graphics should communicate clearly the scale, location and priorities of change relative to the existing situation and size of settlement. At present, in certain SDPs there no obvious hierarchy of information, it is not obvious where focus for development should be, it is difficult to form, and diagrams often repeat text so that information is duplicated rather than added to. Sometimes this is a case of graphic emphasis (i.e. use of ‘red’ colour) serving to make information stand out disproportionately to its level of importance.
• ensure development proposals create a positive sense of place that is responsive to the existing context. Graphics therefore move beyond conveying the quantum and land use of development. One method could be the identification of ‘strategic character areas’ of distinct identity. Each area could be profiled and the plan drivers relevant to each area spelt out. • be positive about rural areas – so that they are not just seen as the spaces in between. An expressive base plan can be used that features natural topography and other 3D graphic techniques applied (such as transects).
• Being selective – key unifying plan themes are emphasised to convey a clarity of vision – rather than every thematic layer of graphic consideration is given equal weight. • Using a range of graphic material that slides up and down the scales – showing how macro considerations are applied to realise the vision on the ground (and vice versa) • Thinking of the plan as more than just a technical planning document but as a promotional investment tool. Appealing graphics should be used to sell the region – performing a marketing role. This means incorporating graphics that convey the overall offer (socioeconomic as well as physical) • The vision should be consolidated into one picture (a spatial strategy diagram) that depicts the long term ambition and demonstrates how each thematic topic is inter-twined into a cohesive and integrated, place-based strategy.
Matrix Partnership Ltd
Urban Graphics
Improving on this means ensuring: • Graphics convey the hierarchy and structure of place created / altered via plan proposals. This can be done with varying degrees of graphic abstraction. • Graphics use symbols that are scaled proportionately – to convey the size of a place or amount of development proposed (relative to the size of the existing place) at a glance
Final Report
29th June 2012
43
4. Richness
5. The Story
6. Scaler
Graphics should provide a threedimensional richness to the plan that makes it come alive. There is certainly scope for improving upon current plans. The focus should be on:
Graphics should provide a narrative that clearly articulates the story of change – the plan proposals, their underpinning rationale and the means of delivery. The plan’s graphic content should tell its own story – key messages should be able to determined from a quick flick through. This only happens in a limited way with some of the SDP’s at present.
Graphics need to span and inter-link the different scales of consideration. Plans should be outwards-facing, going beyond regional boundaries to address international, national and inter-regional, strategic region-wide and local-level linkages and relationships. At present, plans are often confined to life within the somewhat artificial ‘red line’ boundaries of the region – giving scant regard to wider thinking. Equally, there is little graphic content that demonstrates the impact of proposals at the local level.
• moving beyond just 2D maps expressing the vision and its interwoven strategies via diagrams, sketches and photos that convey future intentions. • Utilising topic-based diagrams that could be used to express some of the issues and challenges of the place now and how this is proposed to change (or be conserved), such as sustainable communities, waste strategies, population growth etc. There may be scope for sharing graphic resourcing where issues are common to all SDPAs.
Improving upon current practice means ensuring the plan document: • Has a logical flow – with the vision presented early to captivate, followed by a “delaminating” of the vision’s constituent layers. • Includes the issue of delivery – with graphics potentially used to signal timing and phasing priorities. • Integrates the plans layers (rather than profiling each one in turn in isolation) – particularly public transport and land use planning. • Distinguishes between what is existing and proposed.
There is a question as to what degree SDPs should dip down to the local. The need to spell out the relevance to communities is, however, recognised, particularly at the Main Issues Report (MIR) stage when key issues are being canvassed as well as in providing explanation to the final plan proposals. The content of such diagrams should certainly be magnified – not just replicating strategic plan content at a larger scale (which happens at present in certain plans).
This can either be dealt with via initial strategic development masterplan diagrams that establish the fundamental structuring elements for sub-areas that, for example, contain a series of strategic development sites within close proximity (perhaps hand-drawn to convey their preliminary status – see Montpellier case study in Chapter 10), or else via place typology diagrams that explain the key considerations for each type of place (eg. coastal regeneration area, rural conservation, city expansion) but not developed in site-specific detail.
• Conveys the scale of change and explore / explain what this will mean for different sub-area places found within the overall SDP area.
Initial sketch idea developed in workshop considering how the relative scale of change to a settlement could be represented graphically (a relatively modest amount of development could have a disproportionately significant impact on a small settlement)
44
Final Report
Matrix Partnership Ltd
Urban Graphics
8.3 Other
graphic design-related scope for improvement
The review of current SDP practice also highlighted other practical graphic design issues where there was scope for improvement, including the need:
• to consider graphics from the outset – possibly using graphics to reduce the word count. • for attractive graphic design desk top publishing, ensuring that documents are interesting and have appeal. Practicalities of document format also need to be addressed, with a preference for conventional A4 format for portability, ease of photocopying etc. • to consider different graphic content at different stages of plan’s evolution, for instance more issues-related graphics at the MIR stage.
Initial sketch developed in workshop considering the relationship between the SDP, LDP and Masterplan processes
• for a balance of text and graphics. As an initial rule of thumb, a 50:50 text to graphics ratio should be considered for each double-spread, including white space that lets the document ‘breathe’. • To consider the inclusion of navigational devices within the document, such as colour coding. • To ensure photos add to the story, not just there for vacuous embellishment.
• to ensure that graphics work in print and on-line • To conceive of SDPs as “gateways of information”, particularly on-line, where they can serve as portals to a series of nested plans. This can emphasise the relationships between scales and opens up various online interactive possibilities. On-line plans could be set up to provide the ability to drill down to find out more.
• To consider the importance of image annotation – each image should include an annotated sentenced that makes a point supportive of the text on the respective page.
Initial sketch idea developed in workshop to create a diagram representing a wire or cable made up of the different strands of the strategy
Sketch suggestions for potential SDP graphics generated at the workshop
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
45
8.4 Initial
Ideas for Alternative Graphics
To demonstrate how the ideas and techniques contained in this report could be applied in practice, some preliminary graphic examples have been prepared that relate to the Aberdeen City and Shire SDP area. 14
1. Graphic example that addresses the international dimension The table on the bottom left illustrates the level and destination of international sales of oil and gas from the North East of Scotland. The world map graphic below aims to convey the table in a visual manner, combining both graphic and map. The message of international activity becomes far stronger when expressed in this way. This now paints a better picture of the global reach and economic activity of Scotland’s energy related businesses.
SURVEY OF INTERNATIONAL ACTIVITY IN THE OIL AND GAS SECTOR 2010-2011
These seek to represent the range of scales of diagram that each plan contains.
A diagram of this kind not only serves to emphasise the importance of retaining and developing the Aberdeen City and Shire area’ but also helps to emphasise the importance of: a) infrastructure such as efficient air links to Heathrow as the premier UK flight hub; and b) the wider offer in terms of skills expertise and the landscape and cultural characteristics of the North-East that make it such an attractive place to call home and run a business from.
MARKET ANALYSIS OF INTERNATIONAL ACTIVITY IN THE SERVICE/SUPPLY CHAIN CONTINUED TABLE 5 DESTINATION OF INTERNATIONAL SALES BY COUNTRY MARKET IN 2010 [£M CURRENT PRICES] Direct Export
Overseas Subsidiary
Total International
185
1,642
1,827
2
729
731
(3) Australia
71
592
663
(4) Norway
253
313
566
(1) United States (2) Canada
(5) Angola
343
168
511
(6) Nigeria
160
93
253
(7) Azerbaijan
34
183
217
167
199
(8) Russia
32
(9) United Arab Emirates
98
24
(10) Colombia
0
116
116
(11) Equatorial Guinea
37
64
101
(12) Brazil
47 47 IN THE OIL AND GAS SECTOR 942010-2011 SURVEY OF INTERNATIONAL ACTIVITY
(13) Netherlands
77
16
93
(14) Chad
0
88
88
122
(15) China
2
76
(16) Kazakhstan
29
44
73
(17) Argentina
3
55
58 58
(18) Libya
78
9
49
(19) Trinidad & Tobago
2
50
(20) Oman
1
51
52
(21) Gabon
1
42
43
(22) Israel
Direct0Export
Overseas37 Subsidiary
37 Total International
(23) Singapore
52
25
11
(24) France
14
17
31
(25) Malaysia
29
1
30
(26) Algeria
10
18
28
(27) Germany
7
19
36
26
(28) Indonesia
9
15
24
(29) Mexico
0
23
23
(30) India
21
1
22
Other named markets
103
Unspecified markets TOTAL
112
15
215
695
400
1,095
£2,298.5m
£5,263.2m
£7,561.7m
The market distribution for the combined total international sales is shown in Figure 6.
FIGURE 6 SHARE OF 2010 TOTAL INTERNATIONAL ACTIVITY BY COUNTRY MARKETS [%] Countries Others (33%)
Angola (7%)
United States (24%)
Nigeria (5%)
Canada (10%)
Azerbaijan (3%)
Australia (9%)
Russia (3%)
Norway (8%)
Destination of International Sales by Country Market in 2010 [£m current prices]
46
Final Report
Matrix Partnership Ltd
Urban Graphics
Left : Town House, Old Aberdeen Right : Fraserburgh beach
2. Graphic example of a region-wide diagram Left : Town House, Old Aberdeen Right : Fraserburgh beach
Figure 2 : Spatial Strategy
Each SDP needs to include one regionwide diagram (which could be called the “spatial strategy diagram) that conveys the key aspects of the plan proposals in overall terms. The graphic opposite takes Figure 2 : Spatial Strategy the previous Structure Plan “key issues diagram” as the starting point and rather than considering every aspect that this diagram would need to incorporate, it seeks to convey two considerations more effectively than the current key diagram, namely: -- the landscape setting and green network – being positive about the rural areas and expressing the topography as a key influence on place identity; and -- public transport-orientated communities with focus rather than continuous corridors that read as “strip development.”
Page 8 : Aberdeen City and Shire Structure Plan - August 009
3. Graphic example of local-level thinking This diagram seeks to address address some of the key energy and waste-
Spatial Strategy, Aberdeen City and Shire Structure Plan
Page 8 : Aberdeen City and Shire Structure Plan - August 009
Updated graphical representation of Spatial Strategy
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
47
related environmental issues affecting the Aberdeen City and Shire region. It is an intrinsically complex diagram, though a range of graphic device (simplified shapes, colours, hierarchy of line weights etc) have been used to focus attention and simplify it as much as possible. It is possible that a graphic device such as a magnifying glass could be used to highlight a key feature or place within this overall system at an even more local level.
48
Final Report
Matrix Partnership Ltd
Urban Graphics
8.5 On-line
and interactive technologies
At present, the Strategic Development Planning Authorities have exploited the potential offered by interactive and/or on-line technology in a limited way. It is important that this is given focus as onlineaccess to plans becomes increasingly important as a means information and engagement (although it should not be forgotten that many rural areas lack broadband). Uploading maps on-line gives the world instant access and the ability to download them very quickly. The standard way of saving files for downloading is PDF. To communicate Spatial Plans on-line there are essentially two ways this could be approached:
Static Maps are ones that are simply displayed and are void of any special interactive features. They may go as far as being zoomed in or downloaded and are very similar to print based maps.
Interactive features as a minimum should include:
With the National Planning Framework for Scotland 3 being prepared at the same time as the next generation of SDPs -- Zooming features the potential exists to think in a much more integrated way about the scope -- Layers that area able to be turned off Neighbourhood Planning Tools Reviewed for an integrated online planning portal Dynamic/Interactive Maps have -- Links or pop-up boxes giving more that comprises a series of nested plans special attributes that them a particular element. 5.make Conservation areas: making information your town aabout better place (at national, regional and local levels) interactive. The level of interactivity can and associated links to access further -- Printing and download options Author English Heritage vary dramatically – how much http://www.guardian.co.uk/artanddesign/interactive/2009/jun/22/conservation-areasor how little information. This could potentially bring street-scene interactivity is required to communicate -- Consideration to smart phone the SDPs together with other related the message is entirely in the hands of compatibility. strategic documents related to transport, Background and scope the project team. Web designers and economic Neighbourhood Planning Tools Revieweddevelopment, environmental programmers should beConservation on call toareas: givemaking your town a better place is an interactive web-based graphic and community planning to present a cothat demonstrates how an area can be Good improved.examples It is an interesting and innovative device of dynamic/interactive rooms, including images, documents, movies, 3D models, panoramic photography and guidance and advice. that points the way as to what can be achieved via web-based technology, rather than a ordinated picture of change. YouTube videos. spatial plans are scarce although expect neighbourhood planning tool per se.
to grow in the near future. These maps An example is given whereby Bloomsbury Association commissioned a virtual tour of the Dynamic Content can beWhat turned to when is it area to help inform their forthcoming Neighbourhood Plan. The room contains a map of the require specialist skills and a host technicalarea, a series of street-level 360-degree photographs, and video interviews with local clarity is unachievable by static maps. This web-based device Heritage is hosted the Guardian web-site and specifications foronthem to function properlyresidents. When information becomes cluttered orprepared by English uses thought-provoking ‘before and after’ imagery to demonstrate how a range of measures A brochure can be downloaded that explains more about how this technique can be applied on-line. There are budgetary and resource is too extensive to demonstrate on toa improve static a place (not just conservation areas). can be applied to neighbourhood planning: issues that will need to be tackled as part map – dynamic or interactive maps can http://stickyworld.com//wp-content/uploads/SW_Community-led-planning.pdf Resource implications of the process. help decipher complex messages simply Resource implications A web-based visualisation that can be accessed free-of-charge. and grow the story through its interactive A 30 day free trial is offered, thereafter Stickyworld is charged through subscription on a layers. commercial basis.
This interactive web-based graphic prepared on behalf of English Heritage indicates how thoughtprovoking ‘before and after’ imagery can be used to demonstrate the benefits of planning intervention http://www.guardian.co.uk/artanddesign/interactive/2009/jun/22/conservation-areasstreet-scene
Matrix Partnership Ltd
Urban Graphics
Stickyworld is a web platform devised by architectural practice Slider Studio that provides an ingenious “virtual venue” for community engagement and plan-making. http://stickyworld.com/
Final Report
29th June 2012
49
8.6 On-line
participation
Community involvement has never before been more important in planning and place-making. The question is: “How can community engagement and participation (moving beyond formal consultation) be undertaken at a regional level in a way that is made relevant to people at the local level? Equally, how can positive actions be mobilised locally in ways that help realise regional ambitions?” At this stage it is worth considering the potential that webbased tools key play. This is no easy task, given the complex and somewhat abstract nature of regional planning. The excellent on-line video prepared by Architecture + Design Scotland indicates the potential for new media to reach out and engage. http://www.ads.org.uk/urbanism/features/ participate-in-plan-making Of fundamental importance is the need to understand the diversity needs of individuals and communities. In recent years an exciting plethora of on-line participation tools have begun to emerge. These are not substitutes for traditional face-to-face and paper-based methods, but offer new possibilities.
50
Final Report
Virtual tools aim to: • Aid decision-making transparency • Provide open discussion forums • Reach a wider audience, including those who may not be able to attend consultation events • Communicate quickly • Collate and share a wealth of knowledge about a place or of peoples requirements • Document feedback • Consider objection The number of virtual tools is growing rapidly; from simple surveys to complicated ways of presenting graphical information, such as: www.surveymonkey.com http://youcanplan.stickyworld.com/ http://www.delib.net/
Matrix Partnership Ltd
Urban Graphics
Social media has become the most popular way of communicating on-line. Groups, forums and blogs are ways in which the transfer of knowledge and feedback has become very efficient and open. Communities, projects and places set-up groups and can quickly gather momentum, support and feedback for their agenda. With nearly every home in the UK now having access to the internet in some form, and 600 million users visiting Facebook every month, the potential of social media sites like Facebook and Twitter is huge. More importantly, social platforms like Facebook and Twitter allow you to interact with like minded people and instantly comment and share your ideas, news and recommendations amongst their friends. If your news or ideas are appealing, fans and followers of your pages will “Like” “Share” “retweet” and “re-pin” helping your news to travel further than just your direct email database or registered website users.
Some of the benefits of using social media include the ability to: • create adverts targeted at specific users • take advantage of current news trends • share pictures, videos and music easily • broadcast news, special offers and knowledge For Strategic Plans the use of such technology offers excellent ways of tapping into local and regional knowledge, stimulating interest and explaining the potential for the SDP process to help shape places for the better.
8.7 VIDEO 3D, animation and video are powerful and persuasive methods for communicating or transferring knowledge to an audience. It has become the most useful resource on-line and accepted way of sharing information across the World Wide Web. Not only does it help visualise future proposals but also aides the design process. It is a completely versatile form of communication and can be used as a series of still images right the way through to a virtual tour or animated experience. 3D and animation leaves less to the imagination and brings you one step closer to the reality.
The sales, marketing, or promotional message can be honed and delivered consistently to the target audience. It allows us to condense the salient points and deliver the vital message within a short time-frame, therefore keeping the viewers interested. If done well, on-line videos bring with them a sense of authenticity, credibility and gravitas.
www.ads.org.uk/urbanism/features/participate-in-plan-making
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
51
chapter
9 Learning from Around the British Isles
It is beyond the scope of this report to undertake a thorough review of regional planning graphics beyond Scotland. However, a brief review of some of the key regional planning –related documents elsewhere within the British Isles highlights that the graphics that they contain are found wanting.
• Irish Regional Planning Guidelines tend to be very text heavy, with graphics that fail to inspire. Often graphics appear to provide abstract representations of existing urban patterns, such as groupings of settlements and their inter-linkages, rather than conveying future-facing strategies. See http://www.mwra.ie/Regional_ Planning/MidWestDraftRPGs2010-2022. shtml
52
Final Report
Matrix Partnership Ltd
Urban Graphics
• The Wales Spatial Plan incorporates two tiers of graphic content. The National Vision diagram has an intended fuzziness that conveys little in the way of visionary proposals – serving only to provide a key diagram for the different regions, denote settlement hierarchy and hint at interlinkages via a series of “dad’s army arrows.”
This is followed by diagrams for each of the regions that add very little additional information or indication as to what change the plan is to bring about. See http://wales.gov.uk/dpsp/ wspatialplan/documents/ wsp2008update/wsp2008updatee. pdf?lang=en
• The Former English Regional Spatial Strategies also comprises two tiers of map-based graphics and struggle to reconcile this scale change. The region-wide plan serves as a key plan. The only plan-based information that can be discerned from this diagram relates to the land in between each of the main settlements. Inset boxes are placed over each town and city, forwarding the reader onward. It has a huge key, with a complex array of symbols.
Matrix Partnership Ltd
Urban Graphics
At the next level down, more detailed inset plans are reliant on a system of common symbols for their interpretation, which convey the existing and proposed ingredients (eg. proposed housing quantum), rather than more qualitative place-identity characteristics. See http://www.southwest-ra.gov.uk/ nqcontent.cfm?a_id=836
Final Report
29th June 2012
53
10 European Inspiration
chapter
Emscher Landschaftspark Germany
10.1 Case
study 1
There are several high calibre examples of clear and captivating graphic illustrations supporting regional plans elsewhere in Europe. Three examples are profiled below:
The use of a magnifying glass graphic helps to convey the relationship between regional and local levels.
Once a key part of Germany’s industrial heartland, by the late 1980’s many of the traditional industries of the Ruhr Valley had fallen into decline. In 1989 a ten year regional regeneration International Building Exhibition (IBA) programme was initiated. This brought together a host of similar sized towns and cities together. Given the lack of hierarchical distinction between the settlements this represented a major political challenge. The one uniting feature was the Emscher River that flowed through the area, but traditionally this had been regarded as a sewer, rather than an asset.
The IBA ushered in a process of cultural and environmental transformation. A clear vision emerged, supported by a variety of graphic material. This vision comprised two inter-related aspects: -- a 70km – long “landscape park” that celebrated the area’s natural assets and creatively re-imagined the waste-land legacy; and -- a celebration of the area’s industrial heritage – reinterpreting the region’s derelict industrial structures and integrating these with a range of new facilities. Ten years and 100 projects later the IBA formerly ended and in 2002 a system of strategic planning was reinstated with EU assistance.
54
Final Report
Matrix Partnership Ltd
Urban Graphics
A range of graphics such as this emphasise the region’s landscape structure
The graphic itemises industrial heritage-related projects proposed within the region
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
55
The Emscher regional strategy gave rise to the implementation of a wide range of elegantly designed projects
56
Final Report
Matrix Partnership Ltd
Urban Graphics
Summary points to learn from: -- A disarmingly simple vision with clear uniting themes The Emscher story is a very easy one to tell. A “landscape park” provided the uniting theme, together with imaginative conceptualisation of the area’s industrial heritage as a means to project a confident new identity. Landscape served as the “glue” that bonded projects together – which translated into the creation of strategic green corridors and a variety of high quality environmental improvement initiatives.
-- A rich variety of graphic techniques Different graphics are utilised to convey the relationship between strategic intentions and local implementation (such as the magnifying glass), many emphasising the landscape context.
-- T he regional plan as over-arching umbrella, supported by a co-ordinated approach to local design review Emscher also provides interesting lessons in governance. It is a polycentric region, comprising 17 local authorities. Politically each of cities is run separately, each with its own mayor who came together to jointly fund the process. Eventually the regional strategy gained agreement of all the mayors. The IBA team had no formal legal status or power; its role was therefore to stimulate and help facilitate projects but not to run them. Key to the project’s success was that it was agreed that the IBA team would undertake a design review process to assess environmental and design quality. Those that received approval were prioritised for funding.
Matrix Partnership Ltd
Urban Graphics
-- A focus on implementation Emscher was essentially a bottom-up process focused on delivery. What could have been seen as a collection of liabilities were turned into a series of inter-connected, imaginatively designed places bound together via a green parkland landscape. The regional strategy was therefore seen as a means of providing a co-ordinated approach to implementation and quality control.
Final Report
29th June 2012
57
RANDSTAD
CHOICES: BASED ON GUIDING PRINCIPLES
Netherlands
10.2 Case
study 2
The Randstad comprises a polycentric grouping of four of the Netherlands’ largest cities, arranged around a “green heart” of landscape that sits just above sea level, interspersed with waterways. Collectively, the area represents Holland’s most important economic motor and the focus of political, administrative, social and cultural life. Given that the area constitutes one of the most densely populated areas in the OECD (with 7 million inhabitants or 41.5% of the Dutch population on less than 20% of Dutch territory), effective inert-regional land use planning is of key concern. Interrelationships are effectively conveyed in the opposite cartoon.
Of the characteristics of the Dutch approach to regional planning is the tendency to face outwards – to compare and consider the relationships between each region and its international setting. A series of abstract though nonetheless clear and engaging graphics are used to convey long term challenges and associated strategies. For clarity, these are simplified as Green, Blue, Red and Orange Strategies. The first two of these are often described as a hybrid greenblue strategy – to create a safe, climate proof delta. Red is to “strengthen what is internationally strong” (the main economic drivers of each place – whether key business sectors, universities, airports or ports). Orange represents “powerful sustainable cities and regional mobility.” The connections between these four over-arching considerations are underscored with diagrams emphasising regional mobility and international linkages. The plan encompasses colour-coded strategies – which aid graphic legibility and read-across between strategic themes, as well as serving as a document navigational device
58
Final Report
Matrix Partnership Ltd
Urban Graphics
Context location plan INTERNATIONAL
Clear and simple diagrams are used to STRENGTHS convey existing geographic characteristics
NGO’s and international institutions Science International events
This cartoon serves to emphasise how individual settlements function as parts of a greater whole
Urban tourism Main offices multinationals and international banks Harbor, airport and international accessibility GRP
International Strengths
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
59
FUTURE PLANS – OLYMPICS AS MEANS TO AN
werful sustainable cities and regional mobility
Living in a safe, climate proof and greenblue Delta
Making quality by a stronger connection between "green, blue and red" om Green Heart to asustainable green &cities blue Powerful anddelta regional mobility Living in a safe, climate proof and greenblue Delta
From Green Heart to a green & blue delta
60
Final Report
Making quality by a stronger connection between “green, blue and red”
Matrix Partnership Ltd
Urban Graphics
FUTURE PLANS
Summary points: -- An outward-facing, international perspective is a strong feature of the graphics In contrast to Emscher Park, the Randstad strategy concentrates on a small number of large-scale international projects with international appeal as part of their bid for the 2028 Olympics.
-- The Green, Blue, Red and Orange colour coding is an extremely effective graphical device It provides a way of conveying each layer of the strategy and serves as a navigation device. Colours are strong and clear.
Matrix Partnership Ltd
Urban Graphics
-- Although packed full of information, the Randstad 2040 composite diagram is clear and appealing It provides an interesting contrast to the traditional British ‘key diagrams’ or more recent Scottish Strategic Development Plan diagrams. Each of the green, blue, red layers over over-laid (though orange is omitted). The graphic has an attractive dynamic and conveys both the quantum and structure of growth. The focus is on integrating each of the layers of consideration. The diagram’s legibility is a result of strong, selective colour coding, simple graphic shapes and an abstracted base plans that nonetheless captures the principal landscape features.
Final Report
29th June 2012
61
Montpellier SCOT
FRANCE 10.3 Case
study 3
The French Schema de Coherence Territoriale (SCOT) system of sub-regional strategies has been in existence since 2004. The Montpellier SCOT provides an interesting example of what are wide-ranging strategies for strategic management and conservation that set out macro strategies for the sub-region as well as a series of more detailed plans for each sub-area at 1:25,000 scale. These are backed by design guides and briefs related to priority areas / projects. In terms of land area, the Montpellier subregion covers 1,438 km2 (less than 50% of the Glasgow & Clyde Valley SDP area and 18% of the land area covered by TAYplan). However, in terms of population at 460,000 the plan is comparable to the Aberdeen City & Shire (about 449,000) and TAYplan (about 475,000) areas.
The plan begins with graphical depictions of the area’s demographic projections and then addresses the attributes and characteristics of the existing area. It is positive about the rural “diamond point� landscape, rather than seeing this as the space in between (as is often the case with its British equivalents).
OH UpVHDX GHV GpSODFHPHQWV DFWXHO HW SURMHWp 6RXUFH GRVVLHU GH YRLULHV G¡DJJORPpUDWLRQ GH 0RQWSHOOLHU HW SODQ GH GpSODFHPHQWV XUEDLQV
0RQ
WUDPZD\ OLJQH WUDPZD\ OLJQH HQ FRXUV GH UpDOLVDWLRQ WUDPZD\ OLJQH j O¡pWXGH YRLH IHUUpH YRLH IHUUpH DFWXHOOHPHQW GpVDIIHFWpH IXWXUH /LJQH *UDQGH 9LWHVVH
3
SDUNLQJV UHODLV H[LVWDQWV HW SURMHWpV DXWRURXWHV YRLHV VWUXFWXUDQWHV G¡pFKHOOH G¡DJJORPpUDWLRQ /,(1 FRQWRXUQHPHQWV 5' 5'
What comes across very strongly is the way the plan slides up and down the scales – addressing environmental, social and economic development-related issues and proposals at the macro level and at each step conveying how these are locally implemented.
DXWUHV YRLHV VWUXFWXUDQWHV G¡pFKHOOH ORFDOH
The other central feature is the close interweaving of land use and transportation planning – particularly how development relates to the sub-regions existing and proposed tram network. For instance, different settlement typologies are defined according to their proximity to stations.
Existing and proposed transport movement diagram
62
Final Report
Matrix Partnership Ltd
Urban Graphics
NP
NP
Example hand-drawn illustration used to convey key masterplanning requirements for priority projects H[WUDLW GH O¡pWXGH /*9 $ DJHQFH 1 0LFKHOLQ
FDUWH ,*1
The various layers of the plan are shown in composite. Although a fairly complex diagram, it serves as a synthesis of each of the layers of the plan set out on preceding pages. However, it should be noted that one of the municipalities on the eastern fringes of Montpellier city and the associated coastline opted not to be included within this strategic planning exercise and therefore somewhat inelegantly diagrams omit this area’s of Montpellier’s hinterland.
The plan zooms in on a series “site strategies� for priority areas or projects – which are both urban in nature (such as settlement extensions around tram nodes) and rural improvement initiatives. Each of these is profiled in turn and it is interesting to see that the associated graphics are hand-drawn, emphasising their draft schematic nature but nonetheless providing clear guidance on how it is expected strategic proposals are followed through to the local level.
This graphic highlights focal points for development set within the wider landscape and urban context
SULQFLSH GH GpYHORSSHPHQW GX VHFWHXU &DGRXOH HW %pUDQJH DXWRXU GHV UpVHDX[ GH WUDQVSRUWV SXEOLFV LQWHU XUEDLQV H[WUDLW GH O¡pWXGH GH GpÀ QLWLRQ pTXLSH 6HXUD
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
63
OHV ´SRLQWHV GH GLDPDQW¾ GX SD\VDJH
/HV ULVTXHV HW OHXU SUpYHQWLRQ OHV ]RQHV G¡DOpDV GHV ULVTXHV LQRQGDWLRQ VRXUFH GRQQpHV WHFKQLTXHV ''(
]RQHV URXJHV DOpD JUDYH ]RQHV EOHXHV DOpD LPSRUWDQW
NP
NP
A series of plans highlight existing geographic features of note – in this case the “diamond point� landscape
64
Final Report
Matrix Partnership Ltd
Urban Graphics
NP
NP
Flood risk areas
Summary points:
" $ ( $ $ (& !! $ %"
SODQ GH V\QWKqVH GX SURMHW G¡DPpQDJHPHQW HW GH GpYHORSSHPHQW GXUDEOH
-- The Montpellier strategy incorporates a rich variety of graphic imagery, although it comprises several reports, extending over several hundred pages, and therefore cannot be used as a reference point for SDPs in its entirety. In part because of the extent of document space available, the plan uses a variety of map-based and threedimensional techniques to spell out implications to the reader.
-- The plan’s graphical imagery encompasses a series of attributes of direct relevance to the SDPs Landscape is regarded in very positive terms; there is a focus on integrating land use and transport planning; and graphics slide up and down the scales – making it clear (both indicatively and in relation to specific sub-areas) how the strategy is to be delivered locally. -- Local level development framework diagrams are hand-drawn to convey their preliminary nature but serve to define local-level fixes
1
NP
These provide the basis for masterplans to work within (related to key routes and other fundamental aspects of spatial organisation)
NP
The composite strategy diagram emphasises the relationship between proposed development and public transport
/( 352-(7 '¡$0e1$*(0(17 (7 '( 'e9(/233(0(17 '85$%/(
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
65
10.4 Summary
good practice pointers
In terms of the way that each of these plans communicates graphically, each: From Green Heart to a green & blue delta
OPTIONS FOR OLYMPICS IN NL CHOICES: BASED ON GUIDING PRINCIPLES
COMPACT
SPREAD • tells a story of change – material is arranged so that a highly graphic narrative unfolds
• is selective in its emphasis, whether Emscher Valley’s “landscape parkland” or the Randstad’s Green, Blue and Red Strategies, the plan is distilled down to its essence, providing a clarity of vision
FUTURE VISIONS
66
Final Report
Matrix Partnership Ltd
Urban Graphics
• includes a richness of graphic material, incorporating a variety of 2D map-based as well as 3D illustrative techniques (hand-drawn, photomontages etc)
RANDSTAD 2040 IN INTERNATIONAL CONTEXT
FUTURE PLANS – OLYMPICS AS MEANS TO AN E
• slides up and down scales – although there is some conventional macro to micro plan report structuring, locallevel graphics are used throughout to demonstrate how strategic intentions can or should be implemented.
• is positive about rural areas – in terms of positioning the plan proposals within their landscape setting as well as including rural improvement initiatives. This comes across in the plan graphics – the base-plan of maps, for example, tend to express the topography
• integrates land use and transport planning, graphically emphasising the relationship between proposed development and public transport infrastructure;
Matrix Partnership Ltd
Urban Graphics
• tends to incorporate a summary proposals map/diagram that is quite complex and abstract in nature but well composed in terms of colours and hierarchy of information.
Final Report
29th June 2012
67
SECTION D
MOVING FORWARD
68
Final Report
Matrix Partnership Ltd
Urban Graphics
The wider promotional role of strategic plans should influence graphic content. Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
69
SECTION D
MOVING FORWARD 11 Recommendations and Ideas for Improvement
chapter
The SDP Managers have expressed a desire to improve graphical quality in the next generation of SDP documents and have embarked on an extremely constructive process of joint reflection and review. From the initial search of regional plan examples from elsewhere it is highly likely that no one example that has everything. An innovative approach is therefore required, one that blends the suggestions and ideas for good practice that this report contains.
To continue the momentum that has been initiated through this exercise, we suggest that the following recommendations for follow-up action be considered: 1. Operationalise the design management process contained in this report – the key steps, the tools, tips, techniques and examples that can serve as reference points. The recommendations contained in this report have implications for project management. In particular the key principles of Chapter 8 should guide the process. 2. The suggestion to use storyboarding as central to the plan-making process going forward should be embraced. Further guidance on this aspect could be prepared to provide assistance.
70
Final Report
Matrix Partnership Ltd
Urban Graphics
3. National Planning Framework 3 provides a major opportunity for co-ordinating national and SDP planmaking graphics, establishing a shared graphic language. The graphic content of NPF 3 should be considered in the context of the advice contained in this document. The potential benefits of this process being run in parallel with the next review of SDPs should be exploited. In part, NPF3 should be seen as bringing together the four SDP jigsaw pieces and should possibly establish a common graphic language to be followed for clarity.
4. There should be further focused work on achieving graphic consistency between SDPs. There should be consistent read across between SDPs and the NPF3 should be conceived almost as one large map that divides into seperate SDPs. Regularising could and should speed up the process, making graphics production more efficient. It may be beneficial to devise a common graphic language at Scotland-wide level, to be re-used and adhered to in each SDP (eg. base plan, common symbols, colours etc). The Randstad example demonstrates how effective colour coding can be as an aid to plan understanding and navigation.
5. The wider promotional role of strategic plans should influence graphic content. These shouldn’t be just seen as land use documents but also as promotional tools – prospective investors should be able to quickly identify where investment may be possible and welcomed. 6. Better graphics have skills, capacity and budgeting implications – opportunities for pooling resources should be fully explored. Gearing up to produce better graphics has implications for hardware, software and personnel (skills). In the case of both Emscher and Montpelier high quality, co-ordinated outcomes were achieved via pooling resources and in the case of the former joint design review arrangements.
7. Raise awareness and promote the outputs of this project. Although this report is specifically geared to SDPs, many of the findings have relevance at both the national and local levels of plan-making. Presentations or workshops could be held at conferences or seminars, articles could be written online and in the technical press.
9. The potential for on-line and interactive technologies should be embraced. The opportunities for interactive engagement and for sharing information should be explored and exploited. Plans should be seen as portals. NPF 3 provides an opportunity in this regard – to devise a planning portal system of nested online plans.
8. Implement a programme of roll-out training – if the production of high quality graphics is to feature more prominently as an integral part of the plan-making process at all levels, then attention needs to be paid to skills development training – both of planning project managers and of graphic designers (particularly those in-house) who are responsible for graphic outputs.
Matrix Partnership Ltd
Urban Graphics
Final Report
29th June 2012
71
Credits Credits for the images and illustrations used within this report are provided below where we have the details available. P27 left: Zandbelt & vandenBerg architecture and urban design P27 right: Andrew Wright Associates P28 left: UCL Space Syntax Laboratory P32 left: Andrew Wright Associates P38 – 40: internet sourced. Credits provided in main body text P52 – 53: Credits provided in main body text P58 – 61: Original author unknown. As presented International Forum on Urbanism Summer School. http://www.ifou.org/summerschool/2009delft/lectures/01_ifou_summerschool_2009.pdf p62 – 65: See http://www.montpellier-agglo.com/nos-grands-projets/schema-coherence-territoriale/
72
Analysis Report
Matrix Partnership Ltd
Urban Graphics
Communicat ing Regenerat ion
Matt Lally Matrix Partnership 17 Bowling Green Lanes London EC1R 0QB T E
020 7490 9360 m.lally@matrixpartnership.co.uk
Bally Meeda Urban Graphics 31 Castle Lane Bedford MK40 3NT T E
01234 353870 bally@urban-graphics.co.uk