The View from the Road Learning of A56 Highway
Gonzalo Sanchez Garcia
Contents
3
Introduction
3
The View from the Road: Book Review.
6
The Approach to A56 road
7
Analysis and Results
12
Conclusion and recommendations
12
References
The View from the Road Learning of A56 Highway.
Introduction The View from the Road (Appleyard et al, 1964) attempts the aesthetic potential of highways by exploring the driver's visual experience and passengers. The authors proposed a set of concepts and elements such as the sense of motion and space that might be used to analyse the visual effect of current roads and improve their design qualities. On the other hand, in the contexts of Studio A project, a particular section of A56 road played a significant role in promoting linkages between Stretford town, Old Trafford and Manchester city. However, it was not object of analysis on urban concerns such as its visual impact from the view of drivers and passengers. Thus, this essay attempts to analyse a section of A56 highway (between Manchester Centre and Sale Town) based on The View from the Road concepts such as elements of attention, the sense of motion, the sense of space, goal approach, rhythm, and continuity. This work will start with a comprehensive book review, followed by a description of the A56 road section and methods employed, and concludes with the analysis of the results. 1. The View from the Road: Book Review.
In this detailed and comprehensive monograph, the authors (Donald Appleyard, Kevin Lynch and John Myer) seek to analyse the visual impact of roads by exploring the driver's view. They claim that while usually, the road's landscape seems chaotic and monotonous, the view from the road must be an enjoyable experience organized on predictable and organized visual sequences. These views might increase the legibility of the environment, helping drivers to recognize the structure of the city and their representative areas. Hence, this book review aims to describe these aspects divided into three connected parts: firstly, a description of the main visual concepts. Secondly, methods and graphic techniques for analysis of r o a d s c e n e s , a n d fi n a l l y, t h e applicability of these aspects to the analysis of existing roads and how they might be reshaped.
T h e w r i t e r 's s t a n c e t h at v i s u a l experience of drivers and commuters is determined by the sensation of space and motion.
The view from the road
This sense is also compounded by a set of recognisable elements that create meanings and visual sequences. Thus, although their perception can be simultaneous, the authors attempt to analyse them separately into the following subheadings:
3
Elements of attention.
The impressions of the passenger and driver are focused on things that h a p p e n s t r a i gh t a h e a d a nd t h e surroundings of the vehicle. Moreover, they can be perceived in a different way according to distance and vehicle speed. In this way, while close things that pass rapidly are harder to perceive, passengers prefer to switch the attention to distant landmarks. For example, the beginning of a ramp or pass through a tunnel or a bridge. Additionally, night lights are also elements for visual emphasis. They produce a special sense of continuity a nd m o t i o n t h at m i gh t c h a ng e dramatically the perception of the world for night commuters. Hence, t h e s e e l e m e n t s a r e f avo u r a b l e circumstances for visual attention. Sense of motion
The apparent movement of nearby objects and distant landscape determined the visual sense of motion and space of the road. Drivers and commuters perceived the motion of objects in several ways as a result of journey progression. For example, the pass of nearby objects that seem to rotate and growth as vehicle advance. However, the number of objects along the road can also determine the driver experience. The lack of objects might annul the sensation of speed and encourage sleep and boredom. By contrast, many articulate objects can strengthen the sensation of velocity, including aspects such as the rhythm of a lamp post and the texture of walls. T h e r e fo r e, t h e s e n s e o f m o t i o n depends on road elements to create sequences and enjoyable experience for drivers and passengers. The Sense of space
The sense of space is generated by the driver's speed and several kinds of road's confinements such as cuts,
tunnels, tall buildings, and bridges. All of them are instants of spatial liberty where the city seems absent and the driver might consider the skyline, and faraway view. For instance, on the East Side highway in New York, the visual experience is defined by an exciting sequence of tunnels, walls and open spaces. Similarly, other roads such as Philadelphia's Fairmount Park and Boston central highway show the same patterns. As a result, these elements create different spaces sensations between driver and the environment. Goal Approach
The sense of direction on the road involves a sequence of remarkable landmarks which can represent the end of the journey. They also might be closer objects that divide the highway into visual sections and goal approaches. I n t h e No r t h e a s t E x p r e s s way in Boston, for instance,the nearest objects provide a kind of visual rhythm that helps the driver to recognize the end of the road. Likewise, the towers of Manhattan are a landmark of the end of the New Jersey Turnpike Road in this area. Hence, the distant and nearest events that happen along the roadside are visual sequences that reinforce the sense of direction and visual pleasure. Meaning
The perception of activity and use of roadscape is a fundamental factor for visual enjoyment. The road serves as a greatly means of discovery of the city where working areas, urban centres, and historical landmarks are visually and gradually revealed. At the same time, these areas are charged of meanings that are read by the driver and passengers through the vehicle's windows. Accordingly, objects not only help to create the sense of motion, but also state that their existence is significant for someone.
4
Rhythm and Continuity
The sense of continuity on the highway is supported by a sequence of spaces, movements, and meanings. It can be appreciated when some recognized buildings are observed from different views on the road. Similarly, the sense of tempo and rhythm can be also sighted depending on the vehicle velocity. For example, whereas a fast tempo can generate a feeling of rushing and concentration in front of the road, a slow tempo might induce boring and attention on things that happen on the roadside. This means that the scene of the road might provide a coherent rhythm and frequency of events, which could help the driver to make decisions and recognize the main visual events. The second part of the book talks about a proposed method of recording and analysing highway sequences. To begin, the author suggests the use of conventional tools for recording the road-scape. These include a detailed map of the place, photographs and simple sketches that show the main elements of the scene. Moreover, a model scale might be included for showing the road surroundings and a periscope or a mobile mount can be used for getting sequences from the model. However, although recording from the model can help to create a certain degree of sequence effect. The author claims that taking videos directly from the vehicle might be the best resource to create a greater sense of motion and sequence. Likewise, these shots might be combined with other data and findings in maps, sketches and scale models.
On the other hand, the writers also propose a graphic system for recording and communicating the road experience. This technique includes a set of drawings and diagrams for analysis of spatial characteristics such as the quality of
the light, proportion, and the direction of principal views. Similarly, the road's map that a driver draw in his/her mind is also required. For this purpose, the authors recommend the use of analysis elements attributed to Kevin Lynch () such as paths, nodes and districts. Besides, a comprehensive diagram might show the main goals of travel, the potential points of driver's decision and the location of analysis elements already explained. Hence, although this is a suggested method to register the visual experience on the road, other sources and aspects might be added to the system. The last part of this review addresses the use of concepts, methods, and graphic codes exposed for analysis of existing highways in the United States. However, the main impressions come from a particular part of Northeast Expressway in Boston, Massachusetts. This study shows, for instance, that the majority of observations come from the right side of the road instead of the road itself. Likewise, the drawings and sketches suggest that the sense of orientation and the landscape meaning seem to be the fundamental elements of Northeast highway. The analysis concludes with some illustrations and descriptions about how roads might be designed if visual criteria were taken into account.
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2. The Approach to A56 road
In order to provide a case of study for this work, this section attempts to describe a specific section of the A56 highway located in inner-city areas of Manchester, England. Furthermore, a brief description of the method and tools employed for visual analysis is made based on the book content and other selected references.
The A56 is located in England and it has an extension of 115 km between the city of Chester and the metropolitan county of North Yorkshire. Although this road connects a large variety of r u r a l a nd u r b a n l a nd s c a p e s , a particular section between Manchester centre and Sale town was chosen for its closeness with the city centre and the visual potentials of the road environment. Besides, this road was subject of investigation for developing of “Studio A project”. This work is built on its findings but attempts to analyse its visual dimension (ref. M.C.) focus on the view from a vehicle both by day and by night.
This A56 section extends 8 km from the Deansgate interchange to its intersection with the School road in the centre of Sale town. The journey took 17 minutes with an average speed of 28 km/h. The figure () illustrates the layout of the road starting on the limits of the city centre of Manchester. The road runs south-west along the Bridgewater way passing around the Old Trafford Stadium. Then, it turns slightly south to enter Gorse Hill, passing in front of the Church of Latter-day Saints and crossing over the Bridgewater canal. From this point, the highway is extended to dual carriageway passing alongside The Stretford Public Hall, The St. Matthew's Parish Church, and the tallest building in the roadside. After that, the expressway runs through Kickety Brook Park and comes under M60 road crossing the River Mersey as well.
Finally, the route is reduced to a single line which leads to Sale centre and the end of the travel. Method and Resources
The basic materials started with a detailed map of the route, an essential camera for capturing the sense of motion and space, a sketchbook for quick drawings and a voice recorder for additional registers. All of them provided a valuable information what was compared with each other and the book's test results.
Accordingly, two recordings were carried out on 16th December 2019. The first was in the morning under a cloudy sky at 11:00 am, and the second was in the night at around 8:00 pm with a little bit of rain. The view was of front-seat commuter and the camera was occasionally moved side to side to capture some spots of the scene. Likewise, an additional trip was done to make a set of quick sketches for registering the major objects on the landscape as a complement to the recordings.
6
3. Analysis and Results
Finally, this part expects to analyse the visual impressions of the A56 highway, based on book's concepts already exposed such as elements of attention, the sense of motion, the sense of space, goal approach, and rhythm and continuity. Moreover, although the analysis come from directly of the recordings, only some snapshots and sketches were used for this work. Likewise, a map given below shows the route sections to make easier the comprehension of analysis and photographs. Additionally, the study of views is also inspired by the sensory impressions of Learning from La Vegas book (Venturi, et al., 1972) and other literary references. SCHOOL ROAD
MANCHESTER SHIP CANAL
START MANCHESTER CITY CENTRE
POMONA ISLAND
SECTION 1
OLD TRAFFORD STADIUM
6
A5
SECTION 2
OLD TRAFFORD
GORSE HILL LATTER-DAY SAINTS CHURCH
STREFORD PUBLIC HALL
SECTION 3 THE TALLEST BUILDING
M60
SECTION 4
FINISH SALE
Figure. 1.
7
Elements of attention.
6
Night
This route is determined by different types of elements that indicate the vehicle progress. Starting at section one, the singular style of Saint George Church and the facades of the tall buildings are strongly perceived. (1) However, after some minutes, at section two, some parts of the roadside appear be confined by a mass of vegetation.(2) This produce that passenger view is concentrate on the road itself and the advertising panels. For example, a huge public screen can be easily recognized at section three of the route. (3) Similarly, the road runs around some isolated buildings which are also potential points of attention. The residential towers located at 20 km, for instance, have a commanding view over the landscape even visible at long distances. (4) Thus, the variety of elements on the road might persuade the driver view on different ways.
5
4
By contrast at night scene some elements acquire more importance than others. For example, while the streetlight posts on the middle of the road seem unnoticed in daylight, they are remarkable points of attention for night driving. Likewise, although the shape of more distant buildings seems disappear at night-time, new objects and focal points are created by their interior lights. (5) These and other elements such as car's lights and street lights shape the night landscape from the road. (6)
3
Spots
Day
2
1
8
Sense of Motion.
4
3
Day
The sense of motion in this route is mainly produced by the apparent movement of close objects such as traffic signals, the longest buildings on the roadside, and the close vehicles that pass on the side lane. Equally, this is also generated by the mass of vegetation (1) on the road side and the apparent rotation of some buildings such as Harry Ramsden's restaurant (section two) and the visible structure of Old Trafford Stadium. (2) Likewise, the grade of motion might depend on the quantity and type of objects seen from the road. For example, whereas the sensation of high speed is remained in urban areas such as Sale centre, it decreases in regions where only the vegetation is present. This might be specially recognized in the Pomona Island sector. (4) Hence, the elements on the road creates movement sequences depending on vehicle speed.
2
At night the sense of movement is given by the lights and traffic signals painted on the road. Moreover, we could highlight how the skyline seems vanished .
1
Night sequence
Details
9
The Sense of Space
6
Night
The sensation of space is strongly sighted at the start of the route where the largest buildings are located. This is reinforced by the narrowness of the street and the vehicle speed at just 30 km in this zone. (1) By contrast, the second sector shows a scene of open spaces where the spatial perception is mostly produced by the skyline and far constructions. (2) Additionally, two road scenes are particularly memorable. The first illustrates a large building in front and a group of constructions placed at both sides of the route. (3) These elements create a unique view that produces a sense of confinement similar to the concept of positive outdoor space developed by Christopher Alexander (Alexander, et al., 1972). The second scene is situated in the third section. The pass under the bridge of M60 highway creates an overhead enclosure where daylight and the distant landscape is framed by the walls and the upper structure. (4) Thus, the perception of space might change according to distant of objects observed.
5
4
In comparison with the night scene, only some building facades illuminated by streetlights are recognized as shapes in the landscape. Furthermore, a particular sense of non-place and loneliness is produced by the lack of illumination on the road edges. This is evidenced by section four, where the road level increase momently and most of the close and distant objects disappear from the sight.
3
Overhead enclosure
Day
2
1
10
Goal approach
There are different kinds of visual landmark that are mainly visible by day. Initially, only some objects on the roadside such as the largest posts and colourful billboards are the visual references. However, there is a view particularly interesting at the end of section one. (Starting of dual carriageway). It is compounded by a big advertising panel and a fraction of building facade similar to a bell gable. These elements contrast with the apparent flat landscape, the skyline and the pigment of existing vegetation (1). Similarly, while the road runs through section three, the church towers of the St A n n' s a nd L at t e r - d ay S a i nt s a r e g r a d u a l ly r e ve a l e d fo r c r e at i n g additional landmarks (2). These scenes reminisce the concept of serial vision established by Gordon Cullen (Cullen, 1 9 7 1 ) , w h e r e b y t h e l a nd s c a p e i s discovered progressively by a set of visual levels. Finally, other approaches are generated by the tallest buildings and the tunnel created at the intersection between M60 and A56 Highway.
Serial Vision
2
1
On the contrary, at night is singularly difficult to find notable landmarks. Only a few isolated buildings illuminated by street lights might be spotted. Likewise, although the semaphore colours maybe some of them, the light pollution created by other light sources such as car lights might produce disorientation and stress in drivers and passengers.
Goal approach
11
Rhythm and Continuity
At night the sense of continuity is once again generated by traffic lights and predominantly the light poles. (2) These objects are responsible not only for lighting the road but also set the pace and travel progress.
Night
The sense of rhythm and continuity for this route is supported by all objects sighted by the driver. These include all elements described above such as the traffic signals, the street furniture, other vehicles, vegetation and certainly the buildings. The size, shape and rhythm of building's façades are especially important because they produced unique sequences of movement, that depending on vehicle velocity, they might be remarkable points of attention that reinforce the place continuity. (1) For example, the variety of architectural styles of buildings visible from the road at Sale town (section four) and the memorable presence of historical buildings such as Latter-day Saints Church.
2
Day
Details
1
12
Conclusions and recommendations.
Hence, this essay has analysed the s e c t i o n A 5 6 h i ghway b e t we e n Manchester Centre and Sale Town based on the book's concepts of The View from the Road. The concepts considered were elements of attention, the sense of m o t i o n , t h e s e n s e o f s p a c e, g o a l approach, and rhythm and continuity. However, other road properties such as its functional, cultural and social value might be analysed and contrasted with the impressions expressed in this work. In the same way, the sources and method used might be improved by adding techniques of spatial analysis such as Space Syntax and by use of geographic information systems such as ArcGIS or QGIS. Thus, this work has explored the visual dimension of roads and how visual impact could be an important factor for its design.
References
Appleyard, D; Lynch, K; & Myer, J (1964) The View from the Road, MIT Press, Cambridge, Mass. Cullen, G (1971) The Concise Townscape, Architectural Press, London Lynch, K (1960) The Image of the City, MIT Press, Cambridge, Mass Alexander, C; Ishikawa, S & Silverstein, M (1977) A Pattern Language: Towns, B u i l d i n g s , C o n s t r u c t i o n , O x fo r d University Press, Oxford Venturi, R; Scott Brown, D & Izenour, S (1972) Learning from Los Vegas: The Forgotten Symbolism of Architectural Form, MIT Press, Cambridge, Mass