St Clement’s Car Park Development
DESIGN CODE Designing the City [P32002]
for the attention of
Laura Azevedo Jon Cooper
Daniela Brose [12055932] 02.05.2013
Department of Planning Oxford Brookes University
INTRODUCTION
1 INTRODUCTION TO THE WORKBOOK
.table of contents
This document is a complete design code document for the regeneration of the St. Clement’s car
PART I workbook document
park site. It is divided into two parts.
site analysis
1
The first part is the workbook,
3
SWOT
which comprises the site appraisal design vision
4
The second part is the actual de-
design motif
6
sign code document with the de-
7
and the development of a new design.
concept matrix
tailed design, the regulating plan, more detailed plans such as street
design actions
8
sections and other illustrated regulations.
resume
12
St. Clement’s car park is a small site in Oxford, close to the centre
PART II design code document
and very well connected. Several planning applications have
detailed design [1:500]
15
regulationg plan [1:500]
16
design code
17
been rejected. However the city council is still keen on regenerating the site due to its high value.
B
R
I
E
F
The city council expects the very
cross-sections
highest standards of design and
building types
development to be achieved, and
public realm
the codes will be the key to achievfeasibility study
24
uses that you consider suitable af-
conclusion
25
ter the site analysis to characterise
ing these. The development will be mostly residential with a few other
a mixed- use development.
reflective statement
DESIGN VISON
2.1 INTRODUCTION TO THE DESIGN VISION 2.1.1 .conclusion of site analysis The site analysis proofed the site to be very valuable with many strengths. However it will be tough to handle the inactive edges and make this site a rich and diverse place. The shape of the site is relatively irregular but so are the morphology (differing building heights and plot sizes), the materials (brick, wood, glass, steel, different colour) and the uses (residential, student accommodation,
shops,
nursery
homes) of the surrounding area that offers much diversity. Also even though the site is rather small it has several access points which will help to make the site permeable and legible. On St Clement’s St. there is plenty mixed use and quite a lot traffic of pedestrians. So little commercial use in the new design is possible but then again the site is fairly hidden. That means the new design should include an attracting effect. Taking everything from the site analysis into account the new design has to pick up the context of the site within its area and also the new design should be inviting and inclusive with a distinctive but original character.
DESIGN VISION 2.2
THE VISION
The vision for the regeneration of
VISION I: KEY
the site (fig. 5.1) is to develop a
movement lines
new buildings
place that will serve various needs:
active edges
asset
inactive edges
square
accommodation, offices, shops, cafés, culture, public space and so
edges/landmarks
forth. One of the key aspects of the vision is the priority for pedestrians and cyclist. Cars cannot access
The illustrations of the vision (fig.
the site, unless the deliver to the
5.1 and 5.2) show the rough stra-
shops. There will be parking space
tegy for the new design. Almost
on the western side of this site.
all of the inactive edges have been
Figure 5.3, sketch: closed vista from St Clement’s
covered and connections have 2.2.1 .the design objectives
been made to increase the per-
1 RICHNESS - maintaining the rich-
heart of the new design and has
meability. The square will be the the potential to become a very
ness of the area and even increa-
important part of the whole area.
Figure 5.1, illustration: vision for St Clement’s Car Park I
But since the site is hidden be-
tures such as projection and reces-
hind the shops at St Clement’s St.
sion, different heights; also through
people need to either know of the
a variety of colours and materials
place or need to be attracted when
and the experience of the public
passing by. Figure 5.2. concen-
space
trates on the two viewpoints from St. Clement’s St. One leads to the
2 VIABILITY - mixed uses around
Angel and Greyhound Meadow,
a small square in the middle that is visible from the main road and attracts people to engage with the
so to the nature. A path will be maintained so they could get there
SQUARE
quickly while passing the square.
place; the square could be also
The other viewpoint is through
used for a market or open air cin-
Pensons Gardnes and will point
ema and other cultural things
at a interesting wall and the opening of towards the square (fig 5.3).
3 PERMEABILITY - opening access points (Caroline St) and con-
Behind the vision stands an idea of variety through projections and reces-
VISION II: KEY
necting path along River Cherwell. Also parking sport and access to the back of the shops on St Clement’s St. will be maintained.
Figure 5.4, image: variety through projection and recession [HIC*: Amann-Cánovas-Maruri Arquitectos | Hospedería en Extremadura]
Figure 5.2, illustration: vision for St Clement’s Car Park II
sion to make the small square more attractive. This idea does not become
permeability
new buildings
visible in the figures 5.1 and 5.2 so the picture above is there to give an idea
views
commercial use possible
the idea of procession and recession, not material colours and height.
of what the place could look like. However figure 5.4. is only to illustrate
S T CL E ME N T’ S NIC HE DE S IG N V ISI ON
sing it through morphological fea-
5
3.1 DESIGN MOTIF MIND MAP The design motif is a wordplay of two words: melt pot and pot-pourri. These words cam to my mind when I
DESIGN MOTIF
thought of how to explain my vision best. The words are rather abstract and arty but they leave room for ideas. 3.1
.the mind map
melt pot-pourri. Both expressions stand symbolic for diverse, mixed, energetic, dynamic, viable, vital, mystic and colourful places that have been adapted by their residents over generations. Good examples for melt pots are Los Angeles and New York City in the USA and London and Berlin in
Figure 3.1.1, image: “The City” (1917, Georg Grosz)
Europe. Melt pot and pot-pourri are symbolic in this sense so they are intangible. However everyone has a picture in mind which is more an idea and a feeling than an actual clear picture. This picture came to my mind when thinking of a vision for the St Clement’s Car Park. Obviously we are not in any of the named cities, but Oxford is international, young and creative. The site is close to the city centre which is
Figure 3.1.1, model: shapes, heights, enclosure and exposure [source: unknown]
historical and tradiotional but even
Figure 3.1, map: location of the site and proximity to the city centre [Google]
more close to Cowley Road which is full of life. There are living from all around the world and it is a place for sometimes more unconventional individuals with a uniquely tolerant neighbourhood. The figures 3.1 to 3.5 give a rough impression of the atmosphere that could only happen in a place that is tiny and dense but
Figure 3.1.3, image: colours, modern materials, atmosphere [source: ReUse @ NDSM, Amsterdam]
Figure 3.1.4, image: a courtyard in Berlin, public space and socialising [source: Georg Knoll]
also leaves room for individual and
Figure 3.1.5, image: green facades [source: edouardfrancois.com]
alternative living. Here everyone and everything can come together and feel to be part of the whole. So Figure 3.1.6, image: urban living ; The Lily Vanilli Bakery in London [source: communiquemag]
St Clement’s Car Park becomes > St Clement’s Niche. <
DESIGN ACTIONS
4.1 INTRODUCTION TO THE DESIGN ACTIONS 4.1.1 .from the vision to the design A vision is something embryonic and the design motif is something very abstract. The concept matrix helps to organize the ideas of the vision and to visualise them. Now the design actions are following. They help to summarize the thoughts and findings and put them into something more concrete, more tangible; something that helps to put the rough vision and the intangible design motif into something more concrete, something from which a design code can evolve. The design code is the logical re-
The brief from the city council con-
sult of the design actions which
tains the need for a flagship design
are the logical result of the brief,
for this innter-city part of Oxford.
the appraisal including the SWOT
The city council also demands for
analysis, the vision including the
the very highest standards of de-
design objectives and last but not
sign and development.
least from experience and general
However the vision for the new
urban design criteria.
design, the vision of St Clementâ&#x20AC;&#x2122;s Niche is more than that. It gives Oxford a new touch of vibrance and of modernity and still all design actions on the following page derive from the rules of responsive environment, from the design objectives and obviously from the basic site analysis.
DESIGN ACTIONS variety & richness
4.2 THE DESIGN ACTIONS
.design action 1 (DA1) Implement
new
buildings
with
active fronts to the public and
DA1, DA4, DA6, DA7
.interim design
.DA1 creating active edges
.DA2
.DA3
increase permeabilty
maintain view on
site or existing built environment
safety
does not allow new building to > (DA1) <
inactive
DA1, DA2, DA5, DA6
edges
because create ac-
tive fronts that make the place
permeability & legibility
safer, richer and more pleasant
C
D
.design action 2 (DA2) Open and connect access points
DA2, DA5, DA7, DA10
B
(open Caroline Street and con-
townscape & imageability
nect footpath along the river, connect to York Place), create clear
DA7, DA8, DA10
A
structures with building lines, subtle surfacing and street vegetation
uniformity & continuity
/ street furniture to > increase permeability
and
DA4, DA6
Florey Buildung
work with art where shape of
eliminate
feasibility
legibil-
DA7, DA8
ity (DA2) < to make the site more accessible, to remove barriers and create a movement ‘flow’
robustness DA2, DA4, DA6, DA7
.design action 3 (DA3) No buildings or treets should stand in front of the Florey building to > maintain view onto
active edge
Florey Building (DA4) < to do
routes to and within the site
justice to the fact that the building is listed and also this was a reason why the last planning
Figure 9.1, illustration: interim design where design actions are being applied not to scale
KEY
A
ecology DA6, DA9
appropriateness
block
application has been put down
Figure 9.2, matrix: key aspects of a good design and relating design actions Daniela Brose [12055932]
DA2, DA3, DA7, DA8
ST C L E ME N T’S N IC HE DE S IG N A CTI ON S
HOW > WHAT < WHY
9
DESIGN ACTIONS .design action 6 (DA6) .DA4
.DA5
.DA6
extend footpath who will mixed use
protect site from being
(but mainly residential)
pedestrian and bicycle
flooded
orientated environment
make the site unaccessible for cars (delivery etc. excluded), create car parking in the eastern corner, provide many bike racks and inviting street furniture > pedestrian and bicycle orientated
environment
(DA7)
< to support the vision of a lively, modern site where life can hap-
P
pen on the street, also supports walkability and therefore safety
P .design action 4 (DA4) commercial
and plot sizes (small to medium)
use
to > make sure the new
(shops, offices, café, etc.) in build-
design of the site is ap-
ST C LE M E NT’ S N IC H E DE S IG N A CIO N S
ings with residential use in the
10
propriate (DA6) < to create
above storeys > mainly resi-
a design that is sympathetic to
dential use with ‘suitable’
its surroundings, to provide rich-
other uses (DA3) < to create a mixed environment that makes the place more viable and lively
ness and leave space for variation
KEY
Figure 10.1, illustration: applied design actions not to scale
throughout the day and eventu-
foot path
ally create the desired atmosphere
shop fronts of mixed use
that connects to the surroundings.
.design action 5 (DA5)
pedestrians and bicycles only parking spots, restricted access with car
rey Building along River Cherwell to to other site (from west to east) > reduce the risk that the site could be flooded (DA5) < to lower the risk but also to crethe site again more permeable
.DA7 appropriate design
extend the footpath north of the Flo-
ate a new connection that makes
provide restrictions of builiding heights (max. 4 storeys or 12 m)
Design a ground floor that can accommodate
.design action 7 (DA7)
Figure 10.2, model: 3D model of interim design to visualize ideas of building heights
Daniela Brose [12055932]
DESIGN ACTIONS .design action 8 (DA8)
.design action 9 (DA9)
use colours and matrials that are part of the existing built environment and also adopt morphological shapes (such as rectengular
.DA9
maintain as much vegetation as
green network
in the new design to > supprt
possible and work with vegetation the blue and green network
windows, clear lines etc.) to >
(DA9) < because green is a domi-
create uniformity and conti-
nant colour and because the site is
nuity (DA8) < because this will
adjacent to a meadow
make the site more homogeneous within the whole area
.design action 10 (DA10) work with building lines, facades
Figure 11.2, matrix: creating variation while maintaining continuity through shape
and ao create deflection or lines that close your view or leas you view > close view through Pensons Gardens (DA10a)
.DA10
and maintain view onto the meadow through car access
continuity and uniformity
point
(DA10b) < because the
closed view should include a deflections that encourages people to ente the site and also the closed view creates a feeling of enclosure
.DA10
which is essential to create the atmosphere that the vision aims
views into the site
for (DA10a). Nevertheless people should still be able that the meadFigure 11.4, illustration: maintained and closed views not to scale
Figure 11.1, matrix: colour palette for the new design
Daniela Brose [12055932]
ow is only a stone throw away and accessible (DA10b)
ST C L E ME N Tâ&#x20AC;&#x2122;S NIC HE DE S IG N A CTI ON S
Figure 11.3, illustration: vegetation that could be saved not to scale
11
RESUME ANALYSIS
5. RESUME OF FIRST PART The first part of the document illustrates the creation of a new design beginning with the site visit and the site analysis. The site analysis is the crucial first step for a new design. It is necessary to become familiar with the site and the surrounding area. This comprises bringing together as many information as possible. Essential information are the location, the morphological layers and the use of the buildings in the area. These information together with the brief and the interest of other stakeholders build the basis and starting point for a new design. With these information as framework the creative part, the actual design, can begin. A good design meets the stakeholderâ&#x20AC;&#x2122;s interests but also comprises the approaches of contemporary understanding of a good urban design and thus creating a sense of place. The design action and concept matrix are the results of trying to find the best solution and work and transition between the factual fundament and the design. The design is the eventual outcome of all these processes and the visualisation of the aforegoing thoughts on a appropriate restructuring of the site.
The second part of the document starts with exactly this visualisation, the detailed design of the new design for St. Clementâ&#x20AC;&#x2122;s Car Park. This visualisation then will be translated into a regulating plan that brings design back to a formal format.
6.0 INTRODUCTION TO THE DESIGN CODE
DESIGN CODE
.creating a new place
As mentioned aforehand the design code document is all about putting thoughts, ideas and given formal specifications into formal plans that are official for all people involved. Even though the given elements of a analysis are always the same people see different things and have different visions. The earlier site analysis lead to the vision and the design motif and also gave a formal framework for the design. What might be imprecise in the workbook becomes now an official design with a design code. The second part of the document includes: detailed design [1:500]
15
regulationg plan [1:500]
16
design code
17
- cross-sections
- building types
- public realm
feasibility study
24
conclusion
25
- reflective statement
DETAILED DESIGN 7. THE DETAILED DESIGN
.square
The square is the heart of the new design. Here is where shops and cafés have their fronts and where there is space for innovative street furniture such as seating and lightning of the public realm.
FOOTPATH
PARKING FLAT & GREEN ROOFS
C D NO CARS
B
OUTSIDE SEATING FOR CAFÉS
SQUARE
A
BINS
ACCESS FOR CARS
.blocks A, B, C & D
A - commercial use on the ground floor, residential use above
1:500
B - ommercial use on the ground floor, residential use above C - student accomodation D - partially commercial use on the ground floor, student accomodation
Daniela Brose [12055932]
0
50
ST C L E ME N T’S N IC HE DE TAILE D DE SIG N
BICYCLE RACKS
15
REGULATING PLAN KEY FOR THE REGULATING PLAN 1:500 site boundary plot boundary building line
P
max. projection line building code
RU III 1 10 C 3
MU IV 0,8 13 D 2,6
ST C LE M E NTâ&#x20AC;&#x2122; S N IC H E DE S IG N CO DE
use* MU coverage ratio 1 code B
III 10 3
max. number of storeys max. height (in m) building line
*MU = mixed use CU = commercial use
CU III 1 10 B 2
BP
16
P
P
MU III 1 10 A 2,5
building footprint
traffic area
building footprint (with max. extension)
area for pedestrians and bicycles only
semi-private area
restricted traffic area
area for commercial use (outside seating)
P BP
parking
public seating area
bicycle parking
area for wheelie bins
preserved trees
new trees
1:500 0
Daniela Brose [12055932]
50
DESIGN CODE 9. THE NEW DEVELOPMENT IN DETAIL 9.1
.morphology
Figure 9.2 shows the varying levels
Before turning to the design code
of height within the new develop-
this page serves to depict some
ment. Generally the new develop-
important facets of the new design
ment integrates well into the envi-
illustrated in the figures 9.1 to 9.4.
ronment and leaves the focus to the Florey Building. The only buil-
Figure 9.1 and 9.2 give an im-
ding that stands out is the corner of
pression
building D.
structures.
of
the The
morphological new
buildings
To add richness to the architectu-
are distinguishable from the exis-
ral form the heights differ a lot but
ting development but on the figure
mainly the buildings have 2 - 3 sto-
ground plan it also becomes clear
reys.
that they do not massively stand 9.2
.permeability and edges
The site will be permeable with the The visualization of the figure
new development. The legibilty is
ground plan is helpful to illustrate
slighty limited but that is on pur-
the spatial relationships which are
pose to create the atmosphere of
very balanced in the new design.
a “niche”. FIgure 9.4 shows that the
What is sticking out is the space in
inactive edges have mainly been
front of the Florey Building that fa-
removed and the place will have
cilitates the sustainment of the view
an environment where pedestrians
onto this listed building.
feel safe.
Figure 9.3, illstration: movement flow (pedestrians) not to scale
KEY (new) active edge landmark
Figure 9.4, illstration: active edges before and after not to scale
KEY < 3.3 m 3.4 m - 6.6 m 6.7 m - 10 m
KEY (before)
> 10 m
Figure 9.1, illstration: figure ground plan not to scale
active edge
Figure 9.2, illstration: building heights not to scale Daniela Brose [12055932]
inactive edge
ST C L E ME N T’S N IC HE DE S IG N C O DE
out when it comes to their footprint.
17
CROSS SECTIONS 10. CROSS-SECTIONS semi-private yard parking
1:200 next plot
projection line
building line BUILDING D
BUILDING D
BUILDING C
Figure 2.11: yellow brick and stone
ST C LE M E NTâ&#x20AC;&#x2122; S N IC H E DE S IG N CO DE
Figure 10.1, illustartion: cross-section A; scale 1:200
entrance to the site / extended Pensons Gardens
P
cross-section A
MU III 1 10 C 3
MU IV 0,8 13 D 2,6
CU III 1 10 B 2
P
P
MU III
1 10 cross-section B A 2,5
Figure 10.2, map: cross-section shown on the regulating plan
18
BUILDING C
Figure 10.2, illustartion: cross-section B; scale 1:200 Daniela Brose [12055932]
BUILDING B
BUILDING A
P
BUILDING TYPES MU IV 0,8 13 Dmixed 2,6 use
coverage ratio building code
Building A together with Building B will lead pedestrians to the heart of the new development, the square.
MU
III
1
10 3
A
max.3 storeys max.10m high floor space index
It will be the most conservative
CU III 1 10 B 2
It also introduces the architectural
1.5m 1m
P
plot size
~ 200 sqm
building line
aligned to plot line
building type
appartment house with commercial use on ground floor
roof
shape: flat restrictions: no roof terraces options: green rooftop, installation of solar panels
projections
projections may vary from 0.5m to 1.5m projections are a must but stay in the assigned area to promote architectural variety restrictions: no balconies options: combine projections with windows
building in the new design creating a softer transitions from the asset.
P
composition with many projections. Furthermore it serves as cover for the inactive edges, the backs of the shops on St Clement’s Street. To
3.25m
detailed code for design of building A
maintain
access
to
gar-
bage bins and delivery access this building must have a pas-
8m 1m
8m
sageway with restricted access. The design code
provides the
ground floor to be used for small shops or offices (such as for real estate aganecies et cetera) and the Figure 11.1.1, illustration: building A with dimensions (not to scale)
windows/doors
two upper floors for residential use with some smaller appartments for single or couple households.
shape: rectengular, geometric emphasis may focus on vertical line materials: glass, steel, wood colours: natural if steel frame, if wood frame also natural or a deep dark colour materials: dark brick (red/brown tones)
material/colours
Figure 11.1.4, table: design code of building A
ground floor for
passageway
commercial use Figure 11.1.2, illustration: 3D-drawing of building A (not to scale)
Figure 11.1.3, photo: this is a picture shows the entrance to the site through Pensons Gardens The design of Building A ought to orientate on the groundfloor use and the colors and material used for the whole building to create a uniformity that again gives pedestrians a feeling of safety to enter St Clement’s Niche. Daniela Brose [12055932]
Figure 11.1.5, photo: an example of a flat green roof [source: jwscudderroofing.org]
ST C L E ME N T’S NIC HE DE S IG N C O DE
MU III 1 10 11.1 BUILDING A C 3
11. BUILDINGS IN DETAIL
19
REFLECTIVE STATEMENT 14.2 REFLECTIVE STATEMENT ON THE WHOLE PROJECT
The design code is a document that
sets guidelines and rules for the
.my design
studio sessions, the feedback,
realised that after now four design
already more than half of the
I am very proud of my final design.
working on my own and other
projects my way of thinking and
world’s population lives urban ar-
new development. It can be used
It is not perfect, but it feels like it is
things just worked hand in hand
seeing and understanding things
eas. Urban designers have new
as a tool by architects, planners
really me and my ideas combined
and pushed me forward step by
has changed.
responsibilties such as the sustain-
and other professionals involved in
with my skills and knowledge that I
step.
Having done more than 4 site anal-
able cities.
the process.
have learned up to here.
However it is hard to realise that
ysis I pick up details more quickly
There is a lot of research going on
This design code leaves a lot space
During the process of the whole
you can not do and include every-
and I am able to put a site into the
about cities and how we can im-
for creativity. The main aim was to
term I never had any doubt that this
thing you would like to. The litera-
surrounding areas.
prove them. The job of the ruban
transport the vision of the ‘niche’.
is my design and it works for me.
ture read and the websites visited
Nontheless me as an urban de-
designer is to consider all of them
However few things are presciptive
I am the expert of my design, I see
always gave more input and cre-
signer in this module am not the
and bring different professions to-
to make sure that any development
all the details, I have the view of the
ated an urge to make it perfect.
only professional involved in a new
gether to create the future of our cit-
will stay in a appropriate frame and
whole and I hope I accomplished to
Sometimes it was hard working
development. This time it became
ies. That is a big responsibility and
becomes part of a organic develop-
transport this in my design code.
alone on my own design and not
more clear what people and how
should be taken seriously. As soon
ment of the whole area and even
Everything just came naturally.
really have someone with whom I
many are involved in the process.
as something has been developed
the city. That is, was the desin code
From the moment on I visited the
could discuss certain aspects.
The feasibility study was uncom-
it will not change for a while.
is for, it gives architects and land-
site the first time I saw something
At my university in Berlin we did a
fortable because I did not want to
Urban designers have to work
scape designer soem structure and
there and with the help of the differ-
design as a group of four people
think of it but it made clear how
carefully and listen to not only other
oundation so they can actually feel
ent steps during this module I have
and it was incredibly intense. I was
important all the other factors are
professionals and the results of re-
secure to be creative because it
reated a design that, in my eyes,
lucky because my group worked
such as economics, policies and
search but also to the people that
has been taken care of seeing the
makes sense.
well and everyone was commited.
the people living in an area.
live in an area that is about to be
development in the big scale and
We had great discussions where
developed.
everyone had ideas and input and
.the field of urban design
Summing this up urban design
I had problems getting started in
different opinions. The whole pro-
Urban design is a vey diverse field
does not only mean designing and
many changes in spatial, social
the beginning. I had an overall
cess works differently in a group. I
that combines numerous hard and
being creative. It takes so much
and economic structures.
blockade and I was frustrated and
am happy and also lucky I had the
soft skills with creativity. Urban
more to create a ‘sense of place’.
demotivated by the load of work
chance to experience both.
design in the society has become
what impact it will have because
every new development brings
.the working process
more and more important. The
that was ahead. But having already internalized cer-
.learning outcomes
view from the city as a place where
tain skills and structures working
This is one of the great modules
you have to live because that is
on the last design project I could
where you have a massively steep
where to money and the jobs are
overcome the creative blockade
learning curve without actually re-
has changed to a lifestyle the ur-
and start working and the analy-
alising how much you learn and im-
ban way of living. When the urban
sis which is more based on having
prove your skills.
form of living rose with the indus-
knowledge about the process than
For me it was like applying every-
trialisation urban design was more
on having ideas.
thing I have learned so far onto one
about functional structures than liv-
After this one thing lead to another
single project.
able neighbourhoods. The empha-
and the combination of everything
I finally became confident when
sis changed from quantity to qual-
knowledge, skills, exchange in the
talking about urban design. I also
ity. Cities are the future and by now
Daniela Brose [12055932]
Daniela Brose, 28 April 2013
ST C L E ME N T’S N IC HE C O NC LU SIO N
14.1 CONCLUSION OF THE DESIGN CODE DOCUMENT
25
REPORT THE PLOT Thesis: In how far are design codes applicable to the approach described
the functions and land use of larger urban areas, urban design is defined
thus create a new form of document that has the potential to become
in the book The Plot by Jonathan Tarbatt?
as the art of making places. Design Codes are flexible as an instrument
a holistic planning-design-document. However design codes may only
and have a high potential to become one of the most important instru-
work up to a certain scale but so does the approach of Tarbatt. Develop-
The ideology in the book The Plot by Jonathan Tarbatt is about creating
ment for urban designers to convince planners of their design. Design
ments have to happen step by step, on development after another. Histo-
environmental, economic, social and liveable places with focussing on
codes include both design and planning aspects.
ry shows us that planning a whole town is almost determined to fail. Even
RE PO RT TH E PLOT PO S TG RADUATE ASSIG N M E N T
the plot, which is the basic unit when it comes to urban development.
26
though Tarbatt mentions that - depending on the type of development and
“These are the essential components of sustainable places and sustain-
At the moment there is no uniform standard on how a design code docu-
the density you wish to achieve - glose-grain development sometimes
able communities” (Tarbatt 2012, 12)
ment has to look like and what needs to be included. Current official de-
means smaller plots and sometimes bigger plots, you can not design a
According to Tarbatt those places can be achieved by using smaller plots
sign code documents range from giving an idea of how an are looks like
very large area (on a regional level maybe) but you might be able to plan
and thus creating a plot-based close-grain urban structure. Smaller plots
(Cotswold Design Code) with a prescriptive part that only encourages
for a large area (planning here understood as defined earlier). So design
provide an extremely high flexibility that facilitates diversity of architec-
stakeholders to keep new development in the “Cotswold Style” to Design
codes can bring these two disciplines together. As Tarbatt says about
tural form and built environment. Diversity is a key indicator for “impar-
Code Documents that are strongly prescriptive even about details such
urban design: it “overlaps with the traditional domains of architecture and
ting to each place its own unique character and identity and its sense
as in the Rotherham or the Kingsmead South Design Code. Another as-
planning with the intention of putting in place the three-dimensional de-
of place”(Tarbatt 2012, 12). The core of plot based urbanism is the de-
pect that varies within the numerous design codes is the scale. Again
sign frameworks within which these and related disciplines (auch as ur-
sign aspect. Smaller plots particularly enable diversity in the architectural
the Cotswold Design Code applies to a whole area which is not even
ban and economic geography, engineering , transport, planning) can be
form. However close-grain structure can also foster mixed-used streets.
declared in the document when on the other hand the Rotherham Design
brought together to create successful places” (Tarbatt 2012, 20) and so
Summing it up the book argues that the plot is “the invisible substrate of
Code comprises a certain area.
does the design code.
urban form” (Tarbatt 2012. 14) that has the potential to “foster diversity,
Another vague feature of design codes is their presentation. While the
support local economies and facilitate a range of alternative development
Rotherham and the Kindsmead South Design Codes include various
Summing up, it can be said, that design codes definetly are applicable to
models that can support the creation of more sustainable places” (Tarbatt
maps and plans the Cotswold Design Code consists of pictures only with
the approach of a plot-based urban design, because both elements are
2012, 12).
some words on the ‘Cotswold Style’ itself. So while the Cotswold Design
as flexible as the other. A design code can prescribe the plot sizes and
Code appears like a booklet to attracts tourists to that area the other men-
leave enough freedrom for architectural diversity, that comes from the in-
Such places are desired by urban designer but are they also desired by
tioned documents have a more professional look.
dividual developer, and also leaves the prescription of use to the planner,
planner? Also it is debatable if a place like a close-grain block in Sluse-
This sums up the general flexibilty of use and presentation of design
if neccessary. Eventually design codes generally have been created to
holmen, Copenhagen, Denmark is always the best meaning appropriate
codes. This can be seen as something negative, but in my opinion exactly
develop a sensibilty for good places and good urban design amongst the
solution. In my opinion the main approach urban design, detached from
this flexibilty is the big potential of design codes. It makes them applicable
planner and the plot-based approach aims to create exactly that: good
planning policies, is to create places that that almost seemingless fit into
in a wide range. At the moment they are superseded by policies and de-
places that are diverse in any aspect: architecture, use, economics and
their environment. That includes trying to create a “sense of place” but
velopment plans. This hierarchy probably will never change. Nontheless
social mix. And this again is something that planner want to achieve as
this is not always calculatable. Generally the idea behind the plot sounds
the policies always provide a framework and a foundation urban designer
well. The design codes will never be as formal as development plans
like basic knowledge for any urban designer. It is something that every
can work with and in whose boundaries they can act.
but this is the good thing about it. But design codes fill gaps in the plan-
urban designer should have in mind when designing a new development.
ning system, where no other document can provide information that are
But good urban design does not always automatically create a high qua
So in how far are design codes applicable to the close-grain approach
important from the view of an urban designer. The plot-based approach
lity neighbourhood. There are many other aspects on a bigger scale that
described by Tarbatt and also the other way around.I think they could go
is mainly an urban design approach, so design codes will help urban
need to be considered. Urban designer have to work tohether with plan-
hand in hand. The approach of Tarbatt definetely is no holistic and every-
designer to implant well designed places into the planning world and well
ner and other professionals to get as close as possible to a well func-
where applicable approach, but the intention is right. Design codes can
designed places can be created through the diversity and comes with the
tioning neighbourhood.
contribute a great deal to the realisation of the close-grain approach. De-
close-grain urban structure.
sign codes may include regulating plans that are on a smaller scale and The design code as an instrument delivers a great chance to bringt to-
more detailed that development plans or even masterplans. Design codes
gether planning and urban design ambitions. While planning is focused on
combine technical and planning elements with design elements and
Daniela Brose [12055932]
Daniela Brose, 1st of May 2013