Jack Baron Architecture - Genius Loci Dissertation by Jack Baron Architect

SHARED SPACE The possibility of enhancing the ‘genius loci’ JACK BARON

“Ge.ni.us lo.ci” Noun. The prevailing character or atmosphere of a place. - the presiding god or spirit of a place. Origin- early 17th century Latin, literally ‘spirit of the place.’1 Genius Loci’- Production of Public Art. Essex County Council.

Contents

Introduction

What is the concept of ‘Shared Space?’ Brief Overview

Does this make a great public space? What makes a great public space? Do shared spaces have all of these qualities?

What is ‘Genius Loci?’ Definition & History

Could shared spaces possibly enhance the spirit of the place? Investigation

Conclusion

Bibliography

Sources of Illustrations

Who defines the spirit of the place?

Introduction

The present book aims to investigate whether the urban design concept of ‘shared space,’ consisting of the removal of conventional road management systems and devices, provides an opportunity for the local ‘genius loci’ to be enhanced within the public realm. “On arrival in any town or city, the backdrop to your first impressions will be determined by the history, landscape, topography and architecture of place. We know we are in Bath, Bolton or Birmingham by a unique mixture of natural and artificial landmarks and symbols that provide the data for our mental maps. Yet the foreground to our experience is very different. The immediate environment of our urban areas is dominated by kerbs, road markings, bollards, traffic signals, barriers and signs. We negotiate our journey through a city landscape fashioned by traffic engineering.

The rules that govern this landscape have little in common with the special cultural history and values that have shaped the architecture and the unique signature of the place.’ 2 ‘ICE Civial Engineering’ 158 May 2005. Pages 39-47. Paper 14014. Baillie MA, Dipi Arch, DMS, FRSA.

During the investigation, I will relate to many recognised publications from which previous authors, architects and theorists have analysed the ancient notion of the genius loci in relation to architecture. However, in this circumstance, I am to relate their knowledge and understanding of this theory to help explore whether the spirit of the place could possibly be strengthened within the removal or replacement of conventional traffic systems such as kerbs, lines, signs and signals. 1. Coastline at Southend-On-Sea, Essex.

Within the first chapter of the book, the history and development of the concept of Shared Space is discussed and analysed. A major part of this, is in connection to the original works of Hans Moderman whom was the first to develop the traffic engineering concept of Shared Space. This chapter also continues to briefly examine the critics in relation to this architectural theory. Chapter two, questions if this architectural urban concept has the potential to be the ‘secret code’ for creating great public spaces, whereby a major factor is the expression of place identity.

Chapter three, continues further to explain the historical definition of ‘genius loci.’ This chapter continues to explain the relation it now has within present times, but most importantly questions who defines it. Having analysed all this previous information, Chapter four then investigates the elements which define a Shared Space, and focuses on how do each of these individual elements could possibly have the potential to enhance the spirit of the place. The final conclusion then evaluates the findings within the previous chapter and gives my opinionated statement on whether Shared Spaces have the possibility of embracing the genius loci within the public realm. 7

Shared space Brief Overview There are many public urban environments throughout the world, that are being redesigned around the urban design concept of ‘shared space.’ Shared space is a traffic-engineering concept that overall aims to create a more safer environment for all users, by encouraging vehicles, cyclists and pedestrians all to have equal priority within a public space. This is generally achieved by the reducing the delineation between pavements and roads, and by removing curbs and other physical barriers such as railings and ordered traffic signals.

2. Example of Shared Space development; ‘Bohmte.’

The concept theory of ‘shared space’ is believed to adjust the usual behaviour of vehicle drivers to instead become more considerate of surrounding users, therefore hopefully encouraging more cautious driving and a reduction of speed, overall should make public streets more safer and in turn will contribute to a more pedestrian-friendly environment.

Key Figure: Hans Moderman (19452008) was the key figure to first develop the original concept of shared space. Trained as a civil engineer, driving instructor before finally studying traffic engineering and accident investigation, Moderman combined his knowledge in regard to psychology and social behaviour to revolutionise traffic engineering.

Brief Overview As an alternative to conventional traffic engineering vocabulary, Moderman ‘began to explore the potential for improving safety and the quality of public life through encouraging simple human interaction and negotiation amongst road users.’3 During his career with municipalities across northern Holland he initiated over a hundred schemes that established a new direction for reconciling the relationship between people, places and traffic. Monderman showed how city and village streets become safer only when the road is stripped of traffic controls so that drivers begin to take their cues from looking at people instead of signs.

Brief Overview The results of ‘shared space’ are just the opposite of what many people would expect: the traffic moves slower and major accidents decline drastically. “We’re losing our capacity for socially responsible behaviour, ...The greater the number of prescriptions, the more people’s sense of personal responsibility dwindles.” 4 This quote from Monderman states how traditional road devices remove the possibility of motorists being capable of being considerate to surrounding pedestrians.

“When you don’t exactly know who has right of way, you tend to seek eye contact with other road users... You automatically reduce your speed, you have contact with other people and you take greater care.” 5 Moderman explain his initial thinking behind his concept idea whereby instead of the roads and crossings being externally controlled without any awareness of differences in surroundings, whereas allowing the personal decisions of drivers to think for themselves within different urban environments make them more aware of their surroundings and therefore becoming safer.

Critics: The removal of street furniture that serves as protection for pedestrians against the moving traffic, such as railings, kerbs, and barriers, will understandably initially create concerns of the philosophy behind the concept of ‘shared space.’ However there are also concerns in association with the blind and partially-sighted people with the removal of the kerb edge, another usual aspect of ‘shared spaces.’ “Shared surfaces often have no clear demarcation between the footway and carriageway. Guide Dogs associations are concerned the removal of the kerb edge puts the safety and security of blind and partially-sighted people seriously at risk, and undermines their confidence, independence and mobility.”6

“Many blind and partially-sighted people travel independently using a mobility aid (a long cane or a guide dog) and/or their remaining vision. The kerb edge, or other tactile demarcation between footway and carriageway, is a fundamental ‘clue’ for orientation within the street environment. Without a kerb or tactile demarcation, this becomes very difficult.”7 A report on focus groups carried out in the Netherlands. www.guidedogs.org.uk/sharedsurfaces.

The removal of kerbs to define the demarcation between footway and carriageway means the use of tactile surfaces becomes even more important for these particular users, as it is key to enable them to safely navigate through a ‘shared space.’ The use of tactile surfaces will have an impact on the design, as it may limit the choice of materials the designer can specify. For example, the designer may specify a specific locally sourced sandstone for the shared surface, however it may be unsuitable or unpractical to be cut or shaped to enable a definite tactile surface.

Does this make a great public space? What makes a great public space? In order to state whether the concept of shared space enables the possibility for a ‘great public space,’ the concept needs to analysed to check whether it can provide the recognised design principles required for ‘good design.’ ‘CABE- The Commission for Architecture and the Built Environment,’ have stated the seven principles of good design in regard to the public realm includes; ‘a place with attractive and well-used outdoor areas’ and ‘ease of movement - a place that is easy to get to and move through.’ 8 Shared spaces not only conforms to both of these design principles, but the sole intention behind the concept is to create a safer environment and allowing better ‘ease of movement.’ 9

However it has been recognised by this official architectural establishment, the first principle of good design is ‘Character - a place with its own identity.’ CABE continues to state; ‘Successful places are distinctive and memorable. All the elements of the built environment work together to create a character that reflects the identity of the place and its community.’10 ‘When new shops and houses are identical to those in every other town, a place risks weakening its connection with its history and losing the things that make it stand out when competing for investment and skilled people.’ 11

3. Proposed ‘Shared Space’ redevelopment of Southend seafront.

From this quote, it is clear CABE has concluded the importance of embracing the spirit of the place is of key importance within the political environment we will live in. Whereby a place identity is not only pleasant for the local people but is a strong tool for attracting possible future residents or employees to the area. The fact Moderman’s original lowbudget de-cluttering theory has the potential to reflect the ‘genius loci’ it has therefore created the possibility of allowing public environments to conform to the main principle of good design. Because of this, it is a major leap in the creation of a great public space.

What is ‘Genius Loci’ Who defines the spirit of the place?

Definition & History ‘Genius loci’ is a Roman concept. According to ancient Roman belief every ‘independent’ being has its genius, its guardian spirit. This spirit gives life to people and places, accompanies them from birth to death, and determines their character or essence. Even the gods had their genius, a fact which illustrates the fundamental nature of the concept. The genius thus denotes what a thing is, or what it “wants to be”, to use a word of Louis Kahn. It is not necessary in our context to go into history of the concept of genius and its relationship to the daimon of the Greeks. It suffices to point out that ancient man experienced his environment as consisting of definite characters. In particular he recognised that is of great existential importance to come to terms with the genius of the 14

Locality where his life takes place. In the past survival depended on a “good” relationship to the place in a physical as well as a psychic sense.’ 12

‘On arrival in any town or city, the backdrop to your first impressions will be determined by the history, landscape, topography and architecture of place. We know we are in Bath, Bolton or Birmingham by a unique mixture of natural and artificial landmarks and symbols that provide the data for our mental maps.’ 13

Conceptions of a particular place can be that very similar of many other peoples. It is combination of these similar experiences and mental compositions ‘determined by the history, landscape, topography and architecture of place’ which creates a general persona of a typical place environment. For example, the mental images associated with the typical seaside environment include the following; sand, sea, ice cream, kites, deck chairs, donuts, amusements, illuminations, etc…

However, it appears these general conceptions are only related to places whereby little time, or not so many experiences have taken place. Using the same example, the association with a typical tourist setting is that portrayed within the limited time someone visits. This typical genre is also further portrayed by local businesses to boost profits. However, the true spirit of the place only becomes more apparent the more time is spend and more personal experiences one has with the environment.

‘In 1960 Lawrence Durrell wrote: “As you get to know Europe slowly, tasting the wines, cheeses and characters of the different countries you begin to realize that the important determinant of any culture is after all the spirit of place”14

Therefore the true spirit of the place is the collection of these deep, private, experienced relationships people have with the environment. Not of the general persona giving by tourists and spectators as they may be very different to that comfort people have with a local place.

Who defines the spirit of the place? Personal Experiences: I have always lived close to Southend-On-Sea, Essex all my life. Even though Essex has its own genius loci, Southend seafront in particular is very much a British seaside destination. This was the location myself and the family would always go within the summer seasons to be beside the sea. As soon as the sun was out, there would be a carpet of people completely covering the long stretch of coastline, all egger to get into the sea. Being close to the seafront, it also becomes a destination whereby I enjoyed the setting even in the cold winter months. Within these periods, it becomes a quiet and peaceful desti16

Who defines the spirit of the place? nation whereby only the local people would come to walk and enjoy their personal relationship with the sea and the gentle sound of the waves.

People’s perceptions of a place, whether personal or more general, can be represented or illustrated within the forms of art, poetry, or other writings.

As a local resident, but also more so being an architecture student, it is so important any redevelopment of the area does not impact this relationship I have, and so many others, have with this environment. But instead, could possibly enhance it. I believe it is so important, alongside making the setting safer and more comfortable, but it embraces its identity and further express it.

Poems: ‘Adrian Green lives England, overlooking the sea at Southend, Essex, the county where he was born in 1946. He is a former editor of SOL magazine, reviews editor of Littoral, and has published 2 pamphlet collections - Beachgame (1977) and The Watchers (1987) - as well as poems and reviews in a number of magazines and anthologies. He has degrees in psychology and general arts as well as a post-graduate diploma in humanities.’15

‘Walking on the Estuary Hill’ is a poem conveying his personal experiences living by the seaside. The curlew and the heron call, the hissing mud and whispering wings beat eery through the idle air until the moonlit midnight silence falls and then the tide flows softly through the gut and sluice of estuary sands and dark against the dreamlit sky the trees arise from hedgerows, and the hills alive with monstrous shapes are menacing with soundless fear, and still below the blundering man, the beery and uncertain head, the stubbled fields hold secrets now and silence fills the river bed.

Who defines the spirit of the place? Paintings:

Photography:

‘Towards the Kursaal Southend’ Roy Simmons

‘Deck chairs at Southend-on-sea’ -Sheila Smart

The typical colour scheme of a seaside designation would usually include blue skies and sea, and yellow sand, which have become the general imagery of a tourist seaside town. However the main use of purple and lilac within this painting may have been used to express a more depressed or sad feeling in connection with this particular setting. Genius loci can be the mental collection of someone’s most personal memories and therefore the reasons behind an artist’s work is not usually clear, unless the context is shown in the painting itself.

In contrast to the painting, the photography by Sheila captures instead the typical seaside setting. The enhanced colours, visually enrich the image showing an exaggerated illusion of sun, sea and sand. Blue and white stripped deck chairs create an instant association with a tourist seaside town, even more inflicted by the positioning of the bright red signage. Capturing all three colours of the ‘Union Jack’ has unconsciously associating the view with Britain.

4. ‘Towards the Kursaal Southend’ copyright of Roy Simmons. 5. ‘Deck chairs at Southend-on-sea’ copyright of Sheila Smart.

The stereotypical ‘cheesy’ illusion, is that most people would instantly relate to the being at the seaside. However, it does not still capture the true complete identity of the place, whereby no unique elements have been portrayed, which are only linked with Southend seafront.

Could Shared spaces possibly enhance the spirit of the place? Investigation In order to investigate whether the overall concept of Shared Space could possibly enhance the ‘genius loci’ associated with the place, the key elements which identify a particular type of environment as a Shared Space need to be individually analysed. One of the main design principles of ‘shared spaces’ is the removal or replacement of conventional traffic systems such as kerbs, lines, signs and signals. Due to this a lot of attention is made in regard to the street-furniture remaining. Therefore proposed bins and railings will be investigated to show if or how they could emphasise the local identity of the place.

As well as the removal of existing traffic management devices, such as railings and signs, another major aspect of shared spaces is the decreased variation or complete replacement of conventional public road and pedestrian surfaces with one continuous surface, also referred to as shared surface. This further clearance of obstacles, even more so removes the physical and psychological ‘boundaries’ within the environment.

6. View of the recent ‘Shared Space’ redevelopment at Southend seafront.

Road / pavement surfaces The replacement of conventional public road and pedestrian surfaces with one continuous surface, allows for the traditional tarmac surface to be possibly replaced by an alternative material, which has an association with the local setting. A major part of the redevelopment at Southend seafront was the replacement of the customary tarmac footpaths, mostly with the use of granite block paving. However a concise decision most of been made for the use of ‘CEDEC’ gravel areas. This specialist material is used to ‘form a firm but porous structure that retains moisture yet allows any access to flow through. The materials used are specially graded decorative aggregates ideal for areas where the traffic is too 22

heavy for grass but where a natural appearance is desired’ Therefore these qualities of this material seems very suitable to surround the base of trees along the development. However, the yellow colour and light gravel texture replicates that of sand. It appears the use of this material surrounding the base of the proposed trees strongly associates with the beach environment.

However, in this case, the seating has been purposely located centrally within a raised pit, completely surrounded by this sand-like material. Therefore anyone whom wishes to rest upon the seating is forced to experience the sand-like texture beneath his or her feet- such a typical experience association with the seaside.

The association with the sand is even more implemented by the location of the public seating. It is usually common practice to shape the planters around the public seating, allowing the footpath surface to lead towards it.

7. Raised planting beds at Southend seafront.

Road / pavement surfaces At the redevelopment of New Road, Brighton, the ‘shared surface’ has been continuously transformed also using granite-paving blocks. Without further investigation, it is uncertain whether these have been sourced locally or have any other relation to this area, but even so their appearance is very similar to that used at the developments at Southend and many other shared spaces. It appears this material selection, is simply that following the trend whilst being a practical choice.

‘A range of surface finishes to the granite was chosen in response to particular need. The setts and slabs were finished with a flamed surface to provide adequate grip to pedestrians and vehicles. To the front of the long timber bench, a split-faced finish proved an effective deterrent to skateboarders. For the edges with adjoining streets, a heavy split-faced finish was used to

generate a slight rumble strip that provides the motorist with a signal that they are entering a different type of space.’16 From readings, it appears more focus was on the practicality of the granite surfaces rather then an opportunity to create an individual identity or representation of the place.

From the images, it is also evident the block work pattern itself has no relation to the area, but instead it is also following the trend of these increasing popular shared spaces and simply being set at a diagonal pattern.

8. Completed ‘Shared Surface’ redevelopment at New Road, Brighton. 9. ‘Shared Surface’ at New Road, Brighton.

Road / pavement surfaces ‘Exhibition Road, which runs from South Kensington in the south to Hyde Park in the north, is home to some of the most important visitor attractions in the country, a unique collection of cultural and educational institutions including the Victoria and Albert Museum, the Natural History Museum, the Science Museum, the Royal Albert Hall and Imperial College London.’17 ‘The crowded, narrow pavements and heavy traffic will go. In their place we will make an elegant kerb-free surface across the length and width of the road.’ This was aimed to create a better environment for the high population of pedestrian users. Therefore main design focus was on this ‘shared surface.’ 18

10. ‘Exhibition Road,’ Kensington, London.

The designers created ‘a distinctive chequered granite street design that features a single surface.’19 The use of this particular pattern must have been a thoroughly discussed bold decision, however the outcome does appears to be suitable for this area, elegant yet distinctive.

However, as previously mentioned, the removal of kerbs to define the demarcation between footway and carriageway means the use of tactile surfaces becomes even more important for these particular users, as it is key to enable them to safely navigate through a Shared Space.

Also within a report by the director for transport, Environment and leisure services, The Royal Borough of Kensington and Chelsea. ‘The future use of exhibition road,’ its states; ‘We would not want to see anything happen in the road that does not reflect its heritage, meaning and beauty.’20 Therefore the idea of retaining the spirit of the place was an important factor towards the design. 27

Road / pavement surfaces In reference back to Southend seafront, the use of tactile surfaces has been purposely used within certain locations to help define the demarcation between footway and carriageway. As previously mentioned, this can have an impact upon the design as it may restrict the material pallet. In relation to this example, the same granite may have simply been suitable for both tactile and smooth surfaces. However, in other cases, some stone surfaces cannot be cut as definitely into textured surfaces. Therefore it would be the decision of the designer to have different materials for different surfaces, or select another material which is suitable for both.

11. Raised view showing the whole redevelopment of Southend seafront. 12. Mix-use of surfaces at Southend seafront.

Street-Furniture ‘The role of surface treatments and street furniture can and does play a major part in place shaping and the quality of the living environment.’21

‘Street Materials Guide’Essex County Council.

Shared space encourages the removal of street furniture, however there are some necessary items, which need to be implemented due to health and safety requirements (for example, handrails located around perimeter of steep drops and also alongside disabled accessible ramps) and also for practical reasons (for example litterbins are a necessary item within a public space to help control litter.)

13. Painted bins at Southend-On-Sea.

As these specific elements cannot be removed from a public space, their design could be manipulated in order to follow the minimal trend of the new environment, or these are items whereby the designers could allow the to stand-out, and still represent some original character of the setting. Bins: At Southend-On-Sea, even after all the redevelopment works, all the original bins were actually each painted black with gold typography to be more traditional / elegant.

Street-Furniture Railings: Due to public safety, railings and barriers at particular locations are required. Stated within the National Building Regulations, drops of specific heights are required to be protected by a form a barrier, strong enough to take the force from an average person. As this form of street furniture cannot always be removed at different level changes, their design has the possibility to further express the genius loci of the area. However, very few Shared Spaces include the use of railings within the design. This is because the concept of ‘shared space’ usually involves the removal of different surfaces and levels.

14. Proposed railings at Southend-On-Sea. 15. An example of railings on a cruise ship. 16. Timber decked floor surface used at Southend seafront.

The redevelopment at Southend-OnSea, is one of few shared spaces that have railings. This is because a raised platform has been incorporated within the design, to allow a clear view of the sea. As there is a definite drop in height, the law requires railings to be implemented. However the opportunity to relate this one of few street-furniture remaining, to the typical coastal activities, in particular that of a ‘ship.’ The images shown, illustrate how horizontal bars on the proposed railing replicates that of a typical cruise ship, this is even more portrayed by the use of timber decking floor surface beneath, similar to that of a ship.

Street-Furniture This boat genre has also been continued within the scheme. However instead with the use of railings, it is the actual replacement of railings, which has provided an opportunity to instead use an item even more so associated with the coastal environment. Black galvanized ‘cannon balls’ have been purposely positioned in order to create a definitive boundary between the designated pedestrian and vehicular areas. The texture and colour of these ‘cannon balls’ appear very similar to a ship’s anchor and chains. This immediate association instantly reminds the user they are located within a native seaside finishing area.

17. Proposed ‘cannon balls’ street-furniture.

However, in relation to this particular example, this use of low-level stationary objects may cause another concern to partially-sighted users, quoted as being ‘trip hazards to all’ within the official ‘Southend on Sea City Beach Post-Implementation Design Review’ commissioned by Southend Borough Council. This is a momentous example of how the architectural designer has attempted to use a replacement to conventional railings, which instead represents the ‘spirit of the place’ but in doing so, could possibly be unsuitable and even a hazard for some users.

Within ‘The concise townscape,’ Gordon Cullen best describes how ‘common objects often achieve distinction by reason of their self contained force as sculpture or vivid colour and stand out in the general scene. The term is used more to describe those objects such as street furniture and structural features, which are not normally expected to attract the eye in this way, rather than designed works such as a sculpture, posters, etc.’22 Grabbing the interest of the general public, and making the wish to study items of street-furniture is great way of instead of ‘ignoring the foreground’ as it not only subconsciously embraces the genius loci but actually brings it to the attention of the people for them to further study or discuss. 35

Seating As previously mentioned, the public seating at Southend-On-Sea, has been purposely positioned centrally within a ‘sand-like’ bed in order to remind the user of their setting, through sight but also through the use of texture. The seating itself also has the potential to further enhance the local ‘genius loci’ to the user. The benches themselves have remained to be constructed from timber. The designer could have specified the use of a different material to that of the existing, along with all the other transformations, but instead kept it nearly identical as before.

At public places whereby the view is of key importance, ‘seating’ becomes an important item of street-furniture, as people like to sit and take time to enjoy a view. It also becomes a place they can fully take in the ‘spirit of the place’ and be inspired to create artwork or writings. It is therefore important the seating itself plays a role within this genius loci and becomes proud part of the setting.

‘The interface with the pavilion gardens took its cue from Nash’s original logic and a timber ‘fence’ was established at the boundary. The ‘fence’ curves in section to become an extruded bench, with its geometry derived from armchairs and their more relaxed approach to sitting.’23 Case Study project at www.landscapeinstitute.org

However, there are examples whereby the public seating has been replaced as part of a ‘shared space’ redevelopment and the character has been lost. New Road, Brighton, is also located within a seaside environment. Even though there is not a particular view, the seating has become a major part of this development. 18. Proposed benches at New Road, Brighton.

Planting The designated use of planting within a public urban landscape has the potential to enhance the local ‘genius loci.’ Usually, planting is associated with a particular place as it is naturally found there. During the course of history, these plants can become iconic and be integrated as part of the identity of the place. For example, how the ‘Thistle’ represents Scotland, the ‘Clover’ presents Ireland, etc… However, planting can also be associated with the ‘genius loci’ of a typical type of place, for example mountainous, rainforest, countryside, coastal, etc. These ‘typical’ associated plants may not be found at everyone of these types of locations, but due to the collection of peoples general perceptions, and enhanced by the media, they are 19. Planting bed along the redevelopment Southend seafront. 20. Proposed ‘palm trees’ further along Southend-on-sea.

typically associated with a type of place. In reference to the works to Southend seafront, being a coastal environment, the selection of planting would have to face the qualities of being beside the sea, for example the high level of salt and moisture within the air and high wind speeds may be unsuitable for many plants. The selection of ‘grasses’ is suitable for this type of environment and being a natively found species they do enhance the association with this specific coastal town. However, the redevelopment also has seen the proposal of ‘palm trees’ along the coast appears overambitious in the attempt of enhancing the typical genius loci of a seaside setting. 39

Lighting Shared spaces and mainly all other public environments, require the use of artificial lighting. This is because the high majority of these are open to public day or night, but also as ‘shared spaces’ also incorporate the use of vehicular activity, it is even more so important the area has sufficient lighting to enable visibility. ‘Tall, sleek street lighting masts have been specifically designed to complement the grand buildings of Exhibition Road,’24 Kensington. This particular example of street lighting within a shared space has been specifically sympathetically designed complementing its surroundings. In comparison to other attempts to embracing the local spirit of the place, this particular example would instantly create a de40

Lighting response to the local setting. Whereas in some cases been investigated, the link has not been so definite or apparent.

The lighting scheme at the redevelopment of Southend seafront is that of even more major importance to the scheme. ‘Southend illuminations’ have been a key part of the Southend-OnSea since the 1950s. During the history of Southend seafront, this specialist lighting arrangement has changed very little, this was before the proposed shared space. The redesign of the illuminations would become a key issue, whereby the aim would be to create a minimal approach, similar to overall outcome of ‘shared space’ design. Blackpool become the first seaside destination within the United Kingdom to use illuminations to attract visitors to the coastal towns, in particular to the amusement arcades.

Since then, Southend-On-Sea and many other typical tourist seaside towns have added to this, making colourful illuminations part of the typical seaside experience. The proposed replacement lighting scheme is not that of usual seaside illuminations, but has decided to break away from this signature identity. In focus, the proposed lights do not have design features which could relate to their definitive setting but instead are simply a result of clean, contemporary lines.

21. Proposed visual showing ‘Exhibition Road,’ Kensington. 22. Proposed replacement ‘illuminations’ at Southend-On-Sea.

‘Water provides the most obvious example because the transition between it and dry land offers the biggest of all psychological contrasts. Towns that live by the sea should live on the sea in the sense that the visible presence of the ocean should be apprehended from as much of the town as possible. (This does not mean always a full view of salt water but maybe the glint of reminder or even a chasm of space closing the vista at the end of a street.’25

Water Gordon Cullen has explained the importance of expressing the sea views within a coastal town. Throughout the whole redevelopment of Southend seafront, little obstacles have been inserted to block this view, even the design of the illuminations has allowed the view to pass through.

Water features: The use of a water features is common throughout public urban environments. The natural sound of flowing water is usually associated with the feeling of calmness and relaxation. However, it can also be designed in terms of scale and illumination to allow for playful interaction.

The proposed water feature as part of the Shared Space redevelopment at Southend-On-Sea does exactly that. However, as previously mentioned, the sand-like floor surfaces located nearby the flat spread of water mirrors that of the coast the other side of the sea defence wall.

‘The concise townscape’ by Gordon Cullen.

23. View over Estuary at Southend-On-Sea. 24. View of sea through proposed illuminations at Southend. 25. An example water feature used at Southend redevelopment.

Conclusion

During the previous chapter, the investigation focussing on the individual design elements which identifies itself as a Shared Space, has shown a variety of good and bad examples of redevelopments which has taken on board the spirit of the place within its design. Whether its the selection of materials or use of place associated items, the importance of expressing the place identity has varied. This may be due to the sites location, as the redevelopment of Southend-on-sea showed a great level of detail aiming to represent its place identity, in comparison to more city locations, it may be because the genius loci within this type of area is more definitive and admirable, more effort is made to embrace it.

26. â&#x20AC;&#x2DC;Shared Spaceâ&#x20AC;&#x2122; facing over Estuary at Southend-On-Sea.

This study however, was only focussed on a few varied examples of recent Shared Spaces, more specifically located within England. Therefore any conclusion made in relation to these findings can only be accurate to those found in the United Kindom. This is because a wider study may reveal a different outcome. However, in conclusion to the investigation, taken into consideration the findings from the selected examples, it would appear the urban design concept of shared space has indeed given the opportunity for architectural and landscape designers to strengthen the expression of genius loci within the design of public spaces.

Bibliography

Source of Illustrations

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‘Genius Loci’- Production of Public Art. Essex County Council. ‘ICE Civial Engineering’ May 2005. Pages 39-47. Baillie MA, Dipi Arch, DMS, FRSA. www.pps.org/articles/hans-monderman/ www.pps.org/articles/hans-monderman/ www.pps.org/articles/hans-monderman/ A report on focus groups, Netherlands. (www.guidedogs.org.uk/sharedsurfaces) A report on focus groups, Netherlands. (www.guidedogs.org.uk/sharedsurfaces) www.CABE.org.uk www.CABE.org.uk www.CABE.org.uk www.CABE.org.uk Genius Loci: Towards a phenomenology of architecture. Christian Norberg-Schulz. Chapter 3, p.18 ‘ICE Civial Engineering’ May 2005. Pages 39-47. Baillie MA, Dipi Arch, DMS, FRSA. Genius Loci: Towards a phenomenology of architecture. Christian Norberg-Schulz. Chapter 4, p.18 www.greenad.co.uk - Adrian Green official poetry page. www.jcmbps.org/uploads/.../Brighton_Before_and_After_Surveys.doc Report by the director for transport, The Royal Borough of Kensington and Chelsea. Report by the director for transport, The Royal Borough of Kensington and Chelsea. Report by the director for transport, The Royal Borough of Kensington and Chelsea. Report by the director for transport, The Royal Borough of Kensington and Chelsea. ‘Street Materials Guide’- Essex County Council. ‘The concise townscape’ - Gordon Cullen Case Study project at www.landscapeinstitute.org Report by the director for transport, The Royal Borough of Kensington and Chelsea. ‘The concise townscape’ - Gordon Cullen

1. Coastline at Southend-On-Sea, Essex. 2. Example of Shared Space development; ‘Bohmte.’ 3. Proposed ‘Shared Space’ redevelopment of Southend seafront. 4. ‘Towards the Kursaal Southend’ copyright of Roy Simmons. 5. ‘Deck chairs at Southend-on-sea’ copyright of Sheila Smart. 6. View of the recent ‘Shared Space’ redevelopment at Southend seafront. 7. Raised planting beds at Southend seafront. 8. Completed ‘Shared Surface’ redevelopment at New Road, Brighton. 9. ‘Shared Surface’ at New Road, Brighton. 10. ‘Exhibition Road,’ Kensington, London. 11. Raised view showing the whole redevelopment of Southend seafront. 12. Mix-use of surfaces at Southend seafront. 13. Painted bins at Southend-On-Sea. 14. Proposed railings at Southend-On-Sea. 15. An example of railings on a cruise ship. 16. Timber decked floor surface used at Southend seafront. 17. Proposed ‘cannon balls’ street-furniture. 18. Proposed benches at New Road, Brighton. 19. Planting bed along the redevelopment Southend seafront. 20. Proposed ‘palm trees’ further along Southend-on-sea. 21. Proposed visual showing ‘Exhibition Road,’ Kensington. 22. Proposed replacement ‘illuminations’ at Southend-On-Sea. 23. View over Estuary at Southend-On-Sea. 24. View of sea through proposed illuminations at Southend. 25. An example water feature used at Southend redevelopment. 26. ‘Shared Space’ facing over Estuary at Southend-On-Sea.

Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron. Photograph taken by author, Jack Baron.